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Sound Scripts

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Full-Text Articles in Art and Design

Preface: Sound Scripts: A Word From Tura New Music, Tos Mahoney Jan 2005

Preface: Sound Scripts: A Word From Tura New Music, Tos Mahoney

Sound Scripts

The Inaugural Totally Huge New Music Festival Conference was a bold initiative by its partner presenters Tura New Music and the Faculty of Communications and Creative Industries, Edith Cowan University, Perth, including the Western Australian Academy of Performing Arts. In an arts milieu which is increasingly becoming “industrialised” and the dollar the bottom line criteria for success, it is reassuring to have the confirmation that there are those—in fact there is a strong cohort—who are dedicated to delving the depths of the meaning of their own and others’ practice.


A “Hidden Centre”: Crossing Cultural Boundaries And Ecstatic Transformation, Liza Lim Jan 2005

A “Hidden Centre”: Crossing Cultural Boundaries And Ecstatic Transformation, Liza Lim

Sound Scripts

The following is an edited version of Liza Lim's keynote lecture presented for the Inaugural Totally Huge New Music Festival Conference (Perth: 8 Oct. 2005). It examines cross-cultural aesthetics and ethical questions arising from non-Indigenous Australian composers interacting with Australian Indigenous cultures. The paper begins in a formal and framed way and then moves towards more personal and speculative comments.


How To Prepare A Piano, Annea Lockwood Jan 2005

How To Prepare A Piano, Annea Lockwood

Sound Scripts

My original Piano Transplants (1969-72) were about relishing the shock of displacement: pianos planted in an English garden, sinking in a Texas cattle pond, pianos beached and aflame; observing their slow transformation through natural processing the five year decay. My relationship with the piano did not end with the Piano Transplants, though. I will also discus more recent works stemming from my fascination with the rich array of sounds which can be drawn from every part of the instrument once the keyboard is dethroned.


Western Electric: A Survey Of Recent Western Australian Electronic Music, Lindsay Vickery Jan 2005

Western Electric: A Survey Of Recent Western Australian Electronic Music, Lindsay Vickery

Sound Scripts

This paper surveys developments in recent Western Australian electronic music through the work of a number of representative artists in a range of internationally recognised genres. The article follows specific cases of practitioners in the fields of Sound Art (Alan Lamb and Hannah Clemen), live and interactive electronics (Jonathan Mustard and Lindsay Vickery) and noise/lo-fi electronics (Cat Hope and Petro Vouris) and glitch/electronica (Dave Miller and Matt Rösner).


Invisible Symmetries: A Retrospective Of The Work Of Lindsay Vickery, Jonathan Mustard Jan 2005

Invisible Symmetries: A Retrospective Of The Work Of Lindsay Vickery, Jonathan Mustard

Sound Scripts

The following is a retrospective of the work of Western Australian born composer Lindsay Vickery. The paper examines the composer's diverse output in composed and improvised instrumental and electronic music and multimedia works. A nine digit string of numbers that the composer calls a "cypher", ties together a significant portion of Vickery's output for almost two decades of compositional activity, but the sense in which these works are about something else is palpable in each and every one. Iconic pieces where a serial-like method is an anathema and cypher based pieces all seem to point to a structure ...


Sound Art / Mobile Art, Cat Hope Jan 2005

Sound Art / Mobile Art, Cat Hope

Sound Scripts

This paper examines the role of sound installation and music composition practices in addressing the relationship between sound and telecommunications devices, in this case the mobile phone. The popularity of mobile phone artworks is rapidly increasing, with handsets readily available, artists excited about sponsorship opportunities, and the general push in electronic arts. This paper focuses primarily on work by Perth mobile phone Sound Art collective, Metaphonica, which explore many issues raised by this art form. "Phonebox" (2005) was a site specific sound installation where phones are called from a remote computer, presenting a synchronized composition featuring sounds created by the ...


Modernist And Postmodernist Arts Of Noise, Part 1: From The European Avant-Garde To Contemporary Australian Sound Art, David Bennett Jan 2005

Modernist And Postmodernist Arts Of Noise, Part 1: From The European Avant-Garde To Contemporary Australian Sound Art, David Bennett

Sound Scripts

The broad aim of the paper that follows is to test the claim of critics such as Miriam Fraser and Steve Connor that the modernist deconstruction of the music/noise dichotomy has entered a distinctively postmodern phase. The article below therefore traces the history and poetics of this dichotomy from the modernist avant-garde to contemporary Australian postmodernist Sound Art, moving from a discussion of the ideas of Russolo, Cage, Boulez and Schaeffer, to a close reading of Ros Bandt's "Stack" (2000- 01). These themes as expressed in contemporary Australian composition are then explored in Part Two.


Modernist And Postmodernist Arts Of Noise, Part 2: From The Clifton Hill Mob To Chamber Made Opera’S Phobia, Linda Kouvaras Jan 2005

Modernist And Postmodernist Arts Of Noise, Part 2: From The Clifton Hill Mob To Chamber Made Opera’S Phobia, Linda Kouvaras

Sound Scripts

This paper will continue to trace negotiations outlined in Part 1 of the music/noise dichotomy as expressed in modernist and postmodernist works.1 Drawing connections with the trajectory of "glitch" in popular music since the 1970s. The paper will examine a number of key ways in which the music/noise dichotomy has been addressed as a borderline dispute between, for example, the embodied and the disembodied, the scored and the unscored, the accidental and the intentional, sense and nonsense, culture and nature. Two key figures from the highly influential group of sound artists who came together at Melbourne's ...


Introduction: A New Historicism? Sound, Music And Ruined Pianos., Cat Hope, Jonathan Marshall Jan 2005

Introduction: A New Historicism? Sound, Music And Ruined Pianos., Cat Hope, Jonathan Marshall

Sound Scripts

One of the highlights of every New Music festival which we attend is the banter that goes on between artists and audiences about what we have experienced together. The Inaugural Totally Huge New Music Festival Conference was a way to formalize these discussions for the 7th Totally Huge New Music Festival of 2005, and it was a privilege to have been able to attend a conference about New Music in the midst of it actually happening. The Conference was opened by the Executive Dean of the Faculty of Communications and Creative Industries, Edith Cowan University, Professor Robyn Quin, and it ...


Radio Art : A Slovak Perspective, Michal Murin Jan 2005

Radio Art : A Slovak Perspective, Michal Murin

Sound Scripts

January 16, 2000, marked the history of Slovak New Media art and technologies with the first international internet radio art project. Entitled "LENGOW and HEyeRMEarS Meet Radio Artists", it was a live acoustic performance that utilized radio internet broadcast between ORF1 Kunstradio Vienna with its project Arts Birthday 1.000.037,1 Radio Free B92 Beograd, and Tilos Radim Budapest. The performance took place on 16 Jan 2000, from 11 p.m. to midnight in Nové Zámky, Slovakia (Klik Klub). An edited soundtrack of the event was captured on a CD titled "SOUND OFF 1999-2000". On the occasion of the ...


Elephants And Suffering In Dusty Corners, Susanna Ferrar Jan 2005

Elephants And Suffering In Dusty Corners, Susanna Ferrar

Sound Scripts

The following non-refereed paper has been compiled by the editors from the audio transcript and notes provided by Susanna Ferrar for her talk delivered to the Inaugural Totally Huge New Music Festival Conference (Perth: 9 Oct. 2005). The original program note to her presentation reads: "I keep talking about this project I'm doing, visiting places where the ashes of my grandparents' children ended up, who were all born and raised in Western Australia. As I proceed, adventures seem to be befalling me. Sometimes it seems more important to hang out the washing or change the cat litter. The level ...


The Bent Leather Band Ensemble : Children Of Grainger, Stuart Favilla, Joanne Cannon, Garry Greenwood Jan 2005

The Bent Leather Band Ensemble : Children Of Grainger, Stuart Favilla, Joanne Cannon, Garry Greenwood

Sound Scripts

This paper discusses technical issues confronting the contemporary electronic instrument builder and presents Bent Leather Band's aim to develop playable instruments.


Surface Noise, Philip Samartzis Jan 2005

Surface Noise, Philip Samartzis

Sound Scripts

This paper seeks to trace the genealogy of surface noise as a tool of musical expression by surveying a range of artistic practices based around the record and turntable that privilege detritus, abrasion, repetition and decay as key compositional devices. The paper begins by examining the acoustic properties of the oldest playable recording (Frank Lambert's talking clock) in order to outline the numerous characteristics and flaws inherent in early models of mechanical reproduction and storage that vigorously conspired to interfere with the listening experience. This is followed by an examination of the way recording technology was converted from a ...


Rice And Celery (Toglen), Domenico De Clario Jan 2005

Rice And Celery (Toglen), Domenico De Clario

Sound Scripts

Berenice is the name of the last of fifty five imaginary cities that Marco Polo describes to Kublai Khan. These descriptions and further dialogues between Marco and the Khan constitute the substance of Italo Calvino's "Invisible Cities". The just in Berenice constitute a secret society, recognizing each other through the pronunciation of certain words (especially commas, parenthesis and the space between things) and through their simple diet of broad beans, zucchini flowers, rice and soup. In recent projects I have been examining the idea that evidence of the existence of a single and independent fixed self cannot seem to ...


I.B.R. Variation 1, Miha Ciglar Jan 2005

I.B.R. Variation 1, Miha Ciglar

Sound Scripts

In this paper I would like to introduce my recent composition: "I.B.R. Variation 1" (a composition for computer, electrified guitar, mixing board and human body), which is derived from three different projects, - Illusions, Body Mix, Resistance -, fusing three different and already unusual interfaces for musical expression into a powerful new musical instrument. The piece is implemented by employing computers and common sound synthesis/processing techniques in combination with a rather primitive manipulation and misuse of low tech analogue equipment. The main idea was to assign unusual tasks to usual pieces of musical equipment, transforming a mixing board into ...