Hostname: page-component-74656f9884-c52kr Total loading time: 0 Render date: 2026-11-08T23:24:51.893Z Has data issue: false hasContentIssue false
  • English
  • Français

Sound and movie examples – issue 22(1)

Published online by Cambridge University Press:  07 March 2017

Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.

Information

Type
DVD Information
Information
Organised Sound , Volume 22 , Special Issue 1: Context-based Composition , April 2017 , pp. 140 - 141
Copyright
© Cambridge University Press 2017 

Sound and Movie examples from this issue 22(1) can already be found online at the journal’s website: www.journals.cambridge.org/OSO. Organised Sound has discontinued its production of DVDs with volume 20.

Andrew Hill

Listening for Context: Interpretation, abstraction and the real

3 Sound examples

Sound example 1: ‘Sound Example One’ by Andrew Hill – 13″.

Sound example 2: ‘Sound Example Two’ by Andrew Hill – 17″.

Sound example 3: ‘Sound Example Three’ by Andrew Hill – 10″.

Charles F. Underriner

The Sound-Poetry of the Instability of Reality: The audio reality effect and mimesis

7 Sound examples

Sound example 1: ‘Daily Routines: Shower’ (2014) by Jens Tokernholdt – 3′39″.

Sound example 2: The Sound of Light in Trees (2006) by David Dunn (excerpt) – 0′59″.

Sound example 3: Pendlerdrøm (1997) by Barry Truax (excerpt) – 2′40″.

Sound example 4: Wind Chimes (1992) by Denis Smalley – 2′00″.

Sound example 5: ‘Daily Routines: Shower’ (2014) by Jens Tokernholdt (excerpt) and ‘Big Waterfall’ (2011) by Martats (excerpt, crossfaded by the author) – 0′26″.

Sound example 6: 2 seconds (2010) by Michael Pisaro and Taku Sugimoto (excerpt) – 3′20″.

Sound example 7: wave (2010) by Michael Pisaro and Taku Sugimoto (excerpt) – 4′17″.

(Provided with kind permission from the artists and/or their recording publishers.)

Damián Keller and Victor Lazzarini

Ecologically Grounded Creative Practices in Ubiquitous Music

1 Movie example

Movie example 1: Clarita, video excerpt from the installation InMesh / Enmarañados / Emaranhados (2014) by Ariadna Capasso, Damián Keller and Patricia Tinajero, MediaNoche Media Gallery, New York, USA – 4′56″.

Lauren Hays

From Site-specific to Site-responsive: Sound art performances as participatory milieux

1 Sound example and 3 Movie examples

1 Sound example

Sound example 1: Landfill_2 (2014) by Lauren Hayes – 10′48″.

3 Movie examples

Movie example 1: 15 Seconds (2015) by Lauren Hayes – Live recording from performance in Hamilton Mausoleum, Sonica Festival (excerpt) – 1′52″.

Movie example 2: Untitled Improvisation (2012) by Lauren Hayes – Live recording from performance in Mimerlaven, Norbergfestival (excerpt) – 15″.

Movie example 3: Scorched Earth (2015) by Lauren Hayes – Live recording from performance at the Salton Sea, Bombay Beach, CA (excerpt) – 1′33″.

Martin Ljungdahl Eriksson, Lena Pareto and Ricardo Atienza

The Sound Bubble: A context-sensitive space in the space

4 Sound examples

Sound example 1: ‘Sea and wind’ (2015) by Martin Ljungdahl Eriksson (excerpt) – 1′00″.

Sound example 2: ‘Tonal mode of sea and wind’ (2015) by Martin Ljungdahl Eriksson (excerpt) – 1′00″.

Sound example 3: ‘Motion inside a changing space’ (2015) by Ricardo Atienza (excerpt) – 1′00″.

Sound example 4: ‘The cyclical structure walk’ (2015) by Martin Ljungdahl Eriksson (excerpt) – 1′00″.