“What is Sound Design?” is a three-day symposium at The University of Edinburgh, 27 to 29 Nov 2013. Rather than structuring the symposium around technologies, techniques and specific disciplines, the symposium categorises sounds in terms of duration. Day 1 explores sound on a micro-level, from samples to seconds. Day 2 moves from seconds to scenes. Day 3 scales-up from scenes to systems. Featuring a wide range of speakers and daily concert presentations, “What is Sound Design?” invites sonic artists, musicians, designers, scientists, engineers, theorists, composers, improvisers, performers, theatre sound specialists, directors, film makers, computer-games players and developers, graphic designers, historians, technologists, archaeologists, architects, acousticians, geographers and industrial designers to explore sound in terms pertinent to us all. Day 2 features a presentation which relates ideas explored in the “Rorschach Audio” project to the theme of “sound art as mainstream cultural commodity”. Day 2 features a concert by wild-life recording artist Chris Watson and expanded percussionist Christos Michalakos. Day 3 features a concert featuring Marco Donnarumma, Owen Green, Adam Linson, and “National Grid” by Disinformation. Check the website for details and registration -
“What is Sound Design?” features contributions from Joe Banks, Jamie Bullock, Pier Daniel Cornacchia, Richard Coyne, Annette Davison, Gordon Delap, Disinformation, Andy Farnell, Michael Gallagher, Ben Gillet, Owen Green, David Hendy, Adam Linson, Philippa Lovatt, Russell MacEwan, Craig Martin, Christos Michalakos, Peter Nelson, Sandra Pauletto, Jules Rawlinson, Michel Serres, Garry Taylor, Chris Watson, Simon Waters and Sean Williams, is organised by Martin Parker, Varun Nair and Owen Green, and generously supported by The Edinburgh College of Art at The University of Edinburgh and by New Media Scotland.
The video version of “The Analysis of Beauty” installation by Disinformation will be screening tonight at the Rio Cinema, Dalston, London, in the Romantic Malady event (At Home With The Ludskis, event 10). The specific reference for this installation is the book, entitled “The Analysis of Beauty”, which was self-published by the artist William Hogarth in 1753, and particularly Hogarth’s ideas about the aesthetics and symbolism of sinusoidal and (as he put it) “Serpentine” lines (and William Hogarth’s writing directly references what he saw as the romance and even eroticism of the Serpentine Line).
The specific form in which the Disinformation exhibit visualises sine-waves carries a connotation of the structure of DNA, and the installation premiered at Kettle’s Yard gallery, Cambridge, in 2000, alongside one of Francis Crick and James Watson’s original working-models of DNA. An earlier post on this website also relates the imagery in the Disinformation artwork to imagery described in “The Sound Sweep” by J.G. Ballard (scroll down).
Even with the video footage that’s been posted on You Tube, it’s easy for the mind to persuade the lines shown in “The Analysis of Beauty” exhibit to fuse into a rotating three-dimensional form, and, in practical terms, the best challenge viewers can set themselves is to try to decide which direction the form in the video is rotating in? Sometimes the form appears to be flat. Sometimes it appears to be solid and three-dimensional. Sometimes the form rotates to the left. Sometimes it rotates to the right. Sometimes the direction changes spontaneously. Sometimes blinking, tilting your head from side-to-side, or even thinking about the form in a different way can induce changes in direction. The important point to be aware of is that none of the changes you experience are taking place on-screen. All of the changes you’re experiencing take place inside the minds of the people watching them!
“The Analysis of Beauty” installation provokes the mind into creating vivid illusions of three-dimensional visual form, without any of the object-precedence, motion-parallax, stereoscopic or (geometric or aerial) perspective cues traditionally thought to enable human perception of visual space – demonstrating the role that knowledge plays in the active formation of perceived experience. The installation enables viewers to directly experience the formation of the “perceptual hypotheses” originally proposed by the German physiologist Hermann Helmholtz, which are also put forward as explanations for the audio illusions which constitute the main focus of the “Rorschach Audio” research project (see “Rorschach Audio” book, pages 161 to 174).
11.30pm to 2.00am
9 Nov 2013
107 Kingsland High St
London E8 2PB
“Romantic Malady” features Andy Warhol, Jenny Holzer, Nam June Paik, Michael Clark, Mario Montez, Nico, Edie, Chris Burden, Frans Zwartjes, Olivier de Sagazan, Basim Magdy, Ming Wong, Olaf Breuning, Disinformation, Flange Zoo, Baby Lame, Julie Marsh, House of O’Dwyer, Sarah Maple, Sue Frumin, Meg Mosley, and others TBC. Apologies to the organisers for not posting this sooner.
Readers visiting this website via the link in the Dazed Digital feature on Electronic Voice Phenomena by Stephen Fortune, the best place to start is the first article on this site, here…
Oh yeah… buy the book! Anyone traveling in the opposite direction, go here…
An installation version of the “National Grid” exhibit by Disinformation (see earlier posts) features in the “Noise & Whispers” exhibition at the GV Art Gallery in London, which runs from Fri 8 Nov to Sat 14 Dec 2013. Performance date/s TBC. If anyone fancies a swift ‘arf and a chat, please RSVP to firstname.lastname@example.org to attend the opening reception. As the poet and wartime “ether-warrior” Geoffrey Grigson (who’s repeatedly quoted in the “Rorschach Audio” book) wrote in 1957, “London was the capital of the electricity of the mind”…
The GV Art Gallery
49 Chiltern Street
London W1U 6LY
0208 408 9800
The “Noise & Whispers” exhibition is curated by Martin A. Smith, thanks also to Robert Devcic, and to Poulomi Desai for the heads-up. “Noise & Whispers” features artworks by Alex Baker, Bill Nelson, Blanca Regina, Clay Gold, Dan Tapper, Disinformation, Eléonore Pironneau, Iris Garrelfs, Jacqui Stewart, James Andean, Janek Schaefer, Jon Adams, Josh Horsley, Karen Gustafson, Kate Carr, Kevin Logan, Mark Peter Wright, Martin A. Smith, Matthias Kispert, Mendel Kaelen, Merja Nieminen, Random Order Collective, raxil4, Riz Maslen, Robin Storey, Simon Coates, Stephen Chase, Susan Alexjander, Susan Walsh, Thomas Finbarr, Thomas McConville, Wajid Yaseen, Yann Novak and Zahra Jewanjee.
The National Grid exhibit is set-up to operate using headphones, when you visit the gallery however, ask the invigilator to turn on the loudspeakers, so you can hear the full steam-up version. Disinformation books, CDs and catalogues are also available to purchase at GV Art.
Evanescent Continents is a sound project by artists Mika Hayashi Ebbesen and Chris Wood, who remixed audio provided by several contributors for a listening event at X Marks the Bökship, in London on 17 Oct 2013. The event featured “Four Dreams” by Chris Wood and “Troll” by Mikatsiu, both including (the former more prominently) sounds from the “National Grid” sound artwork by Disinformation (although, owing to an error on my part, the poster – above – attributes the contribution to Joe Banks, instead of the preferred form of attributing to Disinformation).
The resonant frequency of mains Alternating Current is 50Hz, while the lowest “G” on the piano keyboard resonates at 49Hz. The “National Grid” sound artwork involves intercepting the 50Hz signal from live mains AC, then using electric guitar pedals to re-tune and re-combine the 50Hz fundamental with (depending on the tuning) for example 49Hz or 51Hz variants etc, producing the audio equivalent of visual moiré patterns, which transform the smoothly continuous low drone radiated by the city’s electrical infrastructure into a deeply musical, rhythmically pulsing sound mass (a similar tuning technique is referred to in classical music as “Tartini tuning”). “National Grid” was first performed live and published on LP in 1996, first exhibited as a gallery installation in London in 1997, and has been widely performed and exhibited ever since. See earlier posts for a discussion about relationships between electromagnetic sound art and issues of perception.
Both remixes are available to listen to on-line here…
The contributors to this Evanescent Continents project were A6/2 Generator, Saul Albert, Carlos Azdi, Joe Banks, Peter Barnard, Alan Courtis, Francesco Generali, Dimitar Inchev, Haydeé Jimenez, Constantine Katsiris, Chris Mann, Shabsi Mann, Manoli Moriarty, Alyssa Moxley, David Rogers, Nina Sarnelle. Syma Tariq, Thomas Francis Walsh, Muffin Wood and Takeaki Yamazaki. Thanks to Mika and Chris!
House Magazine, “Words” issue, number 25, contains an article on the “Rorschach Audio” project, featuring an interview conducted by Lore Oxford (alongside articles on and by Alison Carmichael, Bafic, Candida Höfer, Curtis Kulig, Damian Barr, Ewen Spencer, Four Corners Books, Francesca Gavin, Henrik Kubel, Ian Livingstone, Laura Bushell, Polly Vernon, Russell Thomas, Sarah Kim, Scott King, etc – special thanks by the way to Lore Oxford, Justin Quirk and Robin Mellor). The article was edited for length, so here’s the original Q&A (posted below), and, while the printed magazine’s been out for some time, the digital version’s just gone on-line now. Also Lara Cory, editor of the excellent Music Without Words & Fifteen Questions websites, posted an article inspired by the “Rorschach Audio” talk at The British Library, check ’em out…
LO: Please define your research and what you do with Rorschach Audio
JB: Most histories of audio recording technology start with early mechanical inventions – extraordinary machines like Édouard-Léon Scott de Martinville’s Phonautograph and Thomas Edison’s Phonograph etc, and, at the time of writing, Wikipedia for instance locates the prehistory of audio recording in early musical notation * – in musical scores, and in musical automata. It’s always possible someone’s going to improve the Wikipedia article, however, to paraphrase Aristotle’s “Poetics”, written languages – letters and words – are based on symbolic visual representations of indivisible sounds – so, firstly, all literature and poetry are forms of sound art, and secondly the earliest form of sound recording technology was not in fact a machine but was written language. If you consider letters and words as forms of technology, then the machine that reproduces the sounds those words represent is biological – it’s ourselves. In the human context the interpretation of sounds can be as imperfect as their reproduction, and the central metaphor here is that the way we interpret sounds has an imaginative aspect – the idea is that, particularly in noisy environments, we project meaning onto words and sounds in much the same way that viewers project images of faces, animals, ghosts, angels and monsters etc onto the symmetrical ink-blots famously used by the Swiss psychiatrist Hermann Rorschach. In fact, as the “Rorschach Audio” book points out, analogies between the interpretation of sounds and of ambiguous visual images go back at least as far as Leonardo da Vinci – what no-one seems to have done before this project was to try to address the full ramifications of those analogies, and it’s those ramifications that the Rorschach Audio project attempts to explore.
LO: What drew you to this subject matter?
JB: In the mid-1990s I started exhibiting sound art and recording electronic music under the name Disinformation, working primarily with radio recordings of electrical noise from sources like the sun, lightning and the National Grid. Within arts circles, there was and still is considerable interest in a form of parapsychology known as Electronic Voice Phenomena or EVP research, which is based on the idea that recordings of stray radio chatter – the usually very quiet and often highly distorted voices that occasionally intrude on tape recorders, PA systems and hi-fi equipment – are literally recordings of voices of ghosts. EVP research enjoys a significant cult following in the broader community and in the arts, with a number of very high profile contemporary artists exhibiting projects, which at worst take a totally credulous approach, at best an uncritical approach, to the factual claims made on behalf of EVP. “Rorschach Audio” started out as a series of lectures and articles which demonstrated how, ink-blot style, distorted and indistinct voice recordings can be mis-interpreted as being personally meaningful, and explained why EVP research isn’t scientific just because it makes use of technology. So, the original motive was to address misconceptions that were surprisingly commonplace in the arts, although since then the remit’s expanded considerably – ambiguities of hearing have had a significant influence on literature, and even on legal history for instance.
LO: Why did you chose to study the sensory perception of sound as opposed to the other senses?
JB: Legend has it that hi-fi sales personnel are trained to size-up customers in terms of whether they’re fundamentally a visually or a sound-oriented person, whether to sell them a hi-fi on the strength of its appearance, or on the strength of its sound, and I guess I’m slightly more sound-oriented. Other reasons are that, while there are literally thousands of books dealing with optical illusions and with psychology of visual phenomena etc, there are perhaps only a few hundred dealing with equivalent aspects of hearing, and when you consider that capital punishment for murder was abolished in the UK, in part because of disagreement about the interpretation of the words “Let him have it” in the Craig & Bentley shooting in 1952, and if you consider the importance of communicating clear speech in Air Traffic Control for instance, it seems clear that an informed understanding of the factors that influence hearing and mishearing can be extremely useful. Having said that, I also exhibit artworks which produce visual illusions.
LO: Are there any previous studies in this field, which inspired you to launch Rorschach Audio?
JB: There are hundreds, possibly thousands of scientific papers which deal with aspects of hearing like, for instance, the well-known Cocktail Party Effect. As most readers will probably be aware, it’s much easier to follow a conversation in a noisy social gathering, than it would be to follow the same conversation if it’s played-back from a tape recording. The difference is that during the party listeners make use of directional, sound-locating faculties to help isolate and extract a speaker’s voice from the surrounding hubbub, and also use an element of lip-leading; what people might not be aware of however is that the core research on the Cocktail Party Effect was sponsored by the American military, with a view to improving Air Traffic Control. “Rorschach Audio” cites alot of formal research, but also brings together a previously I believe unprecedented collection of anecdotal material, which describes similar phenomena playing-out in other real-world environments – from people hearing illusions of words in sounds of steam trains and ringing church-bells, to Surrealist author Raymond Roussel deliberately mishearing words as the basis for plotting his extraordinary novels. Probably the single most important source was a memo about interpretation of poorly-recorded voices that was circulated within the BBC department, that, during WW2, monitored foreign radio broadcasts for the War Office and for Winston Churchill etc. The author of that memo was BBC Monitoring Service supervisor Ernst Gombrich, and the understanding of psychology that he developed during WW2 had a critical influence on the book “Art & Illusion”, which Gombrich wrote in 1960, and which is arguably the most important work of visual arts theory ever published.
LO: What does the future hold for Rorschach Audio? Is their a specific goal you’re working towards?
JB: Rorschach Audio started-out as a not-for-profit, essentially zero-budget project, I went on to write-up one version of the research for an academically peer-reviewed journal published by The MIT Press, and, largely on the strength of that, The Arts & Humanities Research Council sponsored a 5-year research project at The University of Westminster and at Goldsmiths College. It’s always been an opportunity-driven project, however I’m always interested in exhibiting more Rorschach Audio artworks and it would be great to publish a more comprehensive version of the book, as there’s still a huge amount of as-yet unpublished research material.
LO: I heard that Noam Chomsky commented on Rorschach Audio?
JB: I sent The MIT Press article to the psychologist and author Steven Pinker, and to Noam Chomsky, the philosopher and linguist, followed by copies of the book. Steven Pinker described the project as “fascinating work” and Noam Chomsky described it as “intriguing”, which, even if he was just being polite, is pretty good considering he’s the most famous living philosopher in the world… I was very flattered just to get a reply. I also received a nice letter from Indu K Mallah, who’s a wonderful Indian author & tribal rights activist, quoted at some length in the book. Just working out how to contact her was a project in itself, which went as far as studying satellite photos on Google Earth to try to work-out her actual street address to send the book.
* This claim is still correct as of 14 Oct 2013
Finally thanks also to everyone who came to the Disinformation concert and “Rorschach Audio” talk at ERTZ#14 in Bera and Donostia (San Sebastian) in the Basque Country, and came to the performance at Portland Sculpture & Quarry Trust. Special thanks to Xabier Erkizia, Jose Luis Espejo, Mikel Nieto, Xavier Cejudo, Marcello Liberato and Natalia Barberi, and to Peter Lewis and Makiko Nagaya.