>> Q u e s t i o n >>
Are there rules for improvising sound and music together?
Or of deep listening combined with producing sounds?
Instructions for improvising sound made with objects?
I'm thinking of: keep the same volume, don't overpower someone etc.. I want to write a few exercises for visitors to a group exhibition in a chapel and I want to phrase respect in there without being patronizing...
Victoi Film is an imaginary movie: a tale soaring cityscape's silent anarchy, like a desolate dusty Dhalgren at sunrise, moving deeply over steppes unto the edge where the building lights are a jeweled curtain of stars...
another ORT: field recordings out of the unsettling rooms of the former Oxford barracks / Flakkserne in Münster / Germany, manipulated and remixed with recordings from other places, developed out of the psychogeographic field exploration / audiovisual installation "Ort ohne Heimweh" in collaboration with Thomas Gerhards, Werner Rückemann, Oxford barracks, Münster, Germany.
soundart #granularsynthesis#musiqueconcrete#drone#deeplistening#psychogeography
Some great news from The Center For Deep Listening at Rensselaer.
The "A Year of Deep Listening" project in homage to Pauline Oliveros they ran up until the end of May this year will eventually be collected in a book, to be published in Fall 2024 on Terra Nova Press.
Honoured and chuffed to have been part of this, and to see the whole project finally collected.
Around this time last year, the Center for Deep Listening launched A Year of Deep Listening, a call for Deep Listening scores in homage to Pauline Oliveros. I decided to take part, and eventually sent in not one, but ten scores - and then I just kept writing more. (Rather predictably in my case, all of them turned out to be soundwalking scores). I was also very pleased when one of them - Ariadne Soundwalk - was selected for A Year of Deep Listening.