Re: questions on processing in soundscapes


Subject: Re: questions on processing in soundscapes
From: Kenneth Newby (knewby@sfu.ca)
Date: Mon Nov 14 2005 - 15:06:52 EST


Hi KK,

Curious... I can "save to disk" successfully. The only anomaly I
notice is that, in OS X 10.3, the filename is long enough to clip the
.pdf file extension to .p

You could ask Phil for a copy.... he's got a contact link on the page.

Kenneth.

On 14-Nov-05, at 2:04 PM, kathy kennedy wrote:

> Hi Kenneth and hopefully Phil.
> I've wanted to download this paper for a while, but it seems that the
> link doesn't work.
> drat.
> kk
>
> On Nov 14, 2005, at 9:55 AM, Kenneth Newby wrote:
>
>> Hi Sylvia,
>>
>> You might want to have a look at Phil Thomson's MFA thesis: Machine
>> Languages and the Digitization of the Social. In that paper Phil
>> gives a nice overview of the processing techniques that are effective
>> in preserving context in soundscape materials... things like
>> time-stretching/contraction, auto-convolution and filtering.
>>
>> www.sfu.ca/~pthomson
>>
>> Kenneth.
>>
>>
>> On 13-Nov-05, at 8:43 PM, sdetar@sfu.ca wrote:
>>
>>
>>> I'm writing a paper for an "electroacoustic soundscape composition"
>>> course
>>> here at SFU, and I thought list members might have some interesting
>>> insights
>>> on my project. Would you all mind answering a couple of questions?
>>>
>>> A little pre-information: At my first introduction to soundscape
>>> composition, I was under the impression that a soundscape piece was
>>> just a
>>> recording of an environmental soundscape. I imagined it to have no
>>> processing other than maybe equalization to offset microphone
>>> interference/distortion, a little normalizing, fade in, fade out,
>>> and maybe
>>> some areal diffusion. As I learned more about it, I discovered
>>> "soundscape"
>>> compositions that create a fictional soundscape, such as Barry
>>> Truax's
>>> Island, where sounds are taken out of their original context and
>>> placed in a
>>> different one. Additionally, there are soundscapes that include
>>> quite a bit
>>> of processing (maybe to better expose the musicality of the
>>> environment),
>>> like the deep thumping sound in Hildegard Westerkamp's Beneath the
>>> Forest
>>> Floor. In this soundscape course we also discussed text-based
>>> compositions,
>>> because we considered text to be a "context".
>>>
>>> So the questions:
>>>
>>> Do you think there is a difference between soundscape composition and
>>> context-based pieces?
>>> What is the effective use of processing in context-based/soundscape
>>> compositions? Any specific examples?
>>> What might be ineffective use of processing in
>>> context-based/soundscape
>>> compositions? Any specific examples?
>>> Is there any type or amount of processing that would make you say
>>> "that
>>> composition is not (or is no longer) soundscape/context-based"?
>>> How would you consider the use of microphone to be processing, in
>>> terms of
>>> affecting the behavior of whatever you are observing, or in terms of
>>> types/placement of mics affecting the sound?
>>> Do you have any principles of soundscape composition of your own?
>>>
>>> Thank you very much; I appreciate your time-
>>> Sylvia DeTar
>>>
>>>
>>
>>
>
>



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