March 2001

From a Nobel Laureates Seminar at Gustavus Adolphus College in Saint Peter Minnesota, 1997-- Philip Morrison to NASA and other Scientists: Q. Why have we not heard sound from any of your projects; microphones don't cost very much? A. We will look into that"

The "We Make It Happen" Planetary Society was founded in 1980 by Drs. Carl Sagan, Bruce Murray, and Louis Friedman, and, on November 21, 1998, from Associated Press, a return to Mars was announced:

Launched-- January 3rd - Was to have arrived-- December 3rd, 1999 http://www.marspolarlander.com/live/URL was deleted

 '2 ounce Mars Microphone'

2.3. "During a period when we are looking for natural Mars sounds, we may need to temporarily suspend operations to avoid having a spacecraft-generated sound collected. This can be done by powering-off the instrument shortly before the sound is to occur, including a SHUT DOWN command just before power-off. Then power-on just after the sound stops to continue collecting."

Private funds, D.W.Curtis and the UC Berkeley Space Sciences Lab

 

circuit board in pressurized chamber for testing

rubber gloved hand displays circuit board with Mars mic

Associated Press laser photos

  "Even if only a few minutes of Martian sounds are recorded from this first experiment, the public interest will be high and the opportunity for scientific exploration real," Carl Sagan wrote in 1996 to NASA

   Mars Polar Lander

Sound waves are diffracted around
interveningobjects.

"The Planetary Society sponsors novel and innovative projects that will 'seed' further exploration. We seek to leverage good ideas into missions of exploration..."

 

 

 

 

"You wish to see, listen; hearing is a step toward vision."* Saint Bernard of Clairvaux

Art in Technologies 3

Ylem art on the edge

ArtsWire

artnetweb INTELLIGENT AGENT

ARTsite

endeavor: I ask you via

 

Aspects of this 1997 endeavor were sponsored by the Chancellor's Faculty Small Grants Program, Tweed Museum of Art and the Center for Community and Regional Research

 

seminars/daily occurrences

Tweed Museum of Art, and where announced

Mac computer(s) will be available in the Tweed Museum of Art, Mezzanine Gallery space during the following days: OCT 14-21*, 24, 29- 30*; NOV 4*, 5, 7,8,9,11*,12-13*, 18*- 19, 20*; DEC 2*, 9*,12, 16*, 17, 19-22* and HOURS-- 9:00-4:00 Education Director, Alison Aune will assist with students from Duluth's School Districts. Amber M. Puchtel and Kaleb C. Lund * will be available to assist Tweed visitors on these days, between 2-4 PM and 10:15-12:15 AM Wednesday and Fridays

VirtualArtists Robocam , and telephone discussant(s) are scheduled

 

October 1997

14-- endeavor:, I ask you concepts, prospects, plans; (presenter(s) ), telephone discussant(s) and discussions.

Tweed Museum of Art, Mezzanine Gallery space, 5:30 PM, U.S. CST (Time Zone: GMT 6)

Consider perceptual awareness: spatial (your relationship in space); temporal (sound events happening in time); psychic (a personal sensitivity that is not related to anything organic or physical-senstive to non physical forces); sensual (all your senses are receptive to the sound experience) during a soundwalk (October 17); soundscape: ..."landscapes portrayed in sound..." and, with a recording perspective from Claude Schryer) to Claude Schryer

16-- endeavor:, I ask you continues; (presenter(s)) , telephone discussant(s) and discussions. Tweed Museum of Art, Mezzanine Gallery space, 5:30 PM, U.S. CST (Time Zone: GMT 6)to Milan Kovacovic to Abdoul Aziz Sall to Acoustic Ecology

Listening approaches to landscapes portrayed in sound: Listen for any simultaneous and interrelated sounds through a conscious effort on your part when we begin our walking experience; and then later, evaluate the recordings we will have accomplished. Respond to any focusing on your part as you walk through the Bagley Nature Center and UMD soundscape. What were the essential sounds heard as you moved in time? What about the overall recording session, as our group moves through changing sound contexts. When you also listen during the initial recording, will you be primarily listening for a literal meaning to each sound? Will your self awareness go beyond only the emotional response? Listening, to Yu Wakao

17-- The contextual exchange (ear-aided) soundwalk, when digitally edited via Audiomedia III & Sound Edit 16/2 , will be played back November 18 in Bohannon Hall 90, US 6 PM CDST (Time Zone: GMT 6)

21-- Soundscape interpretations (allow for load time) / Playback soundwalk excerpt / Acoustic Ecology / slides

Soundscapes ; World Forum For Acoustic Ecology : history, contexts, issues (among these, do environmental sound artists espouse ecological concerns for the soundscape?); present soundscape environments from several perspectives,URLs, homepages of participants' research, projects, and soundscape resources; telecommmunicative presenters:to Ros Bandt to Andres Bosshardto Jon Bewley and Simon Herbertto Peter Pannketo Andra McCartneyto Laura Clemons to William Louis Sørensento Nigel Helyerto Adrianne Wortzel to Bill Evansto Selena Cryderman , telephone discussants:Claude Schryer Milan Kovacovic Abdoul Aziz Sall (and discussions). References: "Silence In The Contemporary Soundscape" by Wreford Miller Soundscape to Awareness and Protection Topics in society and Culture:Environment and Nature (Forests, Trees and People Programme, Uppsala, Sweden) to be announced by EcoNews Africa Tweed Museum of Art, Mezzanine Gallery space, 5:30 PM, U.S. CDST (Time Zone: GMT 6)

24--sound imaging, from the natural world,seminar subject: sound as source, (presenter(s) ), telephone discussants: Bill Evans, Claude Schryer (and discussions). 1st half of "Sound Tracker" video by Gordon Hempton; slides, DATS, audio cassettes. Boh 90, quad system; 6 PM CDST (Time Zone: GMT 6) to Gordon Hempton toWilliam Louis Sørensen's island

28-- sound / video imaging projections

seminar subjects: audio to eeeeyaaah and video streaming to Andreas Troger; intro to sonification (the visual presentation of data) -see slides; go to sound to image;

t e l e communicative presenters: AndreasTroegerKenneth Fields William Louis Sørensen, Bill and Mary Buchen (v), Dan Senn (v), Walter Maioli cave slides/sounds/instruments (s),) and discussions. Reference: "Hearing vision, seeing sound," Jøran Rudi

Tweed Museum of Art, Mezzanine Gallery space, 6 PM, U.S. CDST (Time Zone: GMT 6)

November 1997

4-- seminar subjects: sound as source; soundscapes today

t e l e communicative presenters Ed Osborn Iain MottPaul Demarinis Bernhard LeitnerRichard Lerman Karel van der EijkKazue MizushimaDon Ritter William Louis SørensenRobin Minard ; telephone discussants: Abdoul Aziz Sall, Andres Bossard slides, Ros Bandt -Endangered Sounds: Acoustic Species No 1 Mildura Region, Ros Bandt, Yu Wakao) and discussions, slides, web page video projections.

Tweed Museum of Art, Mezzanine Gallery space, 6 PM, U.S. CDST (Time Zone: GMT 6)

11--seminar subject: sonic architecture/ hearing architecture; t e l e communicative presenters: (Nigel Helyer ) telephone discussants: Andres Bossard, Bill and Mary Buchen, ; and discussions, slides, video projection. Tweed Museum of Art, Mezzanine Gallery space,6 PM, U.S. CDST

18-- human-made sound,sound/video imaging, ear-aided soundwalk playback; ( t e l e communicative presenters) , telephone discussant(s) Andres Bosshard, Iain MottRos Bandt &Percy Grainger's Free Music and Free Music Machines (loadtimes); Modern technology recreates Percy Grainger's sound ; and discussions. DAT, audio cassette, VTR, computer projections with slides. 2nd half of "Sound Tracker" video by Gordon Hempton.

Boh90, quad system, U.S. 6 PM CDST (Time Zone: GMT 6) to BIODIVERSITY BULLETIN; glossary; bulletin contents

December 1997

2--workshop DIGITAL EDITING - Kaleb C. Lund

ANALOG TO DIGITAL EDITING of ear-aided soundwalk source materialvia Audiomedia III & Sound Edit 16/2 Tweed Museum of Art, Mezzanine Gallery space,6 PM to soundscape prelistening

9--computer (s) and URL lists are available in Tweed Museum of Art, Mezzanine Gallery space, 6 PM

16--

;seminar topics: environmental aspects today; some doers ( t e l e communicative presenter(s) William Louis Soerensen's soundpoem) , telephonic discusionable waves: 1, 2, 3, 4); and discussions. slides; sound imaging from the natural world; sonification (data representation through audio, do you see what I hear? using Cornell's Canary and IDL Research Systems, Inc software)), AUDITORIUM laboratoire, and d i s c u s s i o n s. Satellite weather image ABAH 345, U.S. 6 PM CDST (Time Zone: GMT 6)

21--evaluate this project -- What possible directions would you suggest this endeavor take as it evolves into a participatory U/Semester course titled Art in Technologies ?; use computer in Tweed Museum of Art for feedback , Tweed Museum of Art, Mezzanine Gallery space, 6 PM

 

Projects via (where in the world are you)

Peter Bates

http://ion.newport.ac.uk/convergence

 

Year Zero One & 'random excess memory,' Toronto

echos from the moon (Pauline Oliveros / Andres Bossard)

 

"o santa ac acusmatica" dieter kaufman

(katharina klement)

Manipulating a world!

Premiered at ISEA 97 in Chicago

Project duration was from 3 PM US CDT, Tuesday September 23 to 5 PM US CDT, Friday September 26th

 

Sonification / Soundscapes from ``The vOICe'' Seeing with your Ears ("icons to earcons") To improve perception and ease of learning for the blind is challenging: "For instance,dragging and dropping of icons can be accompanied by natural sonic metaphors like dragging and dropping sounds, but if the collection of different objects and actions becomes large, it becomes increasingly difficult to find or invent corresponding intuitive and informative sounds that still require little or no learning effort." Copyright © 1996, 1997 Peter B.L. Meijer

to lbvsresume

 

"...Interaction. We are all struggling to comprehend new technologies. Our discipline involves a constant interaction with the cutting edge. This is just a reminder: sometimes the music is forgotten. Keep your balance.

And remember you are not alone..."

Kenneth Fields Research/Teaching Asst. CREATE Center for Research in Electronic Art Technology

to sonification

 

Andra McCartney"For Patrick.Beneath the waves, I heard my breathing, heartbeat, pounding surf. The beautiful fish and coral were beyond my ears.This piece transforms theirspoken names: tomtate, angelfish, barracuda, fan, brain... to mimic their movements, forms, and colours.The recorded sounds and livevocalizations influence the movements of projected digital seascape imagery by Selena Cryderman."

"Sound Awards" http://www.greyworld.demon.co.uk/sound.htm

EMI - Experimental Musical Instruments ( articles taken from past issues)

Sonic Architecture: Sound Vessel-A performance/installation on the Ganges River in Varanasi, India for the Sound Sattra Festival in February 1996.

Sonic Architecture, 1997

ARS ELECTRONICA NETWORK 96-97
The Telegarden

ARS ELECTRONICA FESTIVAL 97-98

Radionight The long night of the art radio

Giardini Pensili, Isabella Bordoni, Roberto Paci Dalò/I A trip to the memory of inhabited spaces.

An installation and performance project that scrutinizes the interrelation strategies of individuals in network systems.

Audio Düker-Horst Zachmann/A The acoustic situation of the Donau-Düker is simulated with the aid of digital signal processors and set off against the real-world scenario.

 

 

PIRATE RDIO P I R A T E RaDIO

 

Fireflies -"... believe learning is achieved through exploration, discovery and reflection in digital worlds linked to online environments..."

Occurrences via , etc.

 

"A warm and seemingly timely introduction conveying an illusion of immediacy (That will make my objective of getting one hundred visitors by the next millennium all but impossible.)"

David Glenn Rinehart

Peter Bates

http://ion.newport.ac.uk/convergence/moonshot/ http://ion.newport.ac.uk/convergence/mutate/

http://ion.newport.ac.uk/convergence/fragments/

THE BANK OF SYMBIOSIS

"...Artists working in video, sculpture bookworks, web sites, painting, installation, performance and guerrilla pamphleteering explore the social and psychological dynamic of banking and the architectural presence of banks and bank interior design. True to the Symbiosis Collective's mandate, the actual bank space is itself a team player in the exhibit..."

the latest art occupation from the symbiosis collective

Events via URLs

News Flash from Tongo: Ed Osborn Last Call Groundswell Radios Appear Skyfill Fence Sitters Whisper Down Blindfield Sound Fan Spur Flatfoot Zaku Zaku Sunny Vista Attempting Ziggurats what becomes (imprint)

looping feedback-sound passaround the globe: sound poetry; Poesia Concreta,

Öyvind Fahlström

 

Duluth soundscapes

(actually listening to sounds is the only way to learn about their effectiveness and range of possibilities)

the sound of traffic lets you know where you are

October 17th contextual exchange (ear-aided) soundwalksThis walk requires a cassette recorder with built-in or detachable microphone (stereo or mono will be OK), headphones (earmuffs? which you will be wearing for the duration). 2, C60 cassette tapes (1/2 hour per side; one as a backup; and don't forget to do a battery check). The activated recorders will simultaneously receive the same whistle cues; and, for the playback on November 18, we will attempt to maintain this timing while playing the recordings from our initial cue point. You will also need to bring your cassette(s) and player on this date.

Our starting place will be the Bagley Nature Area, N.E. of Buffalo Street, near East University Circle. We will meet here at 6:30. After spreading out in the Nature area (in order to record a spatial context). With recorders still on, we will then move on through the S. Westerly portion of the UMD campus. You should maintain distances between 10 to 15 feet relative to the nearest recordist. Whistle cues: 2-start recorder; 1-this cue should be recorded on all tapes; 3-stop; 4- flip cassette (and repeat). Dress for warmth, and rain protection will probably be necessary. Unless you could put the recorder under your jacket, you should consider the possibility of rain, by having a cover for your recorder.

Duluth soundscapes, October 17;post-listening will be November 18 and final editing will be made during the December 2nd workshop/seminar.

pre-listening for you

we will be using the mike(s) in your cassette recorder; however if you are interested in the different mike types?go to info on microphones

 

"The next time you need an unusual sound effect, I hope you'll look beyond stock sources and consider a quest to gather your own. The world is full of sounds---go out and get 'em!" Rudy Trubitt

..."Think about landscapes. Forget that we're making a song. Think we're making the sound of a landscape..." It was liberating in that it allowed me to accept some quite unmusical things..." Brian Eno, Wired, p.206, May 95

click on pre-listening

some pre-listening challenges for you to think about and do prior to the Duluth soundwalk:Test your hearing

Sound and hearing NoiseEar opening tutorial

The School of Soundto top

"...It is often said that we live in an analog universe. When you think of how the wave pervades the universe; that the properties of waves, such as amplitude, phase, and frequency, are as important to the physicist as they are to the musician, then the creation of music becomes a different game. Look upon the computer as a wave machine!..." Kenneth Fields

 

Meditation and virtual walking (Pedestrian) by Annette Weintraub: "walking as meditation and the lure of everyday objects...faded brush lettering "Bail Bonds", strokes on the run from a trashy film, a destitute brown and orange plaid chair, Eisenhower boredom newly chic screaming neon traces a lasersharp path on the arabesque of a razor fence crazy quilt of posters on plywood paint a construction fence with words..." Move along, please.

to Listening approaches....

 

SOUNDWALK: A form of active participation in the soundscape.

Though the variations are many, the essential purpose of the soundwalk is to encourage the participant to listen discriminately, and moreover, to make critical judgements about the sounds heard and their contribution to the balance or imbalance of the sonic environment. In order to expand the listening experience, soundmaking may also become an important part of a soundwalk. Its purpose is to explore sounds that are related to the environment, and, on the other hand, to become aware of one's own sounds (voice, breathing, footsteps, etc.) in the environmental context. A soundwalk may be scored in the form of a map which the participant uses both to guide the route and draw attention to features of acoustic interest. The map may also act as a score, directing the participant's listening and soundmaking activities in a way that is not limited to a specific locale.

- Handbook of Acoustic Ecology, edited by Barry Truax, World Soundscape Project, Music of the Environment Series, No. 5, 1978 Barry Truax

From The last Soundscape Newsletter, No 12, December, 1995

to Duluth soundscapes

to October 14

to contextual exchange

to endeavor: I ask you

 

 

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