BEDLAM (ˈbɛdləm)
-n 1. a noisy confused place or situation.
Cassette Player/Recorder Panasonic M8455

  

After over a decade of inactivity on eBay, I’ve started monitoring #cassette player/recorders for an upcoming project. The first success arrived yesterday in full working order. It’s a Panasonic M8455 with two #microphones and carrying case.

Audium: A theater of sound-sculpted space

1.12 Arrived in SF in time to see Audium, a 176 speaker sound-sculpture space

Last spring, I traveled to San Francisco to experience the Audium in person. This trip was supported by a grant from the Center for Cultural Innovation in Los Angeles. What follows is a writing that I created after the performance as part of the final grant report.

Originally written on July 2nd, 2012
A large room with a suspended ceiling and a floating false floor houses this permanent audio-performance-as-sound-art-installation created from a composition performed through a series of 176 different speakers mounted throughout the space. There are square acoustic panels mounted in concentric circles at the ceiling. Speakers of different sizes, for frequency and response, are hung from the ceiling facing down, under the floor facing up and along the wall facing toward the center. The audience is seated in a series of 3 concentric circles facing the center. There are speakers mounted directly under many – if not all – of the chairs. Some of the walls are solid but some of the curved forms used to define the space are created from stretched white fabric. The area where the performer sits is a very Kubric-esque station opposite the entrance that contains a custom mixing area with a series of dials and switches. The entirely custom-built interface is marked with glow-in-the-dark labels so that they can be seen by the performer but won’t give off any projected light. This aligned with the initial announcement that requested people remove any watches with illuminated faces or anything else that might light up during the performance. As the sound began, the room was slowly taken to complete and absolute darkness. In fact, during the second movement, the gentlemen sitting next to me got a silent phone call and the light emanating form his blue jeans pocket was incredibly bright, emphasizing the darkness after 30 minutes of being without light.

A primary technical feature of the space is that it provides sound the ability to move through the space and be composed with other moving sounds. The tape performance consisted of a mix of musical instruments, synthesized sounds, field recordings and even some voice samples. These sounds create a dream-like state that flows through a series of emotions and compositional movements. It deals with issues of tension, beauty, memory, child hood innocence and scientific exploration. There are moments that are heavily rhythmic and draw the listener’s attention around the space and other times the sound comes to the listener during the experience.

The presentation throughout the space functions in a way that a normal projected listening experience cannot. The sound moves through the space in a way that directly reflects one’s listening ability in real space. Sounds come from all around us. We hear in 360° and we can’t turn it off. Our ears don’t blink – as the famous John Cage saying goes. This installation / performance explores this and presents a composition in a way that creates a different relationship to recorded and projected audio. The listening experience is quite amazing. Hearing a performed composition distributed through space in such a way draws the listener in and blurs the familiar lines of experiencing recorded sound, usually limited to 2 channels of stereo or at most maybe, 5 channels of surround sound. Having sonic distribution at this granular level to compose against creates a great deal of questions and opportunities for composers. As a media artist, I am intrigued by the questions this raises about the methods by which an artist would perform in this type of space. How does one perform within such a dramatically complex and interwoven sonic environment? What are the interaction implications of a controller for 176 distributed, discrete audio channels? And how might this controller work in reverse if instead of distributing sound out to many channels, we consider ways that our binaural listening system might be hacked and modified to perform this space surrounding a listener? While considering the role of the listener within this rich, dynamic performance environment that the Audium presents, these are some of the questions that the experience of this multi-speaker audio installation and performance has raised for me.

Asynchronous Collective Residue

Collection of customer reward cards pinned on the wall at a coffee shop in Soul, South Korea

I can’t get away from this image. I keep stumbling on it in my image collections and I love what it stands for. It is a community visualized. It is an asynchronous interaction. It is the gamification of the coffee ritual. I was a tourist within this structure and so my contribution and what I have taken away from it may not be accurate at all.

It is a visual representation of a community that never existed in real space. It’s an asynchronous collective. Each card is a person that was, at one time, there. Some of the cards have names on them and some don’t. A couple had marks like stars and smily faces. It represents locals that frequent the establishment and tourists that are just passing through. The first visit I made I got one stamp and pinned my card up. From then on, each morning I went into the café nearest our resident inn, I took one from the board and helped someone else towards a free drink. But my original one was still there.
hear the rest >

Thinking about the Walkman® – Shared Listening Experiences

Sony's first Walkman® ca. 1979 included two 1/8" headphone jacks

I’ve always been fascinated by the fact that the first Walkman® introduced by Sony in 1979 had 2 headphone jacks. Listening with this new portable audio playback device was intended, from the beginning, to be a shared experience with a friend.

Sharing what you are listening to is prevalent now in a variety of ways. However as a result of it being reduced to an archived timeline that unfolds in real time in a sort of “I heard it before you did and I can prove it based on my playlist archive,” the listening experience isn’t the same. It’s asynchronous and in many cases more about the breadcrumbs than the hike. The shared listening experience from those early days of the excitement of portable audio are different. The synchronous sharing of individual listening experience creates a different space entirely. It’s a different relationship to that which is being listened to but it is also a different relationship to the simultaneous listener. Looking back now that the majority of portable listening experiences are incredibly personal, it seems nostalgic to think about the 2 headphones,1 device approach to sharing music. Not just because the headphones have wires but because these devices have served a greater and greater role in separating us from the people around us, not bringing us closer. hear the rest >

Thinking about Magnetic Tape – Musical Instruments

TDK Compact Cassette C-60 Super Dynamic Tape - Found @ Swap Meet

Because of magnetic tape, the things that I am interested in doing with sound are possible. When magnetic tape came along, anything could easily be recorded. The material qualities of the recording then allow for a great deal of exploration and manipulation. It can be slowed down, speed up, chopped, looped and layered in order to create new sounds and compositions that couldn’t otherwise have been created. Pierre Schaeffer used these techniques as a musician and dubbed it Musique Concréte. Essentially this was music from found sounds as apposed to from “musical instruments.”
hear the rest >

Simulacra-tecture
Simulacra-tecture #1 - Brussels

Simulacra-tecture #1 - Grand Place, Brussels

Simulacra-tecture
-n [sim-yuh-ley-kruh-tek-cher]

1. A form of architecture wherein an actual size, 1:1 scale image is used in place of an actual building, structure or facade.
2. A life size image of a historical structure in place of the original structure optimized for capture and recreation on digital imaging devices.
Most commonly used to appease tourists looking to experience a historical structure through the screen of a digital imaging device and fail to actually see it in person in the process.

While in Europe I saw a number of buildings covered in 1:1 scale images of themselves while under construction. I can imagine the day when this is considered “historical preservation” and the actual structure contained will be whatever combination of modern features and conveniences is deemed necessary by the culture of the time.







All content ©2014 Alex Braidwood unless otherwise stated.


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  • Heritage Listening at BlackContemporary
  • Behind the scenes (well, above the scenes actually) of Heritage Listening @ #BlackContemporary.
  • Objectifying Sound
  • Working w/ Infrastructure 
  • Solar Power. Sound recording. 
  • Secret Spring Break, Formal Danger
  • Sound Art & Graphic Design Adventures in S. Korea
  • Buoy Listen – Chuncheon S. Korea
  • Cassette Player/Recorder Panasonic M8455
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  • Modified NatureSound & Junction Dam Installation
  • It rains on all the microphones the same
  • Listening Walk – Mt Beauty, Victoria, Australia
  • The return hike
  • Australian Bird Calls @ 0432 347 156
  • Bogong – Final Early Morning Nature Sound Hike
  • Bogong – Installation Prep
  • The experience is the hike and the listening
  • Community Notice Board Intervention
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  • Post-interview – 3CR Community Radio, Melbourne
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  • From Memory: A Performative Exploration of Sonifying Solar Wind Data
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  • Temporary listening at the making of a Tibetan sand mandala
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  • NoiseScape [prototype]
  • Discovering my own totem sounds – fire
  • Grin City Soundscape Performance 2
  • Performance Excerpt – Live @ Relish in Grinnell, IA
  • Sometimes it just feels good to make some fu©king noise
  • Sounding at Relish – Grinnell, IA
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  • Listening on the Farm – high winds & loose roof panels
  • Nature Sound Workshop 2013 – Seattle, WA
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  • Audium: A theater of sound-sculpted space
  • Noise to keep us safe
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  • 503 01 – mr & mrs formalplay collaboration
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  • Warning – Safety Headphone Danger Zone
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  • Infrastructural Radiations 02013-002-0073
  • The Listening City – Reports from the Noise Camera
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  • Noise Box
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  • Carte Voliére Mécanique
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  • Mysterious Hums – Collective Listening
  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-03.0002 – Visée #02
  • Carte Voliére Mécanique
  • Listening to Mysterious Hums
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  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-02.0022 Sighting #01
  • Panel – Visualizing the Invisible: The Art of Sound
  • Carte Voliére Mécanique
  • Hum Listener
  • Rapport de la Volière Mécanique: 02012-02.0015 Sighting #09
  • Carte Volière Mécanique
  • Listening to LA on KTLA (the weirdo on the corner)
  • Visualizing Audio – Commotion – Noise Collage Test 018
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  • Asynchronous Collective Residue
  • Thinking about the Walkman® – Shared Listening Experiences
  • Thinking about Magnetic Tape – Musical Instruments
  • Simulacra-tecture
  • I’m not a Musician
  • Thinking about Mysterious Hums – The Importance of a Source
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  • Noise? Some Ramblings about Discovery & Inspiration
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