Podcasts about sonic arts

Send us a textWhat do sound and knitting have in common? You'd be forgiven for thinking not much, but both have been constant companions across the life and career of sound artist and knitter, Felicity Ford also know as Felix. Join sobel as she visits Felix in her St Leonard's home to talk about her journey into field recording, soundscape composition and using this skillset to document the process of wool production. Felix also shares her perspective on why celebrating domestic sounds is a feminist pursuit, her maverick approach to disruption traditional notions of sonic art and how all of us can find a little magic in the everyday. In fact, isn't that what art is all about? Felix would argue. Felix also runs her own online knitting school called Kitsonik, so it only felt right for Isobel to be taught some knitting while we were there. LINKSListen to Felicity Ford's sound works >>Find out more about Knitsonik >>Read Felicity Ford's PhD Thesis on the Domestic Soundscape >>If you loved listening to this week's episode of the podcast, leave a review wherever you're listening now and let me know

Disclaimer: A ghost came through and turned Olivers Mic off. We did our best to make it work. This week the boys sit down with Olivers old school buddy Martim Galvao and talk about: ICIT, 12years, 2014, Brown, Sonic Arts, Kevin, AD 2 Cart, Accordian, Puff Daddy, and much much more.

Host: Coach Guest: James Paul 6/19/23

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Michael Gurevich, lecturer at the Sonic Arts Research Centre at the Queen's University, Belfast School of Music and Sonic Arts, serves as guest editor of the Winter 2010 issue of Computer Music Journal. In this podcast, Michael discusses the fields of Computer Music and Human Computer Interaction (HCI). He describes how these fields intersect and what they can learn from each other, touching on how the field of Computer Music has grown and how this affects performance and composition of electronic music. This conversation was recorded on December 14, 2010. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Michael Gurevich, lecturer at the Sonic Arts Research Centre at the Queen's University, Belfast School of Music and Sonic Arts, serves as guest editor of the Winter 2010 issue of Computer Music Journal. In this podcast, Michael discusses the fields of Computer Music and Human Computer Interaction (HCI). He describes how these fields intersect and what they can learn from each other, touching on how the field of Computer Music has grown and how this affects performance and composition of electronic music. This conversation was recorded on December 14, 2010. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Michael Gurevich, lecturer at the Sonic Arts Research Centre at the Queen's University, Belfast School of Music and Sonic Arts, serves as guest editor of the Winter 2010 issue of Computer Music Journal. In this podcast, Michael discusses the fields of Computer Music and Human Computer Interaction (HCI). He describes how these fields intersect and what they can learn from each other, touching on how the field of Computer Music has grown and how this affects performance and composition of electronic music. This conversation was recorded on December 14, 2010. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Michael Gurevich, lecturer at the Sonic Arts Research Centre at the Queen's University, Belfast School of Music and Sonic Arts, serves as guest editor of the Winter 2010 issue of Computer Music Journal. In this podcast, Michael discusses the fields of Computer Music and Human Computer Interaction (HCI). He describes how these fields intersect and what they can learn from each other, touching on how the field of Computer Music has grown and how this affects performance and composition of electronic music. This conversation was recorded on December 14, 2010. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Michael Gurevich, lecturer at the Sonic Arts Research Centre at the Queen's University, Belfast School of Music and Sonic Arts, serves as guest editor of the Winter 2010 issue of Computer Music Journal. In this podcast, Michael discusses the fields of Computer Music and Human Computer Interaction (HCI). He describes how these fields intersect and what they can learn from each other, touching on how the field of Computer Music has grown and how this affects performance and composition of electronic music. This conversation was recorded on December 14, 2010. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

There have never been so many initiatives fostering marginalised talent in electronic music and sound, and one such platform is the UK's Oram Awards. Established in 2017, the Oram Awards is a partnership between The Radiophonic Institute, PRS Foundation & The Daphne Oram Trust, and elevates the work and voices of women, Trans and Non-Binary music creators working in sound innovation, music and related technologies.Inside this episode, Isobel gets the chance to chat with 2022 winners Kelly Jayne Jones and Amble Skuse to discuss their artistic practice and what winning an Oram Award means to them as women in music. Isobel is also joined by judge and Senior Lecturer of Sonic Arts at Goldsmiths University, Iris Garrelfs, who shares why Daphne Oram is such an inspirational figure and how you can apply for the 2023 awards yourself. Find out more about the Oram Awards >>Follow the Oram Awards on Instagram >>Links to the websites of this week's guests:Amble Skuse >>Kelly Jayne Jones >>Iris Garrelfs >>Check out Daphne Oram's An Individual Note >>Subscribe to the podcast wherever you're listening and don't miss an episode of Girls Twiddling Knobs ⚡️

Today I am sharing a conversation with the utterly incredible Isobel Anderson.  Isobel runs the Female DIY Musician, is the host of Girls Twiddling Knobs Podcast, creator of Home Recording Academy and is also a musician, a singer, songwriter, an experimental artist and has a PhD in Sonic Arts.It's time to rebrand success and what it ACTUALLY means.Isobel said:"I've never been an artist that's had a record label or lots of funding but I have had millions and millions of Spotify streams.  Some people would see that as success, others would not.   So I thought f**k it!  Why not just make work that I really care about?  When I am led by fear it's never got me where I want to be and has never paid off."Take Isobel's words to heart.  If you are currently looking into the year ahead, not sure what or where to go with your music then this episode is exactly for you. Please let me know what you think!!JUMP INTO ISOBEL'S WORLDhttps://www.femalediymusician.comListen To Isobel's MusicListen To Girls Twiddling Knobs Podcast

Today I am sharing a conversation with the utterly incredible Isobel Anderson.  Isobel runs the Female DIY Musician, is the host of Girls Twiddling Knobs Podcast, creator of Home Recording Academy and is also a musician, a singer, songwriter, an experimental artist and has a PhD in Sonic Arts.It's time to rebrand success and what it ACTUALLY means.Isobel said: "I've never been an artist that's had a record label or lots of funding but I have had millions and millions of Spotify streams.  Some people would see that as success, others would not.   So I thought f**k it!  Why not just make work that I really care about?  When I am led by fear it's never got me where I want to be and has never paid off."Take Isobel's words to heart.  If you are currently looking into the year ahead, not sure what or where to go with your music then this episode is exactly for you. Please let me know what you think!!JUMP INTO ISOBEL'S WORLDhttps://www.femalediymusician.comHome Recording AcademyListen To Isobel's MusicListen To Girls Twiddling Knobs PodcastSongwriters, I do not believe in finishing the year strong

Rimini – 23 ottobre 2022 – Ex-Cinema Astoria L'ELETTRONICA È DONNA // Presentazione del libro all'Ex-Cinema Astoria con la co-curatrice Claudia Attimonelli Nell'ambito dei laboratori "CERCASI ANNA", con cui stiamo andando alla ricerca di connessioni tra la dimensione sonora e l'identità genere, vi invitiamo a partecipare alla presentazione del libro "L'elettronica è donna: media, corpi, pratiche transfemministe e queer" (Castelvecchi Editore, 2022) con la co-curatrice Claudia Attimonelli, che si è svolto domenica 23 ottobre 2022 presso l'Ex Cinema Astoria di Rimini. //IL LIBRO// Un volume collettivo per esplorare la galassia dei linguaggi elettronici sonori e visuali in ottica transfemminista, queer e postumana: “L'elettronica è donna” propone una ricostruzione corale e trasversale dell'importanza dei contributi femminili dimenticati dalla storiografia in quasi due secoli di sperimentazioni tecnologiche, artistiche e musicali. Un viaggio reale e virtuale che spazia dall'invenzione dei primi algoritmi alla pratica del djing, dalla live performance alla videoarte, dalle installazioni multimediali alla sonic art, dall'intelligenza artificiale alla musica techno, elettroacustica e sperimentale segnati dal fattore femminile e LGBTQI+. Tutti i contributi, fedeli allo spirito transdisciplinare e intersezionale, provengono da autrici che riflettono, praticano, studiano e operano al confine dei linguaggi elettronici contemporanei. Il libro è curato da Claudia Attimonelli e Caterina Tomeo. //LA CO-CURATRICE// Claudia Attimonelli è ricercatrice in Media Studies e Visual Culture, insegna Studi visuali e cultura digitale e Media, cultura visuale e sound studies all'Università degli Studi di Bari Aldo Moro; è docente di Studi visuali e multimediali al Master in Giornalismo Ordine dei Giornalisti all'Università di Bari. Coordina l'Archivio di Genere dell'università Aldo Moro di Bari. È responsabile del progetto MEM – Mediateca Emeroteca Musicale e responsabile scientifica dei Dialoghi sul Big – Bari International Gender Festival; è visiting professor presso l'Università Uerj (Rio de Janeiro) e l'Université Paul-Valéry (Montpellier). Le sue ricerche sulla techno, l'Afrofuturismo, gender and Technology sono considerate seminali nel panorama italiano e internazionale; si interessa di questioni di genere, stili urbani e culture musicali. Tra le sue pubblicazioni recenti: L'elettronica è donna. Media, corpi e pratiche transfemminste e queer (con C. Tomeo, Castelvecchi 2022); L'estetica del malessere. Il nero, il teschio, il punk (DeriveApprodi 2020); Un oscuro riflettere. Black Mirror e l'aurora digitale (con V. Susca Mimesi 2020, tradotto in 3 lingue); Techno. Ritmi afrofuturisti (Meltemi 2008-2018); Pornocultura (con V. Susca Mimesis 2016, tradotto in 4 lingue). L'incontro è in collaborazione con la libreria indipendente Not A Bookshop ed è gratuito e aperto a tutta la cittadinanza. Modera Emiliano Battistini. Foto di Nicolò Muscari – https://www.instagram.com/mrmuschio/

"Women making music with technology"Girls Twiddling Knobs is a "feminist tech podcast" filling the gap between conversations about music gear and the human experience of creating music with that gear.Produced by Isobel Anderson, a UK-based musician, recording artist and producer, the podcast developed as an extension to music tech resources that Anderson was sharing with other women. It's also part of Anderson's Female DIY Musician platform, an online educational community for women learning to record and produce their own music."I definitely am seeing that the podcast is having a really, really positive impact," said Anderson. "I hope in its entirely, when people listen to the podcast, it builds up to a combination of having some techniques up their sleeve, but also not feeling so alone. Also, just better understanding what might be contributing to, if they've had negative experiences in the industry. But, also helping them to feel really excited about the creative possibilities of music technology."In this episode of MetaPod, we discuss Isobel Anderson's experience developing the Female DIY Musician and Home Recording Academy as educational platforms that foster gender inclusion and diversity in music. Isobel also offers insights on the current position of women in music technology and the broader music industry. Furthermore, Isobel talks about the work conditions that act as barriers to entry for women interested in music and technology. Most importantly, she suggests key changes that could remove barriers for women and minorities to enter and succeed in music.Show notesIsobel Anderson dot comSallyAbout Isobel AndersonBetween her 20+ years making, performing and producing music, a PhD in Sonic Arts and a passion for creating supportive music tech education spaces for women, Isobel's career embraces a sense of independence and experimentation. Her four solo albums have amassed over 25 million Spotify streams, her sound works have been performed on international stages and she has published in journals, such as Organised Sound and The Journal of Sonic Studies. Threaded throughout her work is a fascination with how we make sense of ourselves, the world around us and the process of creative exploration itself.  Isobel is proud to produce and host the critically acclaimed feminist music tech podcast, Girls Twiddling Knobs and in 2018 founded The Female DIY Musician, an online resource helping women learn to record and produce their music.

In this final episode of Season 4 two graduate students, Hannah Hunter and Bailey Hilgren, chat with Claudia about some of the core themes and tensions to emerge from the season. This includes a focus on sound methodologies, such as issues with how we collect animal sounds to how (or even indeed whether) there is something special about sound in trying to understand the lives of animals.    Date Recorded: 2 May 2022 Bailey Hilgren is a musicologist and sound studies scholar about to begin a PhD in ethnomusicology at New York University. Her most recent research project traced environmentalists' construction of a wilderness area in northern Minnesota as a primarily silent place, an idea and legal practice that has undermined non-human animal agency and limited Ojibwe sovereignty in related but distinct ways. She holds master's degrees in Environmental Studies from the University of Oregon and Historical Musicology from Florida State University, and she completed undergraduate studies in biology and music performance from Gustavus Adolphus College.  Hannah Hunter is a PhD Candidate at the Sonic Arts of Place Laboratory at Queen's University. Her research explores the intersections of animals, sounds, and extinction through the case study of the Ivory-billed Woodpecker. Hannah is particularly interested in how we can build relationships with distant and lost beings through sound, and how sound may be a potent force for representing and challenging the sixth mass extinction. Connect with Hannah via email (hannah.hunter@queensu.ca) or on Twitter (@HannahfHunter)  Featured: Animal Musicalities: Birds, Beasts, and Evolutionary Listening by Rachel Mundy; Hungry Listening: Resonant Theory for Indigenous Sound Studies by Dylan Robinson; The Audible Past: Cultural Origins of Sound Reproduction by Jonathan Sterne; Introduction to Special Issue Ethics in Multispecies Research by Lauren van Patter and Heather Rosenfeld; Audible Infrastructures: Music, Sound, Media edited by Kyle Devine and Alexandrine Boudreault-Fournier; Hope in the Dark by Rebecca Solnit. Thank you to A.P.P.L.E for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John for the logo, and Hannah Hunter for the Animal Highlight. Support the show via Patreon.  

Senem Pirler is a New York based, Turkish born, sound artist and academic whose practice is all about connection; Whether it's humans, plants or seemingly inanimate objects, Senem has a knack of finding ways to question profound ideas around identity, belonging and being present in the world. Inside this week's episode, Isobel gets the chance to hear how Senem started training as a classical pianist, then worked as a sound engineer and, eventually, studied for a PhD in electronic arts at Rensselaer under none other than the late Pauline Oliveros. In 2018, Senem was the recipient of The Malcolm S. Morse Graduate Research Enhancement Award to support her in honouring the work of her mentor Oliveros and Deep Listening. Girls Twiddling Knobs is hosted and produced by Isobel Anderson with production support from Jade Bailey and Francesca O'Connor and is a Female DIY Musician Production.EPISODE HIGHLIGHTS{0:00} Intro{5:06} Let's meet Senem Pirler{9:44} How she got started in music technology and sound design{13:38} Working with Pauline Oliveros{25:49} Entanglement and Queer Theory {30:40} Collaborations: ‘Unearthly Vibrations' and ‘Moved in Light' {44:46} Senem's software recommendations{49:13} Episode SummaryOther Notes:Correction: Senem connected the Neve Console.Instead of performing 'The Witness', Claire Chase, Susie Ibarra and Senem performed Pauline's other score titled '13 Changes'. Watch the video documentation here >> Girls Twiddling Knobs listeners get 10% off iZotope's award-winning audio plugins and a 30 day free trial of their incredible Music Production Suite 4.1. Just use the code GIRLSPOD10 here >>Download my 10 FREE Tools to Start Recording Your Music guide >>Find out more about Senem and her work >>Find out more about the Pauline Oliveros documentary >>Listen to the episode hereListen on SpotifyJoin the Girls Twiddling Knobs Podcast Community here >>Which vocal mic is your perfect match? TAKE THE QUIZ >> Love Girls Twiddling Knobs? Leave a review wherever you're listening and let me know!

Claudia talks to conservationist and ecologist Gloriana Chaverri about the numerous and diverse ways in which bats communicate. This bonus episode deviates from the usual focus on concepts to a more sustained focus on this large order of animals  Date Recorded: 29 March 2022 Gloriana Chaverri is an Associate Professor at the Golfito campus of the University of Costa Rica. She is also a Research Associate at the Smithsonian Tropical Research Institute. Her research with bats first focused on the topic of mating systems and social organization, and her past and current projects have a broad focus on the ecology, behavior and conservation of bats. However, Gloriana's main interests is currently on bat vocal communication, a topic that she has been developing since 2009. Connect with Gloriana on Twitter (@morceglo) and learn more about her work on her website (www.batcr.com).  Claudia (Towne) Hirtenfelder is the founder and host of The Animal Turn. She is a PhD Candidate in Geography and Planning at Queen's University and is currently undertaking her own research project looking at the geographical and historical relationships between animals (specifically cows) and cities. She was recently awarded the AASA Award for Popular Communication for her work on the podcast. Contact Claudia via email (info@theanimalturnpodcast.com) or follow her on Twitter (@ClaudiaFTowne). Featured: Social communication in bats by Gloriana Chaverri, Leonardo Ancillotto, and Danilo Russo; Social calls used by a leaf-roosting bat to signal location by Gloriana Chaverri, Erin H. Gillam and Maarten J. Vonhof; A short history of nearly everything by Bill Bryson; bat sound recordings made by Richard Ranft from the British Library's Wildlife & Environmental Sounds. The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight. 

Claudia talks to Denise Herzing about her decades of fieldwork with Atlantic Spotted Dolphins in the Bahamas. They touch on some of what she has learnt about dolphins in the wild and the ways in which they communicate using sound. They also talk about the significance and challenges of doing extended field studies.  Date Recorded: 23 March 2022 Denise Herzing is the Founder and Research Director of the Wild Dolphin Project. Denise has spent decades working with Atlantic spotted dolphins in Bahamian waters. She has a B.S. in Marine Zoology, an M.A. in Behavioral Biology and a Ph.D. in Behavioral Biology/Environmental Studies. Denise is an Affiliate Assistant Professor in Biological Sciences at Florida Atlantic University in Boca Raton, Florida. In addition to becoming a Guggenheim Fellow in 2008, Denise is a fellow with the Explorers Club, a scientific advisor for the Lifeboat Foundation and the American Cetacean Society, and on the board of Schoolyard Films. Over and above her numerous academic articles, Denise is the author of Dolphin Diaries: My 25 years with Spotted Dolphins in the Bahamas and The Wild Dolphin Project as well as the co-editor of Dolphin Communication and Cognition. You can learn more about Denise and her on the Wild Dolphin Project Website.  Claudia (Towne) Hirtenfelder is the founder and host of The Animal Turn. She is a PhD Candidate in Geography and Planning at Queen's University and is currently undertaking her own research project looking at the geographical and historical relationships between animals (specifically cows) and cities. She was recently awarded the AASA Award for Popular Communication for her work on the podcast. Contact Claudia via email (info@theanimalturnpodcast.com) or follow her on Twitter (@ClaudiaFTowne). Featured: The Wild Dolphin Project by Denise Herzing; The Undersea World of Jacques Cousteau; The Dolphin Defender by Hardy Jones; all sound files were supplied by Denise Herzing;  The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight. 

In this episode Claudia chats to Rachel Mundy about the concept “Sonic Specimen” they talk about the historical categorisation of sound illustrates some of the ways in which humans and animals have been hierarchically thought of. They touch on how this has shaped and is shaped by the institutional production of knowledge also hinting at the usefulness of related concepts like “animanities” and “translation”.  Date Recorded: 10 March 2022 Rachel Mundy is an Associate Professor of Music in the Arts, Culture and Media Program at Rutgers University. She is primarily concerned with the way animal musicality has defined modern notions of life and rights in a post-climate change world. For Rachel, this is an interdisciplinary question that brings musical science into conversation with Western beliefs about race, gender, nation, and other forms of difference. In a series of nationally-recognized books, articles, and public lectures, Rachel has explored these questions through cases that connect human rights to animal voices.  Find out more about Rachel on her university website or email her questions directly (rmm290@newark.rutgers.edu).  Claudia (Towne) Hirtenfelder is the founder and host of The Animal Turn. She is a PhD Candidate in Geography and Planning at Queen's University and is currently undertaking her own research project looking at the geographical and historical relationships between animals (specifically cows) and cities. She was recently awarded the AASA Award for Popular Communication for her work on the podcast. Contact Claudia via email (info@theanimalturnpodcast.com) or follow her on Twitter (@ClaudiaFTowne). Featured: Animal Musicalities: Birds, Beasts, and Evolutionary Listening by Rachel Mundy; Primate Visions: Gender, Race, and Nature in the World of Modern Science by Donna Haraway; Songs of the Humpback Whale by Roger Payne and the whales; On being human as praxis by Sylvia Wynter; The Life of Reason by George Santayana.The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight. 

It's a pleasure to bring back Gahlord Dewald as a guest today.  He was featured on an in-person episode at the 2017 International Society of Bassists Convention and also on a remote chat in 2020 about his album Coherent Light Enclosed Without, which was recorded at The Tank Center for Sonic Arts.   Gahlord recently moved from Vermont to Hawaii.  We talk about what it was like relocating, finding artistic inspiration in this new place, and much more on today's episode.   Enjoy, and be sure to connect with Gahlord on his website and bandcamp, and check out his album Ashuelot, which we featured in the intro.   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   Dorico - Dorico 4 is here to supercharge your workflow. Steinberg's latest major version of music notation and composition software for macOS & Windows is packed with powerful new features that are designed to accelerate your workflow and make it quicker and easier than ever to go from inspiration to finished product. If you're a composer, arranger or orchestrator, you'll be delighted by the sophisticated new tools on offer – and there are improvements across the whole application, whatever your focus. For more information and to download a free 30-day trial  of Dorico 4 visit steinberg.net/dorico.   theme music by Eric Hochberg

Claudia talks to Jeremy Gordon about the concept “Republic of Noise”. They discuss the relationship between noise and politics and think through how noise might be used as a tool that enables listening and democracy. They “riff” with each other trying to think through the tensions between noise and harmony as well as whose sounds are considered pleasant or not and how that shapes how one belongs to place.   Date Recorded: 9 February 2022 Jeremy Gordon is an Assistant Professor of Communication Studies at Gonzaga University who studies and teaches where environmental communication, environmental studies, and critical animal studies get entangled. He is obsessed with questions of how ecological relations are “rhetorically” animated – by human and more-than-human messmates. Specifically, how urban ecologies and feral spaces are, and should be, shaped by everyday creaturely encounters. Jeremy has co-edited a special volume on “animal rhetoric” for Rhetoric Society Quarterly, and is currently enchanted by, and kinning with, the feral chickens of Tampa, Florida's Ybor City. Those chickens have scratched and strutted their way into The Journal of Urban Affairs and Dr. Laura Reese's edited book on Animals in the City. Find out more about Jeremy on his University website. Featured: A fowl politics of urban dwelling. Or, Ybor City's republic of noise; Of fowl feet, beaks, and streets: eyes on the ground in Ybor City by Jeremy G. Gordon; Ybor Chicken Society ; The Sonic Color Line: Race and the Cultural Politics of Listening by Jennifer Lynn Stoever; Practices of Space and Walking in the City by Michel De Certeau; The Spell of the Sensuous: Perception and Language in a More-Than-Human World by David Abram; Wild dog dreaming: Love and Extinction by Deborah Bird Rose; When Species Meet by Donna Haraway Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight. 

Claudia talks to Eva Meijer about voice as a concept that helps us to think about animal sounds and practices in a more politicised way. Eva touches on how a broader conception of politics and voice allows for a more nuanced actions in response to animals and the lives they are trying to lead. They also touch on the usefulness of a variety of languages, mediums, and disciplines in becoming proficient in listening to animals. Date Recorded: 25 January 2022Eva Meijer is a philosopher and writer. Meijer works as a postdoctoral researcher at the University of Amsterdam (NL), on the four-year research project The politics of (not) eating animals, supported by a Veni grant from the Dutch Research Council. She is the chair of the Dutch study group for Animal Philosophy. Recent publications include Animal Languages (John Murray 2019) and When animals speak. Toward an Interspecies Democracy (New York University Press 2019). Meijer wrote eleven books, fiction and non-fiction, that have been translated into eighteen languages. More information: www.evameijer.nlFeatured:  When Animals Speak: Toward an Interspecies Democracy and Zwaan Eva Meijer; Phenomenology of Perception by Maurice Merleau-Ponty; Zoopolis: A Political Theory of Animal Rights  by Will Kymlicka and Sue Donaldson; Inclusion and Democracy  by Iris Marion Young; Deep Listening: A Composer's Sound Practice by Pauline Oliveros; Living with Birds  by Len Howard; Canada Goose calls March 1966; Blue Tit song 1960s ; Blue Tit 1979  from the British Library of Sounds. The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and InstagramThank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight. 

Episode 66 Those We Have Lost—Electronic Musicians Who Passed in 2021   Playlist In this episode, we pay tribute to electronic composers and musicians who passed in 2021. I've put together what I hope will be a satisfying playlist of these diverse artists and their works. Alvin Lucier, “Vespers” from Electric Sound (1972 Mainstream). This work was performed by Lucier and other members of the Sonic Arts union, David Behrman, Robert Ashley, and Gordon Mumma. The musical instrument was a device not intended for making electronic music. It was the Sondol, a hand-held pulse oscillator designed for “boat owners, acoustic engineers, and the blind.” Lucier bought a few of these devices and worked out a piece for echolocation. Each performer was equipped with a Sondol and asked to move blindfolded inside a defined performing space. This resulted in a work comprised of four independent streams of percussive pulses that sound as if they have their own relationship to one another as each musician moves about in the space. VESPERS is written as a prose score in which Lucier invites the performer to explore the world beyond human limits: “Dive with whales, fly with certain nocturnal birds or bats (particularly the common bat of Europe and North America of the family Vespertilionidae), or seek the help of other experts in the art of echolocation.” Richard H. Kirk, with Cabaret Voltaire, “Let it Come Down” from International Language (1993 Plastex). This album was released during a period of transformation for CV. Founding member Chris Watson had left to pursue other sound interests, while Mallinder and Kirk remained and headed into the instrumental direction embodied by dance music. The liner notes for this album state, “Abandon thinking. Everything you will hear in the next seventy-four minutes is true. This music is dedicated to the Merry Pranksters past present & future.” Not sure what that means, but hey. This group was fantastic. Richard H. Kirk, solo, "Information Therapy" from Disposable Half-Truths (1980 Industrial Records). This was from Kirk's first solo cassette release while he maintained his parallel work with Cabaret Voltaire. Joel Chadabe, “Rendevous” from Rhythms for Computer and Percussion (1981 Lovely Music). Joel had such a long list of accomplishments in electronic music, a pioneer of analog systems as well as computer music. On this album, his collaboration with percussionist Jan Williams was startlingly fresh. Electronics, computer synthesizer system (Synclavier), Joel Chadabe; percussion, wood block, vibraphone, marimba, slit drum, log drum, temple block, cowbell, singing bowls, Jan Williams. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music." Jon Hassell, “Abu Gil” Last Night The Moon Came Dropping Its Clothes In The Street (2009 ECM). Trumpet, keyboard, composed by Jon Hassell; bass, Peter Freeman; Live sampling, Jan Bang; guitar, Rick Cox; drums, Helge Norbakken; violin, Kheir-Eddine M'Kachinche. Jon Hassell, “Wing Melodies” from Power Spot (1981 ECM). Trumpet, composed by Jon Hassell; guitar, electronic treatments, Michael Brook; electric bass, Brian Eno; electronic keyboards (bass, percussion, string sounds), Jean-Phillippe Rykiel; percussion, acoustic and electronic, alto flute, J. A. Deane; produced by Brian Eno and Daniel Lanois. Sophie, Eeehhh” from Nothing More to Say (2012 Huntleys & Palmers). Electronics, vocals, composed and performed by Sophie Xeon. I chose a couple of earlier tracks that were largely instrumental experiments. Sophie, “Elle” from Bipp/Elle (2013 Numbers). Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music. Malcolm Cecil, “Gamerlonia Dawn” from Radiance (1981 Unity Records). Composed By, Performer, Producer, Engineer, Malcolm Cecil. English bassist and inventor of the unique TONTO synthesizer ("The Original New Timbral Orchestra"), a massive integrated synthesizer system that was used on many analog electronic albums in the early 1970s. Episode 36 was devoted to Cecil's work so you might want to catch-up with that to get more detail about this amazing musician and producer. This track uses TONTO and also features the “golden flute” of Paul Horn. Peter Zinovieff, “M Piriform” from Electronic Calendar—The EMS Tapes (2015 Space Age Recordings). Computer music from 1981 by the founder of EMS, Peter Zinovieff, with composer/conductor Justin Connolly. Collaborating with classical composer Connolly, Zinovieff created the electronic music in his Putney studio, using computer-controlled audio generators, and combined it with instrumental parts written by Connolly for soprano, flute, and violin. This performance of the work was staged in 1969 and featured Jane Manning (soprano), Judith Pearce (flute) and Pauline Scott (violin), who all played along with a tape recording of the electronic part. Murray Schafer, “Threnody” from Threnody (Youth Music by R. Murray Schafer) (1970 Melbourne). This Canadian release features an instrumental work with electronic sound by Schafer, who is perhaps more familiar to us as a creator of soundscapes and ambient audio experiments. But he also worked in traditional instrumental music and featured electronics in some of these. There are not many recordings such as this example from 52 years ago. Background music: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

In this episode Claudia talks to Cheryl Tipp about sound archives, how they are managed and the ways in which animal studies scholars might use them in trying to research animals. Together they think about why some sounds are included in national archives more than others as well as how recordings of nature and animal voices are valued. Date Recorded: 1 December 2021 Cheryl Tipp is the British Library's Curator of Wildlife & Environmental Sounds. With a background in zoology and library services, Cheryl has spent the past 16 years looking after the Library's world-renowned collection of 300,000 species and habitat recordings. She has worked extensively on projects that encourage the creative reuse of archival content, from student videogames to short films from emerging filmmakers, and has written widely on the history of wildlife sound recording. Connect with Cheryl on Twitter (@CherylTipp). Featured: Environment and Sound Archiveat the British Library; Grey Wolfby Tom Cosburn; Haddock by A.D. Hawkins;  Animal Language: How Animals Communicate by Julian Huxley, The Sound and Vision Blog, The Zooniverse Project; Wildlife Sound Recording Society; Seaspiracy; What a Fish Knows by Jonathan Balcombe; Recording of the Ivory Bill Woodpecker by Arthur Allen;  The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight. 

Joining Mary Beth this time is Bruce Odland, a sonic thinker, creator and composer. Bruce creates sound installations in collaboration with Sam Auinger that transform the sounds of cities into music. He's the founder of the Tank Center for Sonic Arts in Colorado and most recently, he collaborated with renowned actor and playwright Wallace Shawn to reinvent two of his plays as a podcast. http://bruceodland.net/  

In this episode Claudia continues the focus on methodology as it relates to animals and sound. This time Mickey Vallee joins The Animal Turn to talk about the concept of bioacoustics and how using bioacoustics methods alters the ways researchers relate to their research subjects – who are often animals. They discuss some of the theory and ideas circulating bioacoustics generally and Mickey's experiences more specifically.  Date Recorded: 26 October 2021 Mickey Vallee is an associate professor of interdisciplinary studies at Athabasca University in Alberta, where he also holds the Canada Research Chair in Community, Identity and Digital Media. His work focuses on developing interdisciplinary sonic methodologies to develop new insights on human/animal relations. He has been working on a theory of critical bioacoustics, which grows out of his empirical research with bioacoustics researchers across Canada and the United States. Against a mechanistic ideology of bioacoustics sciences, critical bioacoustics, by contrast, builds a new ethical system that is less focused on the atomistic constitution of the organism than it is on the primacy of relations in sonic communication. Read more about Mickey here or connect with him on Twitter (@mickeyvallee).  Featured: Keynote Lecture by Prof Rosi Braidotti  at the Posthumanism and Society Conference; Wikipedia page about Little Nipper; A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Delueze and Flex; What would animals say if we asked the right questions by Vinciane Despret; Listening by Jean-Luc Nancy and Charlotte Mandell; Indri Lemur by Mark H. Barsamian and Amy E. Dunham; Giant Lemurs are the First Mammals beside us found to use Rhythm by Jack Tamisiea The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight

In this episode Claudia talks to Jonathan Prior about sonic methods and together they try to explore the ways in which methods such as recording, sound walking, and listening could help animal studies scholars better understand and appreciate the animals and worlds they are most concerned with.  Date Recorded: 12 October 2021 Dr Jonathan Prior is a lecturer in Human Geography at Cardiff University, Wales. His research and publications take an interdisciplinary approach, spanning environmental philosophy, sound studies, and landscape research. His first book, Between Nature and Culture: The Aesthetics of Modified Environments, co-authored with Emily Brady and Isis Brook, was published in 2018 by Rowman & Littlefield. You can access some of Jonathan's recordings on his audio project website (12 Gates to the City) or archived on the Internet Archive. You can also learn more about Jonathan;s work on his university's website or connect with him on Twitter (@jd_prior).   Claudia (Towne) Hirtenfelder is the founder and host of The Animal Turn. She is a PhD Candidate in Geography and Planning at Queen's University and is currently undertaking her own research project looking at the geographical and historical relationships between animals (specifically cows) and cities. Contact Claudia via email (info@theanimalturnpodcast.com) or follow her on Twitter (@ClaudiaFTowne). Featured: Sonic Geographies, exploring phonographic methods by Michael Gallagher and Jonathan Prior; The reintroduction of beavers to Scotland by Kim Ward and Jonathan Prior; Making Noise in the Roaring twenties: Sound and Aural History on the Web by Emily Thompson; Acoustic Ecology and the World Soundscape Project by Barry Truax; Chris Watson's website; David Dunn and The Acoustic Ecology Institute Website; In the Field: The Art of Field Recording by  Jana Winderen.   The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight

This week we talk to the amazing Isobel Anderson. After a career as an artist which has amassed over 25 million Spotify streams, Isobel set up the online community the Female DIY Musician, which helps female-identifying aspiring musicians and producers to find their confidence in an arena that has always been male-domianted. Last year, she started the podcast Girls Twiddling Knobs, which she describes as brining a "feminist perspective to all things music tech", and in our opinion is a nourishing and refreshing listen for any creative, male or female. Isobel also has an MA and PhD in Sonic Arts, and her sound-works have been performed internationally, while she has also been the recipient of backing from the PRS Foundation's Women Make Music Fund. She has also published in academic journals, such as Organised Sound and The Journal of Sonic Studies. Isobel's music has been archived in The British Library and The British Music Collection, and previous live performances include Glastonbury's acoustic stage, The Secret Garden Party and London's Proud Galleries. We spoke to Isobel about her journey to this point (which has been far from smooth), and what inspired her to educate other women and girls in music production. We ask what can be done to make the world of music production a more welcoming place for women, and get some great insight and surprising reactions from Isobel on this and a range of other topics. Here's a link to Girls Twiddling Knobs - we highly recommend a listen to episode #1 if you want to get more background on Isobel and her career to date. It's a fascinating listen. https://www.femalediymusician.com/gtkpodcast https://www.isobelanderson.com/ The Process of Production is presented by Lawrence Diamond and Bob Matthews. Lawrence cut his teeth playing and writing in Indie bands before finding international success and touring the world with his band CITIZENS! During that time he worked with a host of revered producers including Liam Howe, Mark Ralph and Alex Kapranos. Since the band ended in 2016 he's been using that experience to help other artists develop their careers as a writer and producer while continuing to release his own music under various different guises. Bob learned his trade as the producer and multi-instrumentalist in Electronic Pop duo Alpines, whose career spans 3 albums, releases on major and indie record labels, shows with Florence + The Machine, The xx, Emeli Sandé, and a top 20 hit 'Tidal Wave' in collaboration with Sub Focus. In recent years he has turned his focus to producing other acts and has a studio in Chiswick in West London. If you have any feedback or questions, please email us: processofproductionpodcast@gmail.com Follow The Process of Production on Instagram @processofproduction If you like the podcast, please consider giving us a review on your podcast provider of choice! Thank you

Animals are increasingly at the forefront of research questions – not as shadows to human stories, or as beings we want to understand biologically, or for purely our benefit – but as beings who have histories, stories, and geographies of their own. PhD Candidate Claudia Hirtenfelder talks to animal studies scholars about some of the most important ideas emerging out of this recent turn.Each season is set around a particular theme so that the ways in which these different concepts hang together (or not) become more apparent, allowing for deeper reflection and consideration not only about animals but about the broader fields in which they are now being considered. To that end, each season finishes with a Grad Review to help tie some themes together and identify potential points of divergence.Season 4 will focus all on sound! The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram.Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast and the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo. Connect with the Podcast on Twitter or Instagram.

Are you ready to follow the journey of a sound wave and expand the horizons of your audio knowledge? If so, boy is this a corker of an episode to kick off Season 2 of the podcast as Isobel takes you on a virtual tour of the National Science and Media Museum's new exhibition series SONIC, BOOM.Inside, Curator of Sound Technologies, Annie Jamieson, shares her personal take on all the weird and wonderful audio objects on display, how she curates sound and the commissioned artist works on display at the gallery spaces. Plus, you'll get a sneak peak of the galleries' soundscapes too!EPISODE HIGHLIGHTS{0:00} Intro{04:12} Annie Jamieson's pathway into music {10:03} Replicate everyday sounds using technology at the National Science and Media Museum {22:42} The instruments, objects and apparatus used to deepen our understanding of sound{44:52} Sound-treating a gallery space to create an immersive experience{56:25} How you can get involved with their interactive exhibitions{01:02:18} Working within an all-female workplace {01:08:25} Episode summarySubscribe to the podcast now so you never miss an episode.Check out both ‘Sonic: Adventures in Audio' and ‘Boom: Experiments in Sound' and other associated events at the National Science and Media Museum HERE >>Both exhibitions run until the 5th of December, 2021.See images and more info for some of the objects mentioned in the podcast by searching HERE >>Listen to the episode hereListen on SpotifyJoin the Girls Twiddling Knobs Podcast Community here >>Don't be shy - spread the Girls Twiddling Knobs Love

Born in Luxembourg, Philippe Schartz developed an early interest in the trumpet from listening to his father play in the village wind band. His passion was cultivated by his teachers who have included Dino Tomba, a great friend and mentor. He continued his studies at the Royal College of Music in London with the late David Mason, and then was invited to join the Special Student programme at the Eastman School of Music in Rochester, New York. A winner of many prizes and awards, he has developed a highly successful career as an orchestral and a chamber musician as well as a soloist, performing all over Europe, the USA, South America , China and Japan. As a member and Principal Trumpet of the Gustav Mahler Youth Orchestra, and the founding Principal Trumpet of the Mahler Chamber Orchestra until the summer of 2002, and currently, Principal Trumpet of the BBC National Orchestra of Wales since 1999, he has performed to much critical acclaim under conductors such as Claudio Abbado, Pierre Boulez, and Bernard Haitink. In 2009 he was appointed Principal Trumpet of the Solistes Européens, Luxembourg.A post he held until 2019. He has been broadcast on the BBC and numerous European radio and television networks, in addition to issuing 10 solo CDs. An enthusiastic member of the teaching staff at the Royal Welsh College of Music and Drama and Cardiff University, Philippe has given master-classes/recitals  and educational workshops at all the major UK music colleges as well as many leading Universities in the USA, South America, Canada, Japan and Continental Europe, including the School of Music and Sonic Arts at Queen's University, Belfast. He made his BBC Proms debut as a soloist in 2011, and has become a Yamaha Trumpet artist since 2009. Learn more about Philippe Schartz: www.philippeschartz.net Show notes: https://bobreeves.com/blog/philippe-schartz-trumpet-interview/ More about Bob Reeves Brass: www.bobreeves.com

In this episode we meet t0k4 - Nathaniel Alexander. We talk about the emotional content of his music, starting over, his journey which reaches through the music industry, tugboats, the military, loss and family. Evolving as an artist, control, grief and a fast-moving mind all play a part in the t0k4 sound and creative process. Currently DJing out as Nate Aries as well as doing live performances under the t0k4 moniker, Nate still finds time to complete his studies in music through the Sonic Arts and Music Production (SAMP) program at PSU.   Intro: t0k4 - Dissociation - Loose Wire Outro: t0k4 - Self Inflicted Meditation - Ego(death) Summer   https://t0k4.bandcamp.com/ Twitter + Instagram: @t0k4music   Support Form The Head on Patreon: https://www.patreon.com/formthehead

In this dialogue I speak to Dr Alex Arteaga, a leading European artist-researcher who works with text, sound, video, photography, essays and installations according to the nature of his projects and their specific research issues. Alex has received professional degrees in piano and theory of music, has a Masters degree in electro-accoustic music. He studied architecture at Berlin University of the Arts and obtained a PhD in philosophy at Humboldt University Berlin. He is currently teaching courses at the Berlin University of the Arts (at the MA Sound Studies and Sonic Arts), film university of Catalonia (ESCAC) and the graduate school of the University of Lapland. As a researcher, he's connected to the University of Applied Arts Vienna In the dialogue we discuss how Alex's complex background led him into the realm of artistic research and his sense of how artistic research has been taken up across Europe. We look closely at Alex's major projects: the Auditory Research Unit at the Berlin University of the Arts  and the relationship between the auditory and the visual in architectural thinking; the Architecture of Embodiment and Alex's non-hierarchical approach to the structure and methodology of the research; and his collaboration with the Austrian media artist Nikolaus Gansterer exploring concepts such as the "presence of situations" in Contingent Agencies. We also engage with the more provocative aspects of Alex's thinking such as his insistence that "aesthetic research" should be distinguished from "artistic research". We cover his involvement in the new African-European collaborative project, Artistic Research and City Spaces which is linking The Wits Schools of Art and Architecture and Planning with a range of different artistic research initiatives in Europe. Finally we discuss Alex's critique of the notion that artistic research produces forms of (alternative) "knowledge" and the implications of this view for strategies of decolonisation.

In this dialogue I speak to Dr Alex Arteaga, a leading European artist-researcher who works with text, sound, video, photography, essays and installations according to the nature of his projects and their specific research issues. Alex has received professional degrees in piano and theory of music, has a Masters degree in electro-accoustic music. He studied architecture at Berlin University of the Arts and obtained a PhD in philosophy at Humboldt University Berlin. He is currently teaching courses at the Berlin University of the Arts (at the MA Sound Studies and Sonic Arts), film university of Catalonia (ESCAC) and the graduate school of the University of Lapland. As a researcher, he’s connected to the University of Applied Arts Vienna In the dialogue we discuss how Alex's complex background led him into the realm of artistic research and his sense of how artistic research has been taken up across Europe. We look closely at Alex's major projects: the Auditory Research Unit at the Berlin University of the Arts  and the relationship between the auditory and the visual in architectural thinking; the Architecture of Embodiment and Alex's non-hierarchical approach to the structure and methodology of the research; and his collaboration with the Austrian media artist Nikolaus Gansterer exploring concepts such as the "presence of situations" in Contingent Agencies. We also engage with the more provocative aspects of Alex's thinking such as his insistence that "aesthetic research" should be distinguished from "artistic research". We cover his involvement in the new African-European collaborative project, Artistic Research and City Spaces which is linking The Wits Schools of Art and Architecture and Planning with a range of different artistic research initiatives in Europe. Finally we discuss Alex's critique of the notion that artistic research produces forms of (alternative) "knowledge" and the implications of this view for strategies of decolonisation.

Alejandro Mosso シーンに登場した頃は複数の名義を使いこなしていたが2000年後半ごろから本人名義Alejandro Mossoの名で活動し始める。AIR LONDON やLOMIDHIGH ORGNICなど他複数のレーベルからリリースしながら自身のレーベル”MOSSO”を始動させる。 今回公開している音源は2020年7/31にスイス、ローザンヌにある Folklor CLUBで収録されたLive音源です An Argentinian who's musical forte has been bred in Berlin, Alejandro Mosso has been at the forefront of developing innovative percussive, organic and delicate electronic music for more than 15 years. As a worldwide touring artist, he has performed his captivating live sets across South America, North America, Europe, Africa and Asia. The Berliner is also a dedicated and prolific producer, releasing forward thinking projects that span the genre spectrum since 2003. With his particular brand of uniquely musical club music, Alejandro challenges the understanding of what dance music could be. Throughout the years, he has developed a distinctive sound palette – a perfect balance between electronic and acoustic sounds, sitting at the intersection of deep house, minimal techno, tribal, and melodic dance music. Constantly defying the lethargic ‘dj tool' concept, Mosso strives to produce immersive musical experiences, unapologetically pouring emotions, melodies, and harmonies into the traditionally rhythm-dominated genre. Throughout the years, world renowned labels like Cocoon, Third Ear, !K7, Hivern Discs, Sushitech, Sol Selectas and more have welcomed the Mosso sound to their catalogues. In 2017, he released his album “Isolation Diaries”, a first class listen that presented remixes from two of the most interesting and influential electronic music producers of the last decades: Burnt Friedmann and Ricardo Villalobos. The Argentinian also runs his own label “mosso”, focused on releasing untarnished material with a sense of character and individualism present in each release. Mosso's live show is the quintessential presentation of his artistic career. Over the years, he has perfected the art of moving dancefloors with nightly innovation and a full command of intricate rhythms. Swaying between percussive tribal beats, 4×4 house grooves, and melodic emotional layers, Alejandro Mosso has performed at clubs such as Watergate, Rex Club, Fabric, Womb, Tresor, Amnesia, and Kater Blau. He has also headlined festivals such as the Spanish and Argentinian editions of the esteemed Mutek. 2020 finds Alejandro with a busy release schedule, contributing with original material and high profiles remixes to the catalogs of labels like Do Not Sit, Akbal Music, Sirin and When We Dip's XYZ. As a masters student of Sound Studies and Sonic Arts, Alejandro continues to expand his artistic practice into the worlds of sound installation art and 3D audio. MGMT & BOOKINGS: guthrie@dipartist.management beatport / https://www.beatport.com/artist/alejandro-mosso/92836 bandcomp / https://alejandromosso.bandcamp.com soundcloud / https://soundcloud.com/alejandro-mosso instagram / https://www.instagram.com/alejandromossomusic/

Hilary talks with Sara Landeau (The Julie Ruin) about pedalboards as art, the gendering of technology, breaking things to learn, and etudes for dive-bombing. Plus, gear and class privilege. Huge thanks to this episode's sponsors!  https://www.earthquakerdevices.com/ (EarthQuaker Devices)- extra special effects pedals made by hand in Akron, OH! https://skylarbatz.wordpress.com/ (Studio 121)- recording, production, beats and more in Providence, RI! SARA'S BIO Sara Landeau is a guitarist, multi-instrumentalist, educator, producer, composer, and artist based in NYC. In 2004, she started Brooklyn Music School for Women and Girls which offers music lessons in electric guitar, bass, rock drums, and electronics. She is a proponent of equality for women and believes in the ideology of self-improvement and empowerment through education. She is a founding member, co-songwriter, and lead guitarist of The Julie Ruin with Kathleen Hanna (Bikini Kill/Le Tigre) and has released acclaimed albums on Hardly Art Records (SubPop), achieved top 10 chart hits, radio and television appearances, a number 1 on CMJ charts, and music in films and commercials.  She has performed on Late Night with Jimmy Fallon, The Seth Meyers Show, and Carson Daly Show and reviews and interviews include New York Times, NPR, Rolling Stone, Spin, New York Magazine, Paper Magazine, Billboard, Los Angeles Times, Timeout, Esquire, Big Takeover, NME, Pitchfork, Fader, Consequence of Sound, Flaunt, Bust, and more. College Music Journal (CMJ)  listed song “I Decide” #1 in 2017. Rolling Stone listed album ‘Run Fast” 2015 as #3 in their top ten albums of the year. The recipient of 2019 Max Matthews Sound Artist Artist award from Brooklyn College, the 2019 Cycling 74 Max Expo Grant, Women in Computer Music Scholarship Stanford, 2019, and an award-winning educator with the Girls Rock Camp Alliance, she has also performed as a solo electro-acoustic composer and guitarist. Her performances often include custom instruments and sonic sculptures utilizing electro-conductive materials such as paint and threads with sounds and compositions created in Max MSP. She has studied with Morton Subotnick, Marina Rosenfeld, and David Grubbs while receiving an MFA in Sonic Arts at Brooklyn College. MENTIONS John Cage / Lee Ranaldo / The Trash Women / The 5. 6. 7. 8's / Jack White / Nick Cave / The Birthday Party / Rowland Howard / Kenny Mellman / Kathleen Hanna / Clara Shuman / Tara Rodgers / Delia Derbyshire / Suzanne Ciani / Mary Ford / Pink Noises / Max MSP / Fender / Gretsch / Ludwig / Silvertone / Gibson / Reuss / Digitech / She Shreds / Tom Tom / Fanny's / Guitar Center / Sam Ash / Moog / Buchla / Sisters with Transistors SARA'S LINKS https://www.instagram.com/saralandeau (Sara's Instagram) https://saralandeau.com/ (Sara's Website) http://www.thejulieruin.com/ (The Julie Ruin Website) https://www.instagram.com/thejulieruin (The Julie Ruin Instagram) MID-RIFF LINKS http://hilarybjones.com/midriffpodcast (Website) http://instagram.com/midriffpodcast (Instagram) http://facebook.com/midriffpodcast (Facebook) https://hilarybjones.us20.list-manage.com/subscribe?u=43bb95b305fb0c7d53fbc8d3a&id=146b44f072 (Newsletter) https://www.hilarybjones.com/blog (Blog) Thanks for rating/reviewing on https://podcasts.apple.com/us/podcast/mid-riff/id1494997227 (Apple Podcasts)! CREDITS Sara's Bumper Track: “https://thejulieruin.bandcamp.com/track/i-decide (I Decide)” by The Julie Ruin Theme Music: "Hedonism" by https://towanda.bandcamp.com/ (Towanda) Artwork by https://www.juliagualtieri.com/ (Julia Gualtieri)

Traitors to guests created by Joseph Chaves. Down in this cistern employs two sources: Rafael Gamo’s voice reading from the 33rd canto of Dante’s Inferno and a kind of ‘wind’ sound derived from an analogue noise generator. The principle of composition for this piece is, first, to produce the sound of a section of the Canto, and then to loop the voice, working towards ever smaller units of sound.  The improvisation takes place in two successive modes. First, during repeating loops of a section, the sampler drifts towards phrases and snippets of text that I wish to interrogate or emphasize. So the piece performs a very elementary kind of literary interpretation (quotation, selection, stress). While I seek to render this transition musical, I’m also simply ‘feeling in the dark’ to locate certain specific phrases within the sample. Second, however, I seek to tighten the loops beyond the unit of the phrase and even the word, so that the voice remains identifiable as such, but conveys less and less semantic information. Finally, as the loops eventually shrink towards “microsound,” the sound often becomes less identifiable as voice. This manipulation of the voice takes place against repeated washes of noise, which I vary slightly to accommodate the evolving patterns of the voice. As I make clear below, the noise broadly represents an identifiable sound—a source of “wind” or “vapors” that emanates from the bottom of the pit of hell—although its degree of realism varies quite widely.  The suite’s movement among listening modes accords with and comments on the particular ring of hell to which Dante assigns traitors to guests—those who abuse the responsibilities and privileges of the host, in order to do ill. These souls of these particular sinners, one explains to Dante, come to hell before their bodies appear dead on earth. (As a quoted passage explains, devils maintain the appearance of life by animating the body.) The musical improvisations all play with this problematic of real and fake, living and dead, here and not-here. They do so first of all in the very nature of the sounds: rather than a recording of wind, for example, the piece simulates wind through the manipulation of noise—sometimes with a fair bit of verisimilitude, sometimes not.  Conversely, the human voice at first encourages us to follow its linguistic meaning, but often is manipulated in such ways as to appear as an inchoate voice, or not a voice at all.  Even my focusing in on particular phrases foregrounds the ways that the poetry itself echoes the themes of dislocation, the truth and falsity of sensation, and equivocal modes of being. In one passage, for example, Dante asks Virgil where the wind comes from; Virgil puts him off, suggesting that Dante wait until he not only hears the sound but can see its source with his “own eye.” Indeed, it will be revealed later that the ‘wind’ emanates from the flapping of the leathern wings of Satan. As can be seen from the passages I quote below, the piece addresses several different ways that the Canto takes up these themes. Also, the circumstance of the piece’s performance and recording recapitulates the setting, theme, and form of Canto 33. The suite was recorded during a session of a few hours at The Tank Center for Sonic Arts in Rangely, Colorado. The Tank echoes the shape and therefore the resonant and reverberant qualities of Dante’s hell, which in this Canto Dante refers to as a “cisterna.” (The Tank is indeed an empty cistern.) While the sonic characteristics of the space foreground for the listener that the piece was made in a particular kind of setting, the piece also when through much after-the-fact editing. While editing was limited to cuts, pastes, fade-ins, and fade-outs, I was careful to leave in some of the artifacts of editing, so that the listener is pulled back and forth between absorption in the piece’s putative ‘setting’ and dislocation from that setting.   Each “section” of the suite employs a series of lines selected from Canto 33. Each time, the sample plays first all the way through the section of the Canto that it will use. During repeating loops of this section, the sampler drifts towards phrases and snippets of text that it seems to find interesting. (This is partly dramaturgy—the sampler is ‘directed’ very precisely by me—and partly what’s really happening. Sometimes, that is, the sampler seeks out a particular passage through mechanical, random procedures.)  Synthesizer & Sampler: Joseph Chaves Voice: Rafael Gamo Engineers: Michael Van Wagoner & Samantha Wade Part of the Inferno project to imagine and compose the sounds of Dante’s Hell, marking the 700th anniversary of The Divine Comedy. To find out more, visit http://www.citiesandmemory.com/inferno

Rio Blanco County Public Health confirmed 8 new cases of COVID-19 this week, 2 of which have led to hospitalization. The total case count is 9, with 8 in Meeker, and one in Rangely. You can find more details on our website, HT1885.com The unofficial election results for Rio Blanco County are in, including local votes on term limits. Residents have chosen to place term limits on the County Assessor, Clerk and Recorder, Commissioners and Treasurer. They also voted not to put term limits on the Sheriff or the Coroner. Total voter turnout in Rio Blanco County this election was 81.22 percent. More results on state and national elections are also on the front page, along with the outcome of the Elk Creek Ranch litigation reported in the October 29th Edition. lk Creek Ranch Owner’s Association prevailed in its lawsuit against developer William H. Wheeler for breaching his fiduciary duties while he was a director on its board. Again you can find more details on the case on the front page. After more than two weeks of almost daily workshops, the county commissioners are ready to start making decisions about the county’s 2021 budget. In the workshops, department heads were able to share their requests — and concerns, in some cases — with the commissioners. A recap of the first week of workshops is on page 2A Find upcoming events and announcements in our news briefs section on page 3A. This month Taj Mahal Blues will perform at the Tank Center for Sonic Arts in Rangely and you can watch online. The Western Rio Blanco County swimming pool and hot tub will be closed November 13th through the 22nd for repairs and maintenance. Colorado Northwestern Community College upcoming events are Museum Curation, Basic Search and Rescue, and a Women’s COBRA Self Defense Program. All that, and information on COVID-19 testing options in the area are on page 3A Last month the Department of Veterans Affairs rolled their VA Mobile Medical Unit into Rangely for the first time. The Unit provides non-urgent, preventative health care services to veterans living in rural areas of Colorado and Utah. In other Rangely news, long time resident Tarrah Patch has opened a new Flower Shop at 101 South White Avenue. The new store, the Wildflower was made possible with the acquisition of assets from the Meeker Flower Shop. This week’s conservation corner explains the White River Integrated Water Initiative. More on the Conservation Corner, the VA Mobile Health Unit, Rangely’s newest business The Wildflower, and the kick off of LEAP in 2021 are on page 5A. This time 100 years ago in The Meeker Herald it was written: “Some candidates (on both tickets) were assured of election, but when the votes were counted they say there was a good deal of unnecessary lying.” More from past editions in Days Gone By on page 4B, where you can also find public notices, including local government meeting agendas and budget notices, invitations to bid, and more. For the second time this season the Cowboys shut out an opponent. The Cedaredge Bruins struggled to get their offense going against the Meeker defense and the Cowboys came away with a definitive 44-0 win. The HT also broadcasted the game live on our Facebook page, you can watch the whole thing in the sports section of our website. And the Rangely Panthers bested the Hayden Tigers 44-6. The win extended their record to 4-0 overall and 3-0 in league play. The Panthers will look to keep their perfect record when the Vail Christian Saints travel to Rangely on Friday, Nov. 6. That’s all for this week’s news highlights. Find even more in print and online at ht1885.com Thank you for supporting community journalism.

Thanks for listening to another edition of Rio Blanco County news. Here’s our community newscast for the week of October 29th. Check this week’s news briefs on page 3A for information on a host of spooky Halloween events, including trick or treat “ at the White River Museum from 5-7 pm, a Halloween parade in front of the Walbridge Wing from 4-5:30 pm, and the ERBM’s annual Pumpkin Eats n’ Treats from 3-5pm. News briefs on page 3A also list COVID-19 testing locations in Rio Blanco County, news from The Tank Center for Sonic Arts in Rangely, ERBM program updates and an upcoming free legal clinic on November 11th. Thanks to a large amount of snow arriving on Colorado’s Western Slope this week, many fire restrictions are set to end on Friday. Remember to use fire responsibly as warm weather is set to return next week. Wildland firefighters from the BLM’s White River Field Office in Meeker made state and national news this week for leaving a handwritten note at a home in the path of the East Troublesome Fire in Grand County. Read more about the crew’s efforts on the front page. Also on a front page, see a photo from the annual 4-H Night at Hogwarts fundraiser last Saturday. A reminder to drop off your mail ballot, and another dive into Rio Blanco County’s ongoing budget process. This week’s story focuses on the Sales & Use Tax department, which has already agreed to major cuts in 2021 and could go away entirely after next June, despite generating nearly $2 million in revenue for the county this year. In more county news, Rio Blanco has seen another uptick in COVID-19 cases, with four positives reported in the last seven days. Public Health Director Alice Harvey warned that the county was on the verge of community transmission, and reminded residents to be vigilant. Nationwide more than 40 states including Colorado are reporting a surge in case counts, hospitalizations and deaths. More is on page 2A. County Public Health also shared recommendations for 2020 trick-or-treating on page 4A. Stick around that neighbor for this week’s editor’s column on the value of public participation, and Meeker High School senior and HT Intern Sophie Geodert’s update on how high school students are handling and adapting to homecoming in the middle of a pandemic. While you’re there don’t forget to take a peek at upcoming CNCC programs in Meeker, including topics like basic search and rescue, women’s self defense, truffle making, decorative candies and more. Resurfacing on Colorado Highway 64 is complete. The 18 mile project focused on a 1-inch leveling and 1.5-inch hot mix asphalt (HMA) overlay and the installation of new guardrail. The HMA is expected to add 10 years of life to the highway. With a few days until the 2020 election, the HT asked RBC Clerk and Recorder Boots Campbell about voter turnout so far this election. 4,240 ballots were sent out. 112 (2.64%) were undeliverable and 1,900 (44.8%) have been returned. And an upcoming Yampa-White-Green basin roundtable meeting has an “action packed” agenda, including YWG Basin Roundtable’s proposed position statement on Demand Management, the White River Integrated Water Initiative grant request, Updates from the Yampa River Integrated Water Management Plan (IWMP) and more. All those updates, Highway 64 resurfacing, voter turnout, the water conservation corner and results from the 2020 elk bugling contest are on page 5A. The full transcript of this episode is available at https://tinyurl.com/rbcnews28

It was great to connect with Gahlord Dewald about his latest album Coherent Light Enclosed Without.  This album was recorded at The Tank Center for Sonic Arts on a hill above the town of Rangely, Colorado.   We talk about this fascinating performance venue, how Gahlord found himself heading to The Tank for this project, what it’s like preparing to record in such a unique acoustic space, and much more.  Enjoy, and measure to follow Gahlord on YouTube and check out this new album here!   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging theme music by Eric Hochberg Subscribe to the podcast to get these interviews delivered to you automatically!

Our very first podcast episode recorded over Zoom and conducted in 100% English! We sat down with 2 music professionals - Mr Chua who owns a music school and teaches music and Firdaus Jumaat - who holds a diploma in Sonic Arts. Firdaus also composes & writes songs for his band Spacewalk.

Konstantinos Vasilakos is a performer and composer of Electroacoustic music. His research interests include sonification, gestural improvisation, and live coding with networked music systems. He holds a PhD in Music from Keele University in the UK, and a Masters degree from the Utrecht School of the Arts, in the Netherlands. His works have been presented in the Netherlands, Germany, Czech Republic, Greece, Switzerland, Turkey, and the United Kingdom. He has collaborated with leading research centers such as CERN, in Switzerland, and the Laboratoire ACROE/ICA, at the University of Grenoble, in France. At the moment he resides in Istanbul where he is teaching in the Sonic Arts department of the Dr. Erol Üçer Center for Advanced Studies in Music (MIAM), in the Istanbul Technical University (ITÜ), Istanbul, Turkey. Here is a pointer to his github regarding a live coding project involving sonification data from the Large Hadron Collider. The project is a collaboration between BEER ensemble (University of Birmingham) and the Art@CMS project at CERN. https://github.com/KonVas/DarkMatte The public facing aspect of this work can be seen at http://ipsos.web.cern.ch/

Luca Forcucci is an artist and scholar of Swiss and Italian citizenships based in Berlin. His research observes the perceptive properties of sound, space and memory exploring the field of possibilities of the experience. In this context, he is interested in perception, subjectivity and consciousness. Since twenty years, the research observes also his own nomadic situation, as well as his work in various global contexts (Brazil, China, South Africa, Mozambique, USA, Europe and Switzerland). He considers the eyes and ears of the beholder in such contexts as integrally part of his thought. A great influence is the late American avant- garde composer and musician Pauline Oliveros and her concept of deep listening expanded to all what is humanly possible to listen to. Forcucci achieved a PhD in Music, Technology and Innovation from De Montfort University in U.K., and a MA in Sonic Arts from Queens University of Belfast. The research was also conducted at the University of the Arts of Berlin, INA/GRM (Institut National d’Audiovisuel / Groupe de Recherches Musicales) in Paris while investigating at Bibliothèque Nationale de France François Mittérand. He is regularly invited to lecture in universities (University of Limerick, USP São Paulo, UFRJ Rio de Janeiro, URC California, UdK Berlin, ZhDK Zürich, EPFL Lausanne, SIVA Shanghai). He has an extensive background in architecture. The artworks are presented worldwide on a regular basis (Festival Multiplicidade Rio de Janeiro, Red Bull Station São Paulo, 30th Biennale of Sao Paulo with Mobile Radio, Akademie der Künste Berlin, Miller Gallery at Carnegie Mellon Pittsburgh, The Lab Gallery  San Francisco, Venice Biennale with Swatch Art Peace Hotel, MAXXI: Museum of XXI Century Arts Rome, Rockbund Museum Shanghai, House for Electronic Arts Basel, Museum of Fine Arts Le Locle). The compositions are released on Universal, Crónica Electrónica in Porto and Subrosa in Bruxelles. Forcucci have been nominated in the arts at The World Technology Summit in New York, and was the first artist in lab in residency at the Brain Mind Institute at the Swiss Federal Institute of Technology in Lausanne.   For complete show notes, including links to items mentioned in this episode and a transcript of the podcast, visit www.phdcareerstories.com. You can also find us on social media: www.facebook.com/PhDCareerStories www.twitter.com/PhDCareerPod www.instagram.com/phdcareerstories www.linkedin.com/company/phd-career-stories

Grey County's L CON discusses and plays songs from their new album, Insecurities in Being, live on CFRU 93.3 FM! Supported by Pizza Trokadero, the Bookshelf, Planet Bean Coffee, Grandad's Donuts, Humber College’s online Music Composition course, and Planet of Sound. 

Michael Gurevich, lecturer at the Sonic Arts Research Centre at the Queen’s University, Belfast School of Music and Sonic Arts, serves as guest editor of the Winter 2010 issue of Computer Music Journal. In this podcast, Michael discusses the fields of Computer Music and Human Computer Interaction (HCI). He describes how these fields intersect and what they can learn from each other, touching on how the field of Computer Music has grown and how this affects performance and composition of electronic music. This conversation was recorded on December 14, 2010.