Subject: Re: questions on processing in soundscapes
From: Kenneth Newby (firstname.lastname@example.org)
Date: Tue Nov 15 2005 - 18:20:57 EST
Yes... and a poetics of soundscape composition that sits on the notion
of context gets interesting -- grounding musical signal processing
issues? -- when one starts to compose with contexts and engage in a
play of associations based on these. The context of a situated
physical environment (galactic, solar, planetary, local ecological...)
associated with that of a cultural context associated with the
micro-context of miniature soundscapes associated with that of a purely
musical space associated with an emergent soundscape of virtuality and,
Douglas Kahn's writings on significance in sound art might also be of
interest to you. He critiques what he terms the "musical conceit" of
doxas such as Cage's every-sound all-music appropriation of sound for
the music project. He contrasts this with practices that engage in
sound as significant and exceeding the pure abstractions of musical
formalism. The connections with a context-sensitive soundscape
practice are suggestive.
Processing... I suppose, in a sense, one could say "it's all
processing". The cut, the juxtaposition, the layer, and, moving into
the process orientation of encoded media, the variable, the branch, the
selection, the iteration...
On 15-Nov-05, at 1:32 PM, email@example.com wrote:
> Thank you, Kenneth:) looks like his Soundscape Composition,
> Globality, and
> Implicated Critique paper might be helpful, too; the choice of which
> soundscape material to use from a location might also be considered
> "processing". It certainly affects the statement the composer makes
> the place.
> Much appreciation.
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