f(Glitch) – The Function of Glitch
cDACT, 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 at a conference organized by Margaret Schedel investigates contrasting approaches to listening and illustrates ways in which specific glitches may appear and disappear within them.
Deep Listening: Art/Science conference
Rensselaer Polytechnic Institute, Troy, NY
Deep Listening to African Forest elephants, presented in collaboration with Katy Payne, and contributions to a Round Table Discussion about Hearing vs. Listening, Artistic and Scientific Perspectives, with Pauline Oliveros, Seth Horowitz, China Blue, Chris Chafe, and moderator Lance Brunner.
Listening to the Lab of Ornithology
In March 2013′s Sounding Out!, ecopoet Jonathan Skinner converses with a number of us at the Lab of Ornithology who have worked with animal sounds: “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.”
for Cheryl Gobbetti Hoffmann
Leonardo Music Journal 22: Acoustics
Made from animal sound recordings…
—John Cage, 32 Mesostics re and not re Marcel Duchamp* the issue’s editor is composer Daniel J. Wolf of Material Press, who is an entertaining and enlightening blogger
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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. I made some sonic images from her Long String Instrument. And Angelin Chang performed Messiaen’s piano piece l’Alouette Lulu from Catalogue d’Oiseaux with some Raven spectrograms I made to visually illustrate connections between the structures of this bird’s vocalizations and structures of the piano composition.
Chambers and Alvin Lucier
“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.” The recordings used in this Chambers installation were made by the Bioacoustics Research Program at Cornell University’s Lab of Ornithology.