[Nov 5/12/19] Workshop: A methodology of the sound recording and documentary sound writing.

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This series of workshops is intended to people having already a practice of the sound writing and sound recording. It is conceived to give methodological bases concerning sound recording, sound sampling, editing and mixing to carry out sound creations documentary or more musical forms, radio drama, hörspiel or electroacoustic pieces. At the end of the session, the participants acquired a work method which they will be then able to use within the daily framework of their sound activity.

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[Nov 7/8] Christina Campanella, Latitude 14: I Went To The Lighthouse (And It Wasn’t There)

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Fusing sound art and durational performance, LIGHTHOUSE is an immersive 3D sound installation that plumbs a world in which the seas have risen—in particular, the uneasy psychic terrain of an inundated New York City. Campanella’s impressionistic electronic score is designed for one live performer and a multi-tiered 8.4.1 system of speakers that surrounds the viewer/listener from all sides and above.

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[Nov 7/9] Timothy Fodness: Spacemen Waving at the Camera

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In this 5.1 surround sound album, recorded prose is combined with sonic landscapes in an attempt to create an experience somewhere between reading a book and going to the movies. Twelve written pieces arrived at through automatic writing, journaling, and dream re-interpretation move through worlds blending modular synthesis, sound design, sampling, homemade instruments, and field recordings in order to crossfade listeners between real and surreal settings.

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[Nov 21-23] Benoit Bories: In The Breath Of An Animal

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The central idea in the intensive practices is to strongly accelerate the time of the various productive phases and thus to force the animal to adapt to this rhythm. Which can be the consequences of such a forced report, how saw this situation for animals gathered on small spaces in a sound and visual environment out of their natural framework of comprehension?
By the sets of sound and visual compositions, their rhythmic and their tonalities, it is proposed here to question the importance of the respect of the temporality of life of livestock.

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