June 16, 2024
Henrik Frisk - henrik.frisk@kmh.se
What is the arena in which art can both make use of, and critically examine, contemporary technologies such as immersive audio, and how can this activity contribute to a strengthened social and political awareness of these technologies?
is to better understand and articulate the experience of spatial properties in both natural sounds and music, and use this knowledge in composition
…
because this has to some extent been overshadowed by the technology of spatialization
"we may say that the normative and technical enfold and order the subjective and perspectival" (Born, G., 2013)
Born (2013): Music Sound and Space. Transformations of Public and Private Experience. Cambridge University Press
How can spatial sound-works be staged in ways that encourage listeners to actively engage in their listening experience?
HISS, Huddersfield
The GRM Acousmonium
The point of concert performance is to exploit the possibilities of the work by extending it into physical space.
the spatialization equipment and technology have become readily available, but the users haven’t caught up (Otondo, Felipe, 2008)
Barret in Otondo (2008): Contemporary Trends In The Use Of Space In Electroacoustic Music
although there is a vast body of scholarly work both on the physical acoustics of enclosed spaces and on perceiving acoustic parameters, the literature is relatively silent on the subject of how people experience aural space (Blesser, B. and Salter, L.R., 2009)
Blesser & Salter (2009) Spaces Speak Are You Listening?: Experiencing Aural Architecture
One remarkable exceptions is of course Dennis Smalley in Space-form and the acousmatic image (Smalley, Denis, 2007)
Smalley (2007) Space-form and the acousmatic image
subjective listening experience as an experience of envelopment -> novel methods for understanding and achieving spatiality in sound based on an understanding of the experience
Is the nature of spatial audio reliant on large speaker arrays, or alternatively binaural renderings?
What is the aesthetic driving force behind the idea of immersive sound?
Mäcklin (2021): A Heideggerian Critique of Immersive Art
A possible relation between harmony and spatiality (Tenney, James, 2008)
A completely different approach
A recurring symposium in which we have tried to address a few of the questions above using several different methods.
Move to the next place and repeat the excercise
Blesser, B. and Salter, L.R. (2009). Spaces Speak, Are You Listening?: Experiencing Aural Architecture, MIT Press.
Born, G. (2013). Music, Sound and Space: Transformations of Public and Private Experience, Cambridge University Press.
Chion, Michel (1988). Les deux espaces de la musique concr{\`e}te, L’espace du son.
Clarke, E. (2013). Music, Space and Subjectivity., Cambride: Cambride University Press.
Grosz, E. (2008). Chaos, Territory, Art: Deleuze and the Framing of the Earth, Columbia University Press.
Jones, R.E. (2007). Music and the Numinous, Rodopi.
Mäcklin, Harri (2021). A Heideggerian Critique of Immersive Art, Gatherings: The Heidegger Circle Annual.
Normandeau, Robert (2009). Timbre Spatialisation: The medium is the space, Cambridge University Press.
Otondo, Felipe (2008). Contemporary trends in the use of space in electroacoustic music, Cambridge University Press.
Scruton, R. (1999). The Aesthetics of Music, Oxford University Press.
Smalley, Denis (2007). Space-form and the acousmatic image, Cambridge University Press.
Tenney, James (2008). On 'Crystal Growth' in Harmonic Space (1993 - 1998)., Contemporary Music Review.
Henrik Frisk