December 01 2020 LMJ30 Audio Tracklist Andy Meyerson Andy Meyerson Search for other works by this author on: This Site Google Scholar Author and Article Information Andy Meyerson Online Issn: 1531-4812 Print Issn: 0961-1215 ©2020 ISAST2020ISAST Leonardo Music Journal (2020) 30: 119. https://doi.org/10.1162/lmj_a_01104 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Andy Meyerson; LMJ30 Audio Tracklist. Leonardo Music Journal 2020; 30 119. doi: https://doi.org/10.1162/lmj_a_01104 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsLeonardo Music Journal Search Advanced Search This content is only available as a PDF. ©2020 ISAST2020ISAST Article PDF first page preview Close Modal Supplementary data Sonic Commentary: Audio Series Volume 30 Tracklist- pdf file Click here to download the entire Audio Companion section as MP3 files.- zip file Click here to download the entire Audio Companion section as M4A/AAC files.- zip file Click here to download the entire Audio Companion section as WAV files.- zip file Zachary James Watkins: “AFFIRMATIVE ACTION” (from AFFIRMATIVE ACTION) (10:42)- mp3 file Zachary James Watkins: “AFFIRMATIVE ACTION” (from AFFIRMATIVE ACTION) (10:42)- m4a file Zachary James Watkins: “AFFIRMATIVE ACTION” (from AFFIRMATIVE ACTION) (10:42)- wav file Davia Spain: “Hello” (3:59)- mp3 file Davia Spain: “Hello” (3:59)- m4a file Davia Spain: “Hello” (3:59)- wav file Raven Chacon: “Tributary” (from AFFIRMATIVE ACTION) (4:43)- mp3 file Raven Chacon: “Tributary” (from AFFIRMATIVE ACTION) (4:43)- m4a file Raven Chacon: “Tributary” (from AFFIRMATIVE ACTION) (4:43)- wav file JKLM: “Fill A Stranger’s Shoes” (4:29)- mp3 file JKLM: “Fill A Stranger’s Shoes” (4:29)- m4a file JKLM: “Fill A Stranger’s Shoes” (4:29)- wav file Ava Mendoza: “Attempted Dictator III” (from AFFIRMATIVE ACTION, performed by TLES) (4:46)- mp3 file Ava Mendoza: “Attempted Dictator III” (from AFFIRMATIVE ACTION, performed by TLES) (4:46)- m4a file Ava Mendoza: “Attempted Dictator III” (from AFFIRMATIVE ACTION, performed by TLES) (4:46)- wav file AH-Mer-AH-Su: “Meg Ryan” (3:54)- mp3 file AH-Mer-AH-Su: “Meg Ryan” (3:54)- m4a file AH-Mer-AH-Su: “Meg Ryan” (3:54)- wav file Sharmi Basu: “Freelancer’s Jest or Sorry I’m A Fuckup” (from AFFIRMATIVE ACTION) (18:51)- mp3 file Sharmi Basu: “Freelancer’s Jest or Sorry I’m A Fuckup” (from AFFIRMATIVE ACTION) (18:51)- m4a file Sharmi Basu: “Freelancer’s Jest or Sorry I’m A Fuckup” (from AFFIRMATIVE ACTION) (18:51)- wav file YGSLRHSTFUT: “Rage” (2:20) - mp3 file YGSLRHSTFUT: “Rage” (2:20)- m4a file YGSLRHSTFUT: “Rage” (2:20)- wav file Morgan Craft: “Performance” (from AFFIRMATIVE ACTION)- mp3 file Morgan Craft: “Performance” (from AFFIRMATIVE ACTION)- m4a file Morgan Craft: “Performance” (from AFFIRMATIVE ACTION)- wav file You do not currently have access to this content.
How do creative sound practices function in the context of socially engaged art? Toward developing a practical methodology, this paper focuses on sound-led projects that stage socially engaged art practice in community settings, including some involving the author. Aesthetics, ethics and politics are employed as interrogative lenses for distributed creative processes. Methods for collaborative art-making that facilitate a balance between these lenses are discussed, with the author further arguing the necessity of artistic "disruption." Such sociosonic interventions are demonstrated to occur most effectively when sound practices challenge the paradigm of unidirectional audial reproduction: rupturing traditional hierarchies of creator and listener.
Stowaway City is an immersive audio experience that combines electroacoustic composition and storytelling with extended reality. The piece was designed to accommodate multiple listeners in a shared auditory virtual environment. Each listener, based on their tracked position and rotation in space, wirelessly receives an individual binaurally decoded sonic perspective via open-back headphones. The sounds and unfolding narrative are mapped to physical locations in the performance area, which are only revealed through exploration and physical movement. Spatial audio is simultaneously presented to all listeners via a spherical loudspeaker array that supplements the headphone audio, thus forming a hybrid listening environment. The work is presented as a conceptual and technical design paradigm for creative sonic application of the technology in this medium. The author outlines a set of strategies that were used to realize the composition and technical affordances of the system.
The abstraction of musical structures as mathematical objects in a geometrical space is one of the major accomplishments of contemporary music theory. The author generalizes the concept of musical spaces as networks and derives compositional design principles via network topology analysis. This approach provides a framework for analysis and quantification of similarity of musical objects and structures and suggests a way to relate such measures to human perception of different musical entities. Finally, network analysis provides alternative ways of interpreting the compositional process by quantifying emergent behaviors with well-established statistical mechanics. Interpreting the latter as probabilistic randomness in the network, the author develops novel compositional design frameworks.
Side Venus: The Legacy of Margaret Burroughs by Mary Ann Cain, Leo nardo 53, No. 2 (2020). ADELMAN, CLEMENT. “Chance in Art and Biology,” Leonardo 53, No. 1 (2020). AGGARWAL, VIDHU. “Radioactive Unicorn,” in “Scientific Delirium Madness 6.0” Gallery section, Leo nardo 53, No. 3 (2020). AH-MER-AH-SU. “Meg Ryan,” audio track, “LMJ30 Audio Companion,” Leonardo Music Journal 30 (2020). AHRNT, JANNA. “Deconstruct and Dissent: Subversive Technologies for the Modern Militant,” in Special Section “Top-Rated LABS Abstracts 2019,” Leonardo 53, No. 5 (2020). ALESSANDRINI, PATRICIA. “A little bit of noise,” in “Scientific Delirium Madness 6.0” Gallery section, Leonardo 53, No. 3 (2020). AMELOT, PIERRE; HWONG, JOHN; and MCMANUS, KATE. “Vijks: Hidden Dimensions,” in Special Section “IEEE VIS 2016 and 2017 Arts Program Gallery,” Leonardo 53, No. 1 (2020). ANDERSON, GEMMA; VERD, BERTA; and JAEGER, JOHANNES. “Drawing to Extend Waddington’s Epige netic Landscape,” Leonardo 53, No. 3 (2020). ANTONOVA, CLEMENA. “Non-Euclidean Geometry in Russian Art History: On a Little-Known Application of a Scientific Theory,” Leonardo 53, No. 3 (2020). APOSTOLIDES, NIK. Introduction and Art Gallery, Leonardo Special Issue: SIGGRAPH 2020 Art Papers and Mediating Public Space Art Gallery, Leonardo 53, No. 4 (2020). ASHFORD, RAIN. “Responsive and Emotive Wearable Tech: Physiological Data, Devices and Communication,” in Special Section “Top-Rated LABS Abstracts 2019,” Leonardo 53, No. 5 (2020). AYTON-SHENKER, DIANA. “Earth Day, Regeneration and Arts-SciTech,” Leonardo 53, No. 2 (2020). AYTON-SHENKER, DIANA. “Earth, rise!” Leonardo 53, No. 3 (2020). AYTON-SHENKER, DIANA. “The Great Awakening: Are We Up to the Challenge?” Leonardo 53, No. 5 (2020). AYTON-SHENKER, DIANA. “The Leo nardo COVID-19 Diaries,” Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Adaptation and Convergence of Media: “High” Cultural Intermediality versus Popular Culture Intermediality, edited by Lily Díaz, Magda Dragu and Leena Elittä, Leonardo 53, No. 3 (2020). BAETENS, JAN. Review of Chromo graphia: American Literature and the Modernization of Color by Nicholas Gaskill, Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Designing an Internet by David D. Clark, Leonardo 53, No. 2 (2020). BAETENS, JAN. Review of Electronic Lit erature by Scott Rettberg, Leonardo 53, No. 1 (2020). BAETENS, JAN. Review of A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century by Andrei Pop, Leonardo 53, No. 5 (2020). BAETENS, JAN. Review of Gramma lepsy: Essays on Digital Language Art by John Cayley, Leonardo 53, No. 1 (2020). BAETENS, JAN. Review of Sensations of History: Animation and New Media Art by James J. Hodge, Leonardo 53, No. 5 (2020). BAETENS, JAN. Review of The Super market of the Visible: Toward a General Economy of Images by Peter Szendy; translated by Jan Plug, Leonardo 53, No. 3 (2020). BAETENS, JAN. Review of The Technol ogy Fallacy: How People Are the Real Key to Digital Transformation, edited by Gerald C. Kane, Anh Nguyen Phillips, Jonathan R. Copulsky and Garth R. Andrus, Leonardo 53, No. 3 (2020). BAN, SEONGHOON and HYUN, KYUNG HOON. “Pixel of Matter: New Ways of Seeing with an Active Volumetric Filmmaking System,” Leonardo Special Issue: SIGGRAPH 2020 Art Papers and Mediating Public Space Art Gallery, Leonardo 53, No. 4 (2020). BARBER, JOHN F. Review of Hybrid Practices: Art in Collaboration with Science and Technology in the Long 1960s, edited by David Cateforis, Steven Duval, and Shepherd Steiner, Leonardo 53, No. 3 (2020). BARBER, JOHN F. Review of Sound Art Revisited by Alan Licht, Leonardo 53, No. 5 (2020). BARBER, JOHN F. Review of Tokyo Listening: Sound and Sense in a Con temporary City by Lorraine Plourde, Leonardo 53, No. 3 (2020). BARREIRO LOPEZ, PAULA. “Antes del Arte in Spain (1968–1969): Merging Art, Science and Politics in the Heat of the Cold War,” Leonardo 53, No. 3 (2020). BASU, SHARMI. “Freelancer’s Jest or Sorry I’m A Fuckup,” audio track, “LMJ30 Audio Companion,” Leo nardo Music Journal 30 (2020). BELOFF, LAURA. “The Hearing Test: Evidence of a Vegetal Entity in Special Section “Re:sound—Media Art Histories 2019,” Leonardo Music Journal 30 (2020). BENJAMIN, GARFIELD. “Indistinguishable from Magic: Perception, Knowledge, Technology, Art,” Leonardo 53, No. 5 (2020). BOKARIS, PANAGIOTIS-ALEXANDROS; GOUIFFÈS, MICHELE; CAYE,VÉRONIQUE; CHOMAZ, JEAN-MARC; and JACQUEMIN, CHRISTIAN. “Gardien du Temple: An Interactive Installation Involving Poetry, Performance and Spatial 2020 author index
As witnessed by Walter Benjamin in the early twentieth century, the “state of emergency” in which we still live is not the exception but the rule. In 2018, a research project called Lyden af Danmark (The Sound of Denmark) was launched, aiming at collecting sounds recorded by people living in Denmark. Of 155 recordings and 294 individual sounds uploaded, birds singing and lawnmowers seem to dominate. However, the refugee asylums scattered around the country remain silent (or unrecorded). From this silence the editorial idea for this special section grew as a question: How can sound-based work or phenomena function as evidence in the situation we are in? Are all the crises we are witnessing crises in representing nonhuman and human relations based on the mediation of data? The focus of this special section is to look beyond the visual and ask what constitutes evidence and what else may inform it. The section follows a line of inquiry into the construction of evidence as “a moral activity”; the context of representation becomes an essential point of attention when turning data into knowledge. The medium by which data is represented is significant to both our scientific research of data and our scientific understanding of the world, in addition to the common public’s ideas of what data is. This section presents, in seven different approaches in the hybrid field between scientific and artistic practices, how sound is a constituent of our ideas and understandings of the world as a “constituted” and “transformative reality.” Soundas-evidence operates a paradigm of aesthetic approximation different from earlier aesthetic paradigms. It depends on technological mediation. In her contribution, Janna Holmstedt suggests, “the transformative role of sound and listening troubles Western knowledge systems in fruitful ways.” Laura Beloff asks: What does it mean to hear through technological mediation? Louise Mackenzie recognizes that technological layering opens up “possibilities in thinking about how scientific information is interpreted and whether one perspective is necessarily more valid than another.” In this way, scientific and artistic practices are intertwined in the construction of evidence. When approaching sound as evidence, the paradigm of aesthetic approximation is dependent on technological mediation. It is my claim that aesthetic approximation enables the artist-researcher to approach sound as evidence in more general terms but, at the same time, creates a distance from “the existing” and the “moral process” to which the artistresearcher aspires. I see aesthetic approximation as entangled in (at least) five paradigms of meaning creation, all of them critiquing positivist epistemology and the claim of scientific and technological “objectivity” (see Fig. 1 in the expanded version of this introduction in the online supplements). As Tullis Rennie demonstrates, “practical philosophical intervention asks each of us to challenge the status quo.” Rennie suggests adopting Salomé Voegelin’s proposed sonic imaginary mode of listening. This section connects to evidence as a moral activity. Trial-and-error investigation and the highly self-constructed mode of interpreting findings from those investigations (Beloff) speaks to the transformative potentialities (Holmstedt) of approximating the world through technological layering (Mackenzie) and fragile transductions (Marie Højlund/ Morten Riis) with which the artist-researchers navigate the social resonance of imaginary listening modes (Rennie), actively attempting to attune the nonhuman and human field, negotiating crisis through sound as evidence. Elsewhere, Stephanie Loveless proposes the flaneuserie sonore, feminist soundwalking, as a way to recontextualize the “practices of listening and walking,” and Freya Zinovieff and Gabriela Aceves Sepúlveda further demonstrate that “to listen attentively to the sonic is to situate oneself at the intersection of geopolitics and sensory perception” in what they term Anthropocene Contact Zones. All the articles assert the need to reimagine what evidence is—reclaim its politics—through sound.
As witnessed by Walter Benjamin in the early twentieth century, the “state of emergency” in which we still live is not the exception but the rule. In 2018, a research project called Lyden af Danmark (The Sound of Denmark) was launched, aiming at collecting sounds recorded by people living in Denmark. Of 155 recordings and 294 individual sounds uploaded, birds singing and lawnmowers seem to dominate. However, the refugee asylums scattered around the country remain silent (or unrecorded). From this silence the editorial idea for this special section grew as a question: How can sound-based work or phenomena function as evidence in the situation we are in? Are all the crises we are witnessing crises in representing nonhuman and human relations based on the mediation of data? The focus of this special section is to look beyond the visual and ask what constitutes evidence and what else may inform it. The section follows a line of inquiry into the construction of evidence as “a moral activity”; the context of representation becomes an essential point of attention when turning data into knowledge. The medium by which data is represented is significant to both our scientific research of data and our scientific understanding of the world, in addition to the common public’s ideas of what data is. This section presents, in seven different approaches in the hybrid field between scientific and artistic practices, how sound is a constituent of our ideas and understandings of the world as a “constituted” and “transformative reality.” Soundas-evidence operates a paradigm of aesthetic approximation different from earlier aesthetic paradigms. It depends on technological mediation. In her contribution, Janna Holmstedt suggests, “the transformative role of sound and listening troubles Western knowledge systems in fruitful ways.” Laura Beloff asks: What does it mean to hear through technological mediation? Louise Mackenzie recognizes that technological layering opens up “possibilities in thinking about how scientific information is interpreted and whether one perspective is necessarily more valid than another.” In this way, scientific and artistic practices are intertwined in the construction of evidence. When approaching sound as evidence, the paradigm of aesthetic approximation is dependent on technological mediation. It is my claim that aesthetic approximation enables the artist-researcher to approach sound as evidence in more general terms but, at the same time, creates a distance from “the existing” and the “moral process” to which the artistresearcher aspires. I see aesthetic approximation as entangled in (at least) five paradigms of meaning creation, all of them critiquing positivist epistemology and the claim of scientific and technological “objectivity” (see Fig. 1 in the expanded version of this introduction in the online supplements). As Tullis Rennie demonstrates, “practical philosophical intervention asks each of us to challenge the status quo.” Rennie suggests adopting Salomé Voegelin’s proposed sonic imaginary mode of listening. This section connects to evidence as a moral activity. Trial-and-error investigation and the highly self-constructed mode of interpreting findings from those investigations (Beloff) speaks to the transformative potentialities (Holmstedt) of approximating the world through technological layering (Mackenzie) and fragile transductions (Marie Højlund/ Morten Riis) with which the artist-researchers navigate the social resonance of imaginary listening modes (Rennie), actively attempting to attune the nonhuman and human field, negotiating crisis through sound as evidence. Elsewhere, Stephanie Loveless proposes the flaneuserie sonore, feminist soundwalking, as a way to recontextualize the “practices of listening and walking,” and Freya Zinovieff and Gabriela Aceves Sepúlveda further demonstrate that “to listen attentively to the sonic is to situate oneself at the intersection of geopolitics and sensory perception” in what they term Anthropocene Contact Zones. All the articles assert the need to reimagine what evidence is—reclaim its politics—through sound.
This article investigates a turn from eye to ear in the literature and practice of walking-as-art. Arguing for listening as a feminist and ecologically oriented mode of engaging with the world, the author examines the practice of soundwalking (Westerkamp) and Deep Listening (Oliveros), placing them in conversation with the work of Michel de Certeau, and concludes with a discussion of the creative projects of Suzanne Thorpe, Viv Corringham and Amanda Gutierrez in order to chart the importance of relational listening practices today.
In the past decade, a growing music-analytic practice has emerged around timbre, a parameter long considered either irrelevant to musical structure or too unwieldy to tackle. This new practice centers on an understanding of timbre as a perceptual rather than physical (acoustical) attribute and privileges timbre as a bearer of musical meaning. Through a focused survey of scholarship on timbre from the 1980s to present, this article considers theoretical commitments and challenges that have attended the shift toward this subjective, "perceptualized" conception of timbre, particularly in light of music theory's objectivist and structuralist disciplinary leanings.
December 01 2020 Introduction to Special Section: Sound as Evidence Morten Søndergaard 0000-0002-9730-6182 Morten Søndergaard Aalborg University, Email: mortenson@hum.aau.dk. Search for other works by this author on: This Site Google Scholar Author and Article Information Morten Søndergaard https://orcid.org/0000-0002-9730-6182 Aalborg University, Email: mortenson@hum.aau.dk. Online Issn: 1531-4812 Print Issn: 0961-1215 ©2020 ISAST2020ISAST Leonardo Music Journal (2020) 30: 84. https://doi.org/10.1162/lmj_a_01096 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Morten Søndergaard; Introduction to Special Section: Sound as Evidence. Leonardo Music Journal 2020; 30 84. doi: https://doi.org/10.1162/lmj_a_01096 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsLeonardo Music Journal Search Advanced Search This content is only available as a PDF. ©2020 ISAST2020ISAST Article PDF first page preview Close Modal You do not currently have access to this content.
In this article, Evelyn Ficarra considers her compositional practice, giving particular emphasis to the techniques and aesthetics of using time-lapse media and other temporal manipulations in interdisciplinary contexts. Foregrounding her collaboration with media artist Ian Winters on the large-scale interdisciplinary installation/performance Summer, Winter, Spring, Ficarra describes her attempt to model audio-temporal methods on techniques borrowed from the visual realm. She considers temporal compression, extension and layering as compositional tools, highlighting issues of scale, structure and experience, and suggests that radical temporal manipulations of material can serve to bridge referential and abstract sound worlds. Ficarra concludes with reflections on the meanings and poetic resonances of time-lapse media.
In this article the author explores the idea that, owing to their shared three-dimensional nature, holophons and virtual holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is within reach. Here, one methodological pipeline is delineated that employs the convergence of holophony, virtual holography and supercomputing toward the creation of visual music compositions intended for head-mounted displays or large-scale 3D/360-degree projection screens and high-density loudspeaker arrays.
This article explores concepts of compositional meaning that arise from cocreative composing with music-generation software. Drawing from an analysis of the 2017 electroacoustic composition Virtutes Occultae, the composer discusses the implications of computer-generated music for the role of the composer. After an overview of how the music-generation software he developed contributed to the creation of Virtutes Occultae, the composer makes comparisons between his process and the use of generative commercial music software to create music, in order to draw distinctions between creating computer-generated music to extend aesthetic sensibilities and creating computer-generated music that iterates based on established commercial styles. Finally, the composer proposes future paths for further investigation involving the development of new musical styles through computer-generated music and reactive computer improvisation.
December 01 2020 Active Imaginative Reading . . . and Listening David Rosenboom David Rosenboom Roy E. Disney Family Chair in Musical Composition, The Herb Alpert School of Music, California Institute of the Arts, Website: www.davidrosenboom.com Search for other works by this author on: This Site Google Scholar Author and Article Information David Rosenboom Roy E. Disney Family Chair in Musical Composition, The Herb Alpert School of Music, California Institute of the Arts, Website: www.davidrosenboom.com Online Issn: 1531-4812 Print Issn: 0961-1215 ©2020 ISAST2020ISAST Leonardo Music Journal (2020) 30: 1–2. https://doi.org/10.1162/lmj_a_01085 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation David Rosenboom; Active Imaginative Reading . . . and Listening. Leonardo Music Journal 2020; 30 1–2. doi: https://doi.org/10.1162/lmj_a_01085 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsLeonardo Music Journal Search Advanced Search This content is only available as a PDF. ©2020 ISAST2020ISAST Article PDF first page preview Close Modal Supplementary data Ringing Minds (2014) listening as performanceShort excerpt of Ringing Minds, collaboration with Tim Mullen and Alexander Khalil; part of Propositional Music, David Rosenboom 50-Year Retrospective, Whitney Museum of American Art, New York, (2015); for listening-as-performance brain quartet, hyper-brain analysis, violin, electronics, Yamaha Disklavier, lithoharp; Matt Wachter and Glenn Snyder, realization of hyper-brain visualizing concept. (© ℗ David Rosenboom and the David C. Rosenboom 2013 Trust 2015)- mp4 file You do not currently have access to this content.
December 01 2020 Notes on LMJ30 audio tracks Zachary James Watkins, Zachary James Watkins Web: www.zacharyjameswatkins.com.As a composer and founding member of experimental music ensemble Black Spirituals, Oakland-based ZACHARY WATKINS crafts work in pursuit of psychedelic experience, where sonic and compositional focal points are self-guided by the listener and acoustic phenomenon is at the center of the narrative. Zachary has received commissions from Kronos Quartet, Cornish College of The Arts, The Microscores Project, the Beam Foundation, Somnubutone Radio Series free103point9 .org, sfsound and the Seattle Chamber Players. Zachary releases music on the labels Sige, Cassauna, Confront (U.K.), The Tapeworm and Touch (U.K.). Novembre Magazine (Germany), ITCH (South Africa), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist in residence at the Espy Foundation, Djerassi Resident Artists Program and the Headlands Center for the Arts. Search for other works by this author on: This Site Google Scholar Davia Spain, Davia Spain Web: www.daviaspain.bandcamp.com.DAVIA SPAIN is an electronic, free jazz and blues artist. Greatly influenced by her background in chamber music, Spain strives to blend the new with the old. Steeped in Afro-futurist traditions of nonlinear time, Spain seeks to reimagine the past, make predictions of the future and pull possible outcomes into the present through her music. While she is grateful for a traditional foundation in classical voice, dance and acting training she also values the room for experimentation afforded her in California's underground performance art and club scene. Recently she has shown work at Berkeley Art Museum, REDCAT, The Regent (LA) and The Broad Museum, where she played music from her debut album, Dawning. A forthcoming visual work that accompanies her music will be available soon. Search for other works by this author on: This Site Google Scholar Raven Chacon, Raven Chacon Web: www.spiderwebsinthesky.com.Originally from the Navajo Nation, RAVEN CHACON is a composer of chamber music, a performer of experimental noise music and an installation artist. Chacon's work explores sounds of acoustic handmade instruments overdriven through electric systems. As an educator, Chacon has served as composerin- residence for the Native American Composer Apprentice Project, teaching string quartet composition to hundreds of American Indian high school students living on reservations in the Southwest U.S. His work has been presented at the Whitney Biennial, documenta 14, REDCAT, the Kennedy Center and the San Francisco Electronic Music Festival. Search for other works by this author on: This Site Google Scholar Leroy F. Moore, Jr., Leroy F. Moore, Jr. Web: www.jubakalamka.bandcamp.com/album/invalidations-volume-too-2.JKLM is a collaborative poetry/hip hop/electronic music project with words by Leroy F. Moore Jr. aka The Black Kripple and music by Juba Kalamka aka Joe Louis Milk.Born in 1967 with cerebral palsy in New York City, LEROY F. MOORE JR. was blessed to have a conscious, activist father and mother who instilled a strong sense of identity as a Black and disabled youngster. Moore is founder of the Krip-Hop Nation (a movement that addresses ableism, or discrimination against disabled artists, especially Black musicians marginalized because of racism AND ableism internationally) and the cofounder of Sins Invalid. Moore is an activist, writer, poet, rapper, feminist and radio programmer. Moore wrote for I.D.E.A.L. Magazine, and since the 1990s, has written the column “Illin-N-Chillin” for POOR Magazine. Search for other works by this author on: This Site Google Scholar Juba Kalamka, Juba Kalamka Web: www.jubakalamka.bandcamp.com/album/invalidations-volume-too-2.JKLM is a collaborative poetry/hip hop/electronic music project with words by Leroy F. Moore Jr. aka The Black Kripple and music by Juba Kalamka aka Joe Louis Milk.Although his recording career began in 1988, bisexual artist/activist JUBA KALAMKA is most recognized for his more recent work with queer POC performance troupes Sins Invalid and Mangos with Chili, as a member of “homohop” group Rainbow Flava, cofounder/producer of Deep Dickollective (D/DC) and his development of the microlabel Sugartruck Recordings. Kalamka's personal work centers on intersectional dialogues on race, identity, gender, disability, sexuality and class in popular media. He received a 2005 Creating Change Award from the National Gay and Lesbian Task Force (NGLTF) for his activist work in the queer music community. Search for other works by this author on: This Site Google Scholar Ava Mendoza, Ava Mendoza Web: www.avamendozamusic.com.AVA MENDOZA is a Brooklyn-based guitarist, singer, songwriter and composer. Born in 1983, she started performing her own music, and as a sidewoman and collaborator in many different projects, as soon as she was legally allowed into venues. As a guitarist, Mendoza has received acclaim for her technique and viscerality. Her most ongoing work is as leader of art rock band Unnatural Ways and as a solo performer of her own music and works by contemporary composers. In any context she is committed to bringing expressivity, energy and a wide sonic range to the music. Mendoza has toured throughout the U.S. and Europe and has recorded/performed with musicians including Carla Bozulich, Malcolm Mooney (CAN), Steve Shelley, Mike Watt, Adele Bertei, Mick Barr, William Hooker, Nels Cline, Matana Roberts, John Zorn, Jamaaladeen Tacuma, Fred Frith, William Parker, Hamid Drake, Object Collection (Travis Just), ROVA, Negativland, the Violent Femmes and members of Caroliner. She has received composition commissions from film distributor Kino Lorber, new music duo The Living Earth Show and John Zorn's Stone Commissioning Series at National Sawdust. Recordings are available on labels Tzadik, Astral Spirits, Weird Forest, Clean Feed, Resipiscent and New Atlantis. Search for other works by this author on: This Site Google Scholar Star Amerasu, Star Amerasu Web: www.starmusic.bandcamp.com.AH-MER-AH-SU is the music project of interdisciplinary artist Star Amerasu, whose music and art are based upon her experiences living loud and proud as a queer, Black, trans woman. Her early work was influenced primarily by folk and choral music, and she effortlessly blends her voice with synths, looped vocals and intricate live electronic percussion. She has performed in Europe, Australia and North America and her recordings—2016’s Eclipsing, 2017’s Rebecca and 2018’s Star—have garnered widespread critical acclaim. Search for other works by this author on: This Site Google Scholar Sharmi Basu, Sharmi Basu Web: www.sharmi.info.Born and currently based in Oakland, CA, SHARMI BASU is a South Asian woman of color creating experimental music as a means of decolonizing musical language. She attempts to catalyze a political yet ethereal aesthetic by combining her anticolonial and antiimperialist politics with a commitment to spirituality within the arts. In addition to her compositions and solo electronic performances, Basu founded and hosts MARA, a performance and improvisation collective centered around queer, trans and/or womyn of color and is building The Universe Is Lit: Bay Area Black and Brown Punk Festival. Search for other works by this author on: This Site Google Scholar Chella Coleman, Chella Coleman Web: www.youguyssucklikerealhardshutthefuckupthanks.bandcamp.com.YGSLRHSTFUT is a Los Angeles–based trans black GNC punk band seeking to not get famous but be part of a revolution in a punk rock way. For what the name means, ask them. The ensemble consists of Chella Coleman (vocals/bass), Maya Sage (bass/vocals) and Mateas (drums). Search for other works by this author on: This Site Google Scholar Maya Sage, Maya Sage Web: www.youguyssucklikerealhardshutthefuckupthanks.bandcamp.com.YGSLRHSTFUT is a Los Angeles–based trans black GNC punk band seeking to not get famous but be part of a revolution in a punk rock way. For what the name means, ask them. The ensemble consists of Chella Coleman (vocals/bass), Maya Sage (bass/vocals) and Mateas (drums). Search for other works by this author on: This Site Google Scholar Mateas, Mateas Web: www.youguyssucklikerealhardshutthefuckupthanks.bandcamp.com.YGSLRHSTFUT is a Los Angeles–based trans black GNC punk band seeking to not get famous but be part of a revolution in a punk rock way. For what the name means, ask them. The ensemble consists of Chella Coleman (vocals/bass), Maya Sage (bass/vocals) and Mateas (drums). Search for other works by this author on: This Site Google Scholar Morgan Craft Morgan Craft Web: www.morgancraftmusic.bandcamp.com,MORGAN CRAFT is a musician, improviser, composer, and writer. Currently based in Amsterdam, Craft's compositions dialogue with the role of the performer in the interpretation and realization of improvised concert works. He founded Circle Of Light Recordings in 2001. He has played with Butch Morris, Talib Kweli, Pete Cosey, Ikue Mori, Meshell Ndegeocello, Anton Fig, Beans, Muzz Skillings, Greg Osby, Rhodri Davies, Johnny Kemp, Marc Ribot, Christian Marclay, Simon H. Fell, Nona Hendryx, Carl Hancock Rux, Daniel Carter, Vernon Reid and Greg Tate. He has released 13 solo albums as well as numerous essays and articles. Search for other works by this author on: This Site Google Scholar Author and Article Information Zachary James Watkins Web: www.zacharyjameswatkins.com.As a composer and founding member of experimental music ensemble Black Spirituals, Oakland-based ZACHARY WATKINS crafts work in pursuit of psychedelic experience, where sonic and compositional focal points are self-guided by the listener and acoustic phenomenon is at the center of the narrative. Zachary has received commissions from Kronos Quartet, Cornish College of The Arts, The Microscores Project, the Beam Foundation, Somnubutone Radio Series free103point9 .org, sfsound and the Seattle Chamber Players. Zachary releases music on the labels Sige, Cassauna, Confront (U.K.), The Tapeworm and Touch (U.K.). Novembre Magazine (Germany), ITCH (South Africa), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist in residence at the Espy Foundation, Djerassi Resident Artists Program and the Headlands Center for the Arts. Davia Spain Web: www.daviaspain.bandcamp.com.DAVIA SPAIN is an electronic, free jazz and blues artist. Greatly influenced by her background in chamber music, Spain strives to blend the new with the old. Steeped in Afro-futurist traditions of nonlinear time, Spain seeks to reimagine the past, make predictions of the future and pull possible outcomes into the present through her music. While she is grateful for a traditional foundation in classical voice, dance and acting training she also values the room for experimentation afforded her in California's underground performance art and club scene. Recently she has shown work at Berkeley Art Museum, REDCAT, The Regent (LA) and The Broad Museum, where she played music from her debut album, Dawning. A forthcoming visual work that accompanies her music will be available soon. Raven Chacon Web: www.spiderwebsinthesky.com.Originally from the Navajo Nation, RAVEN CHACON is a composer of chamber music, a performer of experimental noise music and an installation artist. Chacon's work explores sounds of acoustic handmade instruments overdriven through electric systems. As an educator, Chacon has served as composerin- residence for the Native American Composer Apprentice Project, teaching string quartet composition to hundreds of American Indian high school students living on reservations in the Southwest U.S. His work has been presented at the Whitney Biennial, documenta 14, REDCAT, the Kennedy Center and the San Francisco Electronic Music Festival. Leroy F. Moore, Jr. Web: www.jubakalamka.bandcamp.com/album/invalidations-volume-too-2.JKLM is a collaborative poetry/hip hop/electronic music project with words by Leroy F. Moore Jr. aka The Black Kripple and music by Juba Kalamka aka Joe Louis Milk.Born in 1967 with cerebral palsy in New York City, LEROY F. MOORE JR. was blessed to have a conscious, activist father and mother who instilled a strong sense of identity as a Black and disabled youngster. Moore is founder of the Krip-Hop Nation (a movement that addresses ableism, or discrimination against disabled artists, especially Black musicians marginalized because of racism AND ableism internationally) and the cofounder of Sins Invalid. Moore is an activist, writer, poet, rapper, feminist and radio programmer. Moore wrote for I.D.E.A.L. Magazine, and since the 1990s, has written the column “Illin-N-Chillin” for POOR Magazine. Juba Kalamka Web: www.jubakalamka.bandcamp.com/album/invalidations-volume-too-2.JKLM is a collaborative poetry/hip hop/electronic music project with words by Leroy F. Moore Jr. aka The Black Kripple and music by Juba Kalamka aka Joe Louis Milk.Although his recording career began in 1988, bisexual artist/activist JUBA KALAMKA is most recognized for his more recent work with queer POC performance troupes Sins Invalid and Mangos with Chili, as a member of “homohop” group Rainbow Flava, cofounder/producer of Deep Dickollective (D/DC) and his development of the microlabel Sugartruck Recordings. Kalamka's personal work centers on intersectional dialogues on race, identity, gender, disability, sexuality and class in popular media. He received a 2005 Creating Change Award from the National Gay and Lesbian Task Force (NGLTF) for his activist work in the queer music community. Ava Mendoza Web: www.avamendozamusic.com.AVA MENDOZA is a Brooklyn-based guitarist, singer, songwriter and composer. Born in 1983, she started performing her own music, and as a sidewoman and collaborator in many different projects, as soon as she was legally allowed into venues. As a guitarist, Mendoza has received acclaim for her technique and viscerality. Her most ongoing work is as leader of art rock band Unnatural Ways and as a solo performer of her own music and works by contemporary composers. In any context she is committed to bringing expressivity, energy and a wide sonic range to the music. Mendoza has toured throughout the U.S. and Europe and has recorded/performed with musicians including Carla Bozulich, Malcolm Mooney (CAN), Steve Shelley, Mike Watt, Adele Bertei, Mick Barr, William Hooker, Nels Cline, Matana Roberts, John Zorn, Jamaaladeen Tacuma, Fred Frith, William Parker, Hamid Drake, Object Collection (Travis Just), ROVA, Negativland, the Violent Femmes and members of Caroliner. She has received composition commissions from film distributor Kino Lorber, new music duo The Living Earth Show and John Zorn's Stone Commissioning Series at National Sawdust. Recordings are available on labels Tzadik, Astral Spirits, Weird Forest, Clean Feed, Resipiscent and New Atlantis. Star Amerasu Web: www.starmusic.bandcamp.com.AH-MER-AH-SU is the music project of interdisciplinary artist Star Amerasu, whose music and art are based upon her experiences living loud and proud as a queer, Black, trans woman. Her early work was influenced primarily by folk and choral music, and she effortlessly blends her voice with synths, looped vocals and intricate live electronic percussion. She has performed in Europe, Australia and North America and her recordings—2016’s Eclipsing, 2017’s Rebecca and 2018’s Star—have garnered widespread critical acclaim. Sharmi Basu Web: www.sharmi.info.Born and currently based in Oakland, CA, SHARMI BASU is a South Asian woman of color creating experimental music as a means of decolonizing musical language. She attempts to catalyze a political yet ethereal aesthetic by combining her anticolonial and antiimperialist politics with a commitment to spirituality within the arts. In addition to her compositions and solo electronic performances, Basu founded and hosts MARA, a performance and improvisation collective centered around queer, trans and/or womyn of color and is building The Universe Is Lit: Bay Area Black and Brown Punk Festival. Chella Coleman Web: www.youguyssucklikerealhardshutthefuckupthanks.bandcamp.com.YGSLRHSTFUT is a Los Angeles–based trans black GNC punk band seeking to not get famous but be part of a revolution in a punk rock way. For what the name means, ask them. The ensemble consists of Chella Coleman (vocals/bass), Maya Sage (bass/vocals) and Mateas (drums). Maya Sage Web: www.youguyssucklikerealhardshutthefuckupthanks.bandcamp.com.YGSLRHSTFUT is a Los Angeles–based trans black GNC punk band seeking to not get famous but be part of a revolution in a punk rock way. For what the name means, ask them. The ensemble consists of Chella Coleman (vocals/bass), Maya Sage (bass/vocals) and Mateas (drums). Mateas Web: www.youguyssucklikerealhardshutthefuckupthanks.bandcamp.com.YGSLRHSTFUT is a Los Angeles–based trans black GNC punk band seeking to not get famous but be part of a revolution in a punk rock way. For what the name means, ask them. The ensemble consists of Chella Coleman (vocals/bass), Maya Sage (bass/vocals) and Mateas (drums). Morgan Craft Web: www.morgancraftmusic.bandcamp.com,MORGAN CRAFT is a musician, improviser, composer, and writer. Currently based in Amsterdam, Craft's compositions dialogue with the role of the performer in the interpretation and realization of improvised concert works. He founded Circle Of Light Recordings in 2001. He has played with Butch Morris, Talib Kweli, Pete Cosey, Ikue Mori, Meshell Ndegeocello, Anton Fig, Beans, Muzz Skillings, Greg Osby, Rhodri Davies, Johnny Kemp, Marc Ribot, Christian Marclay, Simon H. Fell, Nona Hendryx, Carl Hancock Rux, Daniel Carter, Vernon Reid and Greg Tate. He has released 13 solo albums as well as numerous essays and articles. Online Issn: 1531-4812 Print Issn: 0961-1215 ©2020 ISAST2020ISAST Leonardo Music Journal (2020) 30: 121–124. https://doi.org/10.1162/lmj_a_01106 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Zachary James Watkins, Davia Spain, Raven Chacon, Leroy F. Moore, Juba Kalamka, Ava Mendoza, Star Amerasu, Sharmi Basu, Chella Coleman, Maya Sage, Mateas, Morgan Craft; Notes on LMJ30 audio tracks. Leonardo Music Journal 2020; 30 121–124. doi: https://doi.org/10.1162/lmj_a_01106 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsLeonardo Music Journal Search Advanced Search This content is only available as a PDF. ©2020 ISAST2020ISAST Article PDF first page preview Close Modal You do not currently have access to this content.
In this article the authors present their sound art project Nephew vs. Overheard as an exploration of a messy, fragile and incoherent local approach to public ecological art, an approach that aims at creating links of affectivity with technological creatures, such as large wind turbines, with which we share our landscape. Supplementing, as well as challenging, the dominant global strategy of ecological art, the authors argue that it is essential to experiment with transductive chains of local environmental data, creating sensibilities that we can relate to in our everyday environments.
The author argues that significant aspects of electronic music performance have been diminished in the rush to incorporate the latest, often discreet (as in intentionally unobtrusive) technologies. He identifies these aspects as agency, ritual and, to a lesser extent, serendipity and mess. Using references to his own work, he suggests that applying an understanding of how actors create totems to present agency and affordance is essential to regain, and possibly acclimate, these tools and practices so they are relevant to live electronic music performance practice in a contemporary technology environment.
The author's artistic experiment The Hearing Test focuses on detection of high frequency clicking sounds that are emitted by the tips of plants' roots. Scientists have claimed that plants' roots produce high frequency clicks between 20 and 300 kHz by bursting air bubbles. But while the phenomenon has been described, its cause remains unexplained. This lack of knowledge opens up possibilities for multiple interpretations and invites experimental approaches as well as speculation concerning plant intelligence, the role of species-specific hearing and sound as evidence. The article is an extended reflection on the experiment.
