Subject: Re: questions on processing in soundscapes
From: Kevin Austin (firstname.lastname@example.org)
Date: Tue Nov 15 2005 - 21:05:07 EST
At 3:20 PM -0800 11/15/05, Kenneth Newby wrote:
>Processing... I suppose, in a sense, one could say "it's all processing".
The model I sometimes propose to people (the KIS view) is that there
are two modules for ea, the SOURCE, and the PROCESSOR.
A SOURCE has an output; the PROCESSOR has an input and an output.
(Under certain conditions, they may have controls.) The PROCESSes may
be sequential, parallel or recursive (with a feedback loop).
Oversimplified, one use of this method is that it is not the "object"
which is examined, but the processes which transform the object.
These processes may have gestural and textural implications.
Keeping with the KIS approach, it may be possible to create "the"
short list of available processes, such as the basic ones in
(2) vary and repeat
(3) do something new
Numbers (1) and (4) may be a bit mundane, but may be more easily perceived.
In the "vary and repeat", one is in the "processor" part of the
chain. Simple things:
vary the amplitude (on / off; level change; frequency selective
modify time (shorter or longer by editing / repetition (and
echo), or time compression / expansion);
modify spectrum by mathematical processing of the signal (which
can include diversions such as convolution or reverberation etc)
There could be the creation of new material which may be presented
alone or mixed into / over the previous material.
>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 about the place.
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