Week 9 (Mar 13) NOISE & SILENCE

1. NOISE / SILENCE listening exercise

Each one of you has been assigned a one-hour (approx.) track or set of tracks to listen to, which will help you meditate on the concepts of NOISE and SILENCE.

Identify various ways in which noise functions. Is the noise on an acoustical level, or does it pertain to something else? Locate as many meanings of noise within your particular listening assignment. See some possible conceptions of noise below.

Listen to the tracks several times.

Bring to class a list of 3 (or more) perspectives on NOISE and SILENCE, and how they complicate each other.

conceptions of noise

NOISE as something out of one’s CONTROL

NOISE as DISTRACTION

NOISE as DEVIATION

NOISE as EXCESS

NOISE as RELATIONAL CONCEPT

NOISE as PROCESS

NOISE as CULTURALLY RELATIVE

NOISE as INEPTITUDE

NOISE as INEFFICIENCY

NOISE as SOMETHING OUT-OF-PLACE

NOISE as the PRIVATE MADE PUBLIC

NOISE as a PARASITE THAT RIDES ALONG WITH THE SIGNAL

NOISE is WHAT CANNOT BE EVALUATED

as well as the following questions:

What occurs in the background? Can it ever be consciously accessed?

How can you learn to listen peripherally? What could you do with that new ability?

How does the game of attention-grabbing function today, in a world of dense sensory stimulation?

What are some of the new ways in which signals cut through noise?

Can distraction—considered a negative condition—have positive aspects?

What new ways of being/living are made possible through distraction?

Can something can be noisy without being loud?

2. PROJECT THREE intro

Sound, Noise, Effect, Intervention: Critique December 2

This intervention will be based on the work we have been doing interrogating the nature of noise and silence AND your research on sonic effects. Your project will involve an intervention into a public space that negotiates the boundaries between noise and silence, relational concepts with a multiplicity of potentials. Draw from any of the selected interpretations below, as well as interpretations of your own.

You can choose any sonic effect from the following list: Anticipation, Chain, Cocktail, Cut Out, Deburau, Decontextualization, Delocalization, Desynchronization, Imitation, Incursion, Intrusion, Mask, Niche, Repetition, Reverberation, Synchronization, Wave

Details on each can be found in Sonic Experience.

Your performance / intervention must take place in a public space (indoor / outdoor).

Step 1: PROPOSAL (March 27): in two weeks, come to class ready to present a proposal for discussion

Step 2: CRITIQUE (April 3): bring to class aural documentation of your intervention using a good-quality audio recorder. If your intervention is extended, pick a 5-minute segment to play.

Step 3: WRITE-UP: A 1000-word write-up will be due the week after class by email (April 10).

3. LISTENING TO YOUR SILENCE PROJECTS 

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FOR NEXT WEEK

CRITIQUE OF SOUNDCLOUD PORTFOLIOS!