Difference between revisions of "220C/Alexander"
| Line 1: | Line 1: | ||
'''PROJECT PARAMETERS''' | '''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 | ** 1) An online tool that helps scholars use noise as a form of theoretical scholarship on visual images | ||
| Line 8: | Line 8: | ||
Learning objectives: | 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 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 learn to approach sound and music from a number of interdisciplinary angles. | ||
| Line 15: | Line 16: | ||
'''UPDATES''' | '''UPDATES''' | ||
| − | [updates to come -- they are cursory at the moment | + | [updates to come -- they are cursory at the moment, as I am looking through my records to see what I read] |
| − | '''Week | + | ''' 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 | + | '''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) | * 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. | * 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) | * 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) | * 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''' | '''Week 2''' | ||
| Line 51: | Line 60: | ||
* Jan Schnupp, Israel Nelken, and Andrew J. King, ''Auditory Neuroscience: Making Sense of Sound'' (The MIT Press, 2012) | * 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). | * 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. | 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. | ||
Revision as of 03:12, 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.
