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In
this issue
+++ Foundations +++
Theorisations +++
+++ Musings, rants, & artists' depositions
+++
+++Issue 02+++
Can you hear me? What is Sound Art? by Nicholas Gebhardt - This article draws out some of the conceptual questions that emerged from the large and often diffuse event that was SoundCulture, the third trans-Pacific festival of sonic art and sound practice which took place in and around San Francisco, Berkeley, Oakland, Marin County, San Jose and Santa Cruz, CA. (This article is extracted with kind permission from RealTime, Australia's free national bi-monthly arts tabloid).
What's wrong with sound art? - responses to Nicholas' article by Ian Andrews and others - These responses were posted to the Philosophy of Sound mailing list, philosound shortly after Nicholas published his article (above) in RealTime issue 13.
Copyright by John Jacobs of Video Sub Vertigo - What is originality? What is copyright? And who does it benefit?
Audio-visual
poetics in interactive multimedia
by Scot McPhee - This paper explores poetics in modern computer based multimedia,
based on the idea of ambient sound as metonymy, and references Michel
Chion and Gregory Ulmer among others. Specific media examples are drawn
from the Burning the
Interface [International Artists' CD-ROM] exhibition at the MCA
in Sydney.
Virtual
Reality: a sound proposition?
by Richard Thorn - Is it conceivable that hearing could literally be taken
to be believing? (a paper for "Hearing is Believing 2" experimental
radio symposium, at University of Sunderland Saturday, 02Mar96)
Echo
- an abstract
by Patrick Gibson - Could we propose a political economy of reverb and echo?
And if so, would it be one of classical utility, or one based on excess?
Botched
Assemblages
by Rosalyn Page - Where do the language theories of Heidegger, Benveniste
and Hegel converge and deviate from Deleuze and Guattari's theory of language?
Nietzsche's
Clock
by Patrick Gibson - What was that? What was that we just heard?
Instead of separation, a sense of space by James Pritchett - "Northeast of the French city of Bourges there lies a place that John Cage loved -- "Les marais d'Yevre" [. . .] What impressed Cage about this situation is that all these sounds, whether near or far, are so clearly and distinctly heard: each sound is separate from the others, its distance from you perfectly perceived". James Pritchett has written extensively on the music of John Cage, and published a book, The Music of John Cage (Cambridge University Press, ISBN 0-521-41621-3).
Improvisation and Interactive Technology by Jon Rose - A description of "two interface systems which attempt to bring together the physicality and dynamics of improvised music (as played on a violin) with the quick change and virtual possibilities of computer music." Jon Rose has appeared on over 50 records and CDs; He has worked with many of the innovators in contemporary music (from Derek Bailey to Butch Morris to Fred Frith to Shelley Hirsh to Connie Bauer to Toshinori Kondo to Alvin Curran, etc).
Don't Give Up Your Day Job by Phillip White - "A history of the IAU and other no-name bands", a sometimes hilarious, and very personal, expose of the 'underground' electronic music scene in Sydney during the early eighties. A whole labyrinth of pages with many pictures and interesting details of a very vibrant era in electronic music (well it was for those of us who where there at the time!), authored by Phil as his "memoirs".
Luftkanone - details of a Nazi sound weapon from a post by griffenj%db1_pdx@ncube.com (Griffen)