Presentation, 11 July 2014
Presentation, 11 July 2014
19 May 2014
Presentation, with Katy Payne, who, through listening, discovered the evolving patterns of humpback song…
5 March 2014
Colloquia, cDACT (Consortium for Digital Arts, Culture and Technology), Simons Center for Geometry and Physics Auditorium, Stony Brook University
Our perception of what is a “glitch” may depend on the history and on the purposes of our listening. Through accumulating deeper, focused listening experiences, and through examining and exploring our motivations for listening to specific musics and sounds, we may find that glitches come and go, their existence being dependent upon our interests as listeners. This presentation investigates several contrasting approaches to listening and illustrates ways in which specific glitches may appear and disappear within them.
13 July 2013
And contributions as an invited panelist to Round Table: Hearing vs. Listening, Artistic and Scientific Perspectives along with Pauline Oliveros, Seth Horowitz, China Blue, Chris Chafe, and moderator Lance Brunner
“Poetry might help us to use, study, and deploy animal morphologies in ways that hope to better, rather than merely exploit, the human relation with such life forms, if not to improve the welfare of the species themselves. As Katy Payne, Mike Webster and others suggest, when we speak of animal “song,” we bring metaphors from the arts of poetry and music to complement our limited scientific understanding of the intricacies of animal communication.”
Made from animal sound recordings…
a utility aMong
thEy produce it mid-air
to avoid coLliding.
—John Cage, 32 Mesostics re and not re Marcel Duchamp
* the issue’s editor is composer Daniel J. Wolf of Material Press, who is also an entertaining and enlightening Facebook friend…
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Ellen Fullman and Theresa Wong come to visit Ithaca in February. Ellen’s article is in Leonardo’s Acoustics issue also. Here are some sonic images from her Long String Instrument… (coming soon)
Also, Angelin Chang performed Messiaen’s piano piece l’Alouette Lulu from Catalogue d’Oiseaux with my Raven spectrograms visually illustrating connections between the structures of this bird’s vocalizations and structures of the piano composition. See more here.
“A patron listens to the sound of Arctic and New York Bight whales inside a Conch Shell from Bali, submitted by Ann Warde MA ’85 as part of the installation “Chambers: In Honor of Alvin Lucier, sound in large and small resonant environments” (1968). This new version of “Chambers” is a compilation of individual works, each submitted as a tribute to Lucier by his former students. Lucier himself contributed a thimble with audio of the Cologne Hauptbahnhof, a well-known component of his earlier “Chambers.” Ron Kuivila, professor of music, and a former student of Lucier, organized this installation.” More