Texts

This article originally appeared in RealTime Edition 82, Dec/Jan 2007 and is reproduced here with the permission of the writer and RealTime http://www.realtimearts.net

A visit to the beach in darkest Austria!

A Nomadic Ear treatment

The Nomadic Ear.

Sonography, Cartography and the design of Sonic Narratives for Non-Linear Experience.

Preamble; getting immersed.

In discussing Immersive Environments we find ourselves at the mercy of a phalanx of aqueous meta-phors, saturated in an inescapable lexicon that engulfs our senses, saturating our frames in the fluid medium of sound.  So be it; let us be carried away on the flood to be inundated in the ocean of sound.  This text is concerned with concepts of spatiality, of location and the interactions of sounding bodies that articulate and activate the soundscape, how we as auditors experience the sonic domain and how we as authors compose and construct compelling immersive audioscapes.

This article originally appeared in RealTime Edition 81, Oct/Nov 2007 and is reproduced here with the permission of the writer and RealTime http://www.realtimearts.net

A Cultural Travelogue of the big shows in Europa 2007.

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It’s all around you ~ so read all about it! AudioNomadism or a description in plain English of how to do very complicated things with location sensitive spatial audio The download is a bit slow ~ but it’s worth the wait!

This article originally appeared in RealTime Edition 70, Dec/Jan 2005 and is reproduced here with the permission of the writer and RealTime http://www.realtimearts.net

Imagine starkness;
“A late evening in the future ~ Krapp’s den.
Front centre a small table, the two drawers of which open towards audience.  Sitting at the table, facing front, i.e. across from the drawers, a wearish old man: Krapp.
Rusty black narrow trousers too short for him. Rust black sleeveless waistcoat, four capacious pockets. Heavy silver watch and chain. Grimy white shirt open at neck, no collar. Surprising pair of dirty white boots, size ten at least, very narrow and pointed.  White face. Purple nose. Disordered grey hair. Unshaven.
Very near-sighted (but unspectacled). Hard of hearing. Cracked voice. Distinctive intonation. Laborious walk.
On the table a tape-recorder with microphone and a number of cardboard boxes containing reels of recorded tapes.
Table and immediately adjacent area in strong white light. Rest of stage in darkness……..”.

Listening in Melissa McMahon bugs Nigel Helyer.

Nigel Helyer is an English-born, Sydney-based sound artist, lecturer at Sydney College of the Arts, and co-founder of SoundCulture, a Pan-Pacfific organisation focusing on sound art. Helyer’s work is of an essentially composite, or in his words “pluridisciplinary”, character, in the sense that not only does any given piece incorporate a range of media, but many are part of a series of “events” (one or several?) including other pieces, other artists, other countries, radio broadcasts, internet links, CD’s, and CD-Roms.