Difference between revisions of "220C/Alexander"
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This is a humanities project, and much of it will be reading-based rather than directed towards producing an application. Its goal is to provide some scholarly infrastructure for future music collaborations with manuscript scholars. | This is a humanities project, and much of it will be reading-based rather than directed towards producing an application. Its goal is to provide some scholarly infrastructure for future music collaborations with manuscript scholars. | ||
| − | + | * 1) An online tool that helps scholars use noise as a form of theoretical scholarship on visual images | |
| − | + | * 2) a 3 to 5-page paper discussing the work’s theoretical implications | |
Learning objectives: | Learning objectives: | ||
Revision as of 02:14, 30 May 2023
PROJECT PARAMETERS
This is a humanities project, and much of it will be reading-based rather than directed towards producing an application. Its goal is to provide some scholarly infrastructure for future music collaborations with manuscript scholars.
- 1) An online tool that helps scholars use noise as a form of theoretical scholarship on visual images
- 2) a 3 to 5-page paper discussing the work’s theoretical implications
Learning objectives:
- To go from no experience at all with computer music to being competent in its discourses.
- To read widely in sound studies, music theory, computer music history, sound poetics, etc
- To learn to approach sound and music from a number of interdisciplinary angles.
- To build/solidify proficiency in ChuCK, P5.js, and Live/Max
- To think about music production as a form of practice for a scholar-practitioner
UPDATES
[updates to come -- they are cursory at the moment, as I am looking through my records to see what I read]
Week 8
I decide to focus on images of architecture, spatial constructions (such as maps), and other kinds of figurations of entanglements -- they are perhaps the optimal object of the tool. I spent this week building out the interface, making it possible for users to customize. I ran into problems while trying to "chromatize": i.e. it was difficult to allow people to choose base colors for parametrizations. The next step is to allow people to save "journeys" in the images.
Week 7
- Wang, G., P. R. Cook, S. Salazar. 2015. "ChucK: A Strongly-timed Computer Music Language." Computer Music Journal. 39(4):10-29.
After meeting with Kevin, I ported the code to P5.js, which took a lot more time than I had anticipated.
Week 6
- Parker VanValkenburgh, Alluvium and Empire: The Archaeology of Colonial Resettlement and Indigenous Persistence on Peru's North Coast (The University of Arizona Press, 2021)
- Edmund Husserl, The Phenomenology of Internal Time-Consciousness, Fourth Printing edition (Indiana University Press, 1964);
- Edmund Husserl, Ideas: General Introduction to Pure Phenomenology, Routledge Classics (London ; New York: Routledge, 2012).
I build out the interface I have in mind in Processing. I consider the idea of a "reduction" (reducción) in entangled histories of sound and space. I experiment with a trove of images from forthcoming article from ILAC professor to see what kinds of arguments can be mounted from the noise.
Week 5
- Jacob Gaboury, Image Objects: An Archaeology of Computer Graphics (MIT Press, 2021)
- Christoph Cox, Sonic Flux: Sound, Art, and Metaphysics (Chicago, IL: University of Chicago Press, 2018), https://press.uchicago.edu/ucp/books/book/chicago/S/bo27886631.html.
I finally have a project defined! I begin to consult with ILAC scholars. Selected project parameters, began to build Processing code -- built out lightboxes, etc. I work through tutorials on Processing, OSC, and try to hook it up to ChuCK.
Weeks 3 & 4
Readings
- Carolyn Kane, Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code (Chicago, IL: University of Chicago Press, 2014).
- Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice, Reprint edition (Oxford University Press, 2016)
- Douglas Kahn, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (University of California Press, 2013)
- Kim-Cohen, Seth. In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Illustrated edition. New York: Continuum, 2009.
I experiment with the idea of chroma, of color as a metaphor for sound. I spend the weekend at the studio experimenting with throwing colors onto sounds.
Week 2
Readings
- V. J. Manzo and Will Kuhn, Interactive Composition: Strategies Using Ableton Live and Max for Live, 1st edition (New York, NY: Oxford University Press, 2015).
- Jan Schnupp, Israel Nelken, and Andrew J. King, Auditory Neuroscience: Making Sense of Sound (The MIT Press, 2012)
- Veit Erlmann, Reason and Resonance: A History of Modern Aurality, First paperback edition (New York: Zone Books, 2014).
I participated in a studio orientation with Matthew on Wednesday and spent Saturday afternoon and evening working through how to get a DAW up and running up to the point where I can make basic ambient music through Ableton Live.
Week 1
Readings
- Ajay Kapur et al., Programming for Musicians and Digital Artists: Creating Music with ChucK, 1st edition (Shelter Island: Manning, 2015).
- Andrew J. Nelson, The Sound of Innovation: Stanford and the Computer Music Revolution, Illustrated edition (Cambridge, MA: The MIT Press, 2015).
- Ge Wang, Artful Design: Technology in Search of the Sublime, A MusiComic Manifesto (Stanford: Stanford University Press, 2018).
I have been giving myself a bootcamp education in ChuCK – I worked through a textbook and am now able to complete work up to MUSIC 220A and half of MUSIC 220B. I am also exploring other software ecologies (Max/MSP, PureData etc). I have also been reading up on the relationship between the sonic avant-gardes of mid-twentieth century America and contemporary discourse on poetics, sound studies, and art history to see what theoretical interventions made in music look like.
