Monday February 24

1. Everybody please read the chapter below by Trevor Wishart which talks about sound and metaphor, and explains some of his thoughts about Redbird.  Be prepared to discuss briefly on Monday.

Wishart Reading

2. Found Sound group, please read the readings below, and listen to some Schaeffer.

Then post to the blog at least two links to other pieces you find interesting that deal with found sound.  Try to choose pieces that wouldn’t fit more appropriately under the found objects or found media category. (So, ideally not sound sculpture from found objects, or pieces that use radio, pre-existing recordings–sampling, mashups–internet or video-media).

However, note that the only reason for this restriction is to try to get a wide variety of examples.  So, if you find something too good not to post, post it anyway.

3. Found Objects (that make sound) group, please read the readings below and watch this TED Talk (yes, a TED talk for HW, I know).  It’s mainly for Applebaum’s demo of his Mouseketeer, which is made from many found objects, but watch the whole thing anyway.

Then post to the blog at least two links to other pieces you find interesting that deal with found objects (that make sound).  Post a couple of sentences about what stood out.  In addition to objects used in sound sculptures, consider other areas…for example, found objects as percussion instruments, etc.

4. Found (sound) Media group, please read the readings below, and listen to some Cage.

Since you have slightly shorter readings/listenings, if you are in this group, please find three examples to post of contrasting pieces that use found media – so anything from radio, to internet, to film to TV, to sampled music including mashups, and etc.  Go for variety!  Post a couple of sentences for each.

17 thoughts on “Monday February 24

    • 1.
      Sounds from a swimming pool, composition by Brion Gysin with unidentified musicians. Recorded by Brion Gysin in the late 1950s or early 1960s.
      [audio src="http://ubumexico.centro.org.mx/sound/gysin_brion/The-Pool-K-III/Gysin-Brion_The-Pool-K-III_8.mp3" /]

      2.
      WSB cut-ups with Dutch Schultz’s last words and news texts, shortwave radio noise. Mid ’60s, London
      [audio src="http://ubumexico.centro.org.mx/sound/burroughs_william/Break-Through/Burroughs-William-S_08-Present-Time-Exercises.mp3" /]

      What I find Exciting about this piece, is how Burroughs is in a way creating a soundscape layer for his won reading. Additionally, I think it is exciting to see how an author uses sounds to complete an idea originally meant to be read, not heard.

      3.
      Tape made in early 1960s by Ian Sommerville and WSB, using the “drop-in” method.
      [audio src="http://ubumexico.centro.org.mx/sound/burroughs_william/Break-Through/Burroughs-William-S_04-Silver-Smoke-of-Dreams.mp3" /]

      I like the idea of altering recordings after the fact. I wonder if the mash-ups require all found material. I enjoy the fact that Burroughs and Sommerville treat their own material like found material. Is there a certain distance that must come between the artist and their own work to be able to teat it like found material.

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