Podcast appearances and mentions of georgina born

Georgina Born, Professor of Music and Anthropology at Oxford University and Professorial Fellow of Mansfield College, joins Vijay Iyer for an exchange of ideas traversing the arts, the humanities, and the social and natural sciences. The two musician-scholars each give a brief mini-lecture, Iyer on ‘Musicality’ and Born on ‘Musical Experience’, followed by a dialogue considering the intersections of these two concepts.

La abundancia de publicaciones relacionadas con el arte sonoro en los últimos tiempos -quizá una forma de compensar la ausencia de ellas durante demasiados años del pasado- nos anima a presentar de nuevo un monográfico de Ars Sonora dedicado a libros de reciente aparición. Comenzamos comentando dos exposiciones del MACBA (Museo de Arte Contemporáneo de Barcelona) relacionadas con la creación sonora experimental, cuyos respectivos catálogos representan importantes hitos bibliográficos. En primer lugar, la muestra titulada "Christian Marclay. Composiciones" -que se celebró entre abril y septiembre de 2019, y que comisarió Tanya Barson- examinó la obra del autor suizo-estadounidense "a través de su dedicación a la composición, entendida como un ordenamiento de sonidos en el tiempo y el espacio, pero también como composición visual". Por otra parte, la exposición "Takis", dedicada al escultor griego Panagiotis Vassilakis (1925-2019), comisariada por Guy Brett, Michael Wellen y Teresa Grandas, puede visitarse desde el 22 de noviembre de 2019 hasta el 19 de abril de 2020, y también ha propiciado un recomendable catálogo en el que se describen trabajos relacionados con el magnetismo, la luz y la electricidad en el dominio visual, pero también -y muy destacadamente- en el sonoro. A continuación nos centramos en varias publicaciones recientes de la editorial de la Universidad de Duke, cada vez más activa en el ámbito de los estudios sonoros. "Hush. Media and Sonic Self-Control", de Mack Hagood, destaca entre esas novedades procedentes de Duke University Press por su original aproximación a las tecnologías destinadas a crear espacios "protegidos" a través del sonido. No tan interesante resulta "Remapping Sound Studies", editado por Gavin Steingo y Jim Sykes, con aportaciones de Jessica A. Schwartz, Louise Meintjes, Tripta Chandola, Michele Friedner, Jairo Moreno, Ana María Ochoa Gautier, Michael Birenbaum Quintero, Jeff Roy, Shayna Silverstein, Ben Tausig y Hervé Tchumkam; si bien resulta indiscutible el valor de sus exploraciones de músicas procedentes de África, el sudeste asiático, latinoamérica o la Micronesia -entre otras áreas del mundo-, en realidad el mero hecho de que sean investigadores instalados en algunos de los más poderosos centros universitarios del planeta -a menudo radicados en los Estados Unidos- no solamente limita el alcance y el interés de esos estudios, sino que incurre en contradicciones relativas al propósito y la forma de empoderar o dar voz a colectividades tradicionalmente silenciadas o subalternadas. Por su parte, "Sound Objects", editado por James A. Steintrager y Rey Chow -que reúne contribuciones de Jairo Moreno, Georgina Born, Michael Bull, Michel Chion, John Dack, Veit Erlmann, Brian Kane, John Mowitt, Pooja Rangan, Gavin Steingo, Jonathan Sterne y David Toop- aporta nuevas y sugerentes perspectivas acerca de la noción de "objeto sonoro" inicialmente planteada por Pierre Schaeffer. Concluimos nuestro repaso de las últimas ediciones llevadas a cabo por Duke University Press con "Digital Sound Studies", editado por Mary Caton Lingold, Darren Mueller y Whitney Trettien, una aproximación al cruce entre dos campos académicamente emergentes: las humanidades digitales y los estudios sonoros. Nos detenemos, también, en "Metaphonics. The Field Works Listener's Guide", publicado por la editorial independiente Jap Sam Books, que propone un curioso recorrido a través de trabajos recientes vinculados a la fonografía y al paisajismo sonoro. Y no podía faltar, como en casi todos nuestros programas dedicados a lo libresco, la alusión a la deslumbrante labor editorial de Bloomsbury, en este caso a través de un pequeño volumen titulado "Podcasting. The Audio Media Revolution", firmado por Martin Spinelli y Lance Dann. Concluimos el programa con una breve recensión de "El giro notacional", de José Iges y Manuel Olveira, un texto dedicado a la exposición homónima que ambos comisariaron en 2019 para el MUSAC de León (y a la que nosotros dedicamos una edición monográfica de Ars Sonora hace ahora justamente un año). Tanto en aquella muestra como en este libro se contemplan las estrategias relacionadas con sistemas notacionales aplicados desde los años sesenta del pasado siglo por artistas de diversas disciplinas. El libro, que supera en su análisis los contornos de la citada exposición, ha sido editado por Fernando Castro Flórez, director de la Colección Infraleves del CENDEAC (Murcia). Las audiciones que complementan nuestros comentarios incluyen obras de Christian Marclay -la grabación de "Zoom Zoom", una de las performances que desarrolló en el MACBA, en este caso junto a la vocalista Shelley Hirsch-, Michel Chion -"Train De Pianos, Op. 1"-, y diversas muestras de los trabajos presentados en el libro "Metaphonics. The Field Works Listener's Guide". Escuchar audio

This episode brings recommendations from the 2019 ISMIR conference at TUDelft in the Netherlands. A number of contributors, old and new, highlighted papers that had caught their attention.  Note: At ISMIR, all accepted papers were presented via a short 4 minute talk and a poster. This arrangement made it possible to keep all presentations in a single track. All papers and permited talks are posted on the ISMIR site. Time Stamps [0:01:51] Matan's rec[0:07:27] Rachel's rec[0:10:51] Andrew's rec[0:15:20] Ashley and Felicia's rec[0:19:59] Néstor's rec[0:26:55] Tejaswinee's rec[0:31:13] Brian's rec[0:36:06] Finn's recs Show notes Matan Gover recommends [A13] Conditioned-U-Net: Introducing a Control Mechanism in the U-Net for Multiple Source Separations by Gabriel Meseguer Brocal and Geoffroy Peeters (paper, presentation)Andrew Demetriou recommends [F10] Tunes Together: Perception and Experience of Collaborative Playlists by So Yeon Park; Audrey Laplante; Jin Ha Lee; Blair Kaneshiro (paper, presentation)Tejaswinee Kelkar recommends [B03] Estimating Unobserved Audio Features for Target-Based Orchestration by Jon Gillick; Carmine-Emanuele Cella; David Bamman (paper, presentation)Ashley Burgoyne and Felicia Villalobos recommend [E13] SAMBASET: A Dataset of Historical Samba de Enredo Recordings for Computational Music Analysis by Lucas Maia; Magdalena Fuentes; Luiz Biscainho; Martín Rocamora; Slim Essid (paper, presentation)Néstor Nápoles López recommends the anniversary paper [E-00] 20 Years of Automatic Chord Recognition from Audio by Johan Pauwels; Ken O'Hanlon; Emilia Gomez; Mark B. Sandler (paper, presentation)Rachel Bittner recommends [A06] Cover Detection with Dominant Melody Embeddings by Guillaume Doras; Geoffroy Peeters (paper, presentation)Brian McFee recommends [E-06] FMP Notebooks: Educational Material for Teaching and Learning Fundamentals of Music Processing by Meinard Müller; Frank Zalkow (paper, presentation, webpage)And Finn's rec:[D-12] AIST Dance Video Database: Multi-Genre, Multi-Dancer, and Multi-Camera Database for Dance Information Processing  By Shuhei Tsuchida; Satoru Fukayama; Masahiro Hamasaki; Masataka Goto. (Paper, presentation)Keynotes: Henkjan Honing's What makes us musical animals and Georgina Born's MIR redux: Knowledge and realworld challenges, and new interdisciplinary futures[F-14] The ISMIR Explorer - A Visual Interface for Exploring 20 Years of ISMIR Publications by Thomas Low; Christian Hentschel; Sayantan Polley; Anustup Das; Harald Sack; Andreas Nurnberger; Sebastian Stober (paper, presentation, website) Credits The So Strangely Podcast is produced by Finn Upham, 2019. Algorithmic music samples from the blog post Music Transformer: Generating Music with Long-Term Structure, and included under the principles of fair dealing. The closing music includes a sample of Diana Deutsch's Speech-Song Illusion sound demo 1.

What is the relationship between forms of social life and forms of art? In Social Aesthetics, Professor Georgina Born of Oxford University offers an analysis of the social in music and art using what she calls ‘planes of analysis.’ This is an empirical, ethnographic method of gathering data through observation, a way of finding out, rather than making assumptions about how the social is involved in any particular musical or artistic event. The social is not the only component in what Born calls musical assemblages, but in my conversation with her in this episode, tools for describing this aspect of it are illuminatingly explained. Sound It Out airs on CFRU in Guelph on Tuesdays at 5pm. New episodes usually appear on a fortnightly basis. Sound It Out is produced and hosted by Rachel Elliott in conjunction with the International Institute for Critical Studies in Improvisation. This episode aired on December 18, 2018.

What is the relationship between forms of social life and forms of art? In Social Aesthetics, Professor Georgina Born of Oxford University offers an analysis of the social in music and art using what she calls ‘planes of analysis.’ This is an empirical, ethnographic method of gathering data through observation, a way of finding out, rather than … Continue reading Episode #82: Epistemology Series – The Four Planes of Social Analysis with Georgina Born →

a cura di Alessandro Achilli. Musiche dei Soft Machine, Frank Zappa, National Health (prima parte)

a cura di Alessandro Achilli. Musiche dei Soft Machine, Frank Zappa, National Health (prima parte)

The Social Aesthetics Conference that took place at McGill University in 2010, put on by ICASP, the predecessor for the International Institute for Critical Studies in Improvisation, was a consideration of how social, cultural, economic and political forces condition the aesthetic practices and values of improvised performance. This is an archived discussion between researchers Georgina Born, Elizabeth Jackson, Eric Lewis, Ingrid Monson, and Jason Stanyek about how collaborative social practices at the same time they are artistic practices, and vice versa. This episode originally aired in December 2015 on CFRU 93.3FM. Sound It Out is hosted by Rachel Elliott who is a PhD candidate in Philosophy at the University of Guelph in Ontario, Canada. Sound It Out is produced in conjunction with the International Institute for Critical Studies in Improvisation. The show explores whether and how improvised music can serve as a basis for discursive inclusivity, the creation of new forms of shared meaning, and more democratic means of connecting with each other. Sound It Out airs on Guelph’s campus and community radio station, CFRU 93.3FM, on alternating Tuesdays at 5pm.

In the first episode of Talking Musicology we discuss two articles: Georgina Born and Kyle Devine on music, gender and class in UK higher education, and Robert Hasegawa on the harmonic techniques of Georg Friedrich Haas.

Professor Pedro Rebelo (Queen's University, Belfast) Abstract This paper addresses the relationship between local and distributed strategies with reference to two recent participatory sound art projects in Belfast and Rio de Janeiro The local concern for site and place is discussed and juxtaposed with distributed practices, which, by definition question and extend the very notion of site or locale. I refer to examples from ethnomusicology, anthropology and education in which participative horizontal research methodologies lead to a dynamic articulation of local conditions and allow for a reflection on how technology impacts on social interaction and relationships with place. The works of Samuel Araújo, Georgina Born and Brazilian pedagogue Paulo Freire provide a framework of reference in this context