Lost Oscillations: Exploring a City’s Space and Time With an Interactive Auditory Art Installation

Presented at the 22nd International Conference on Auditory Display (ICAD-2016)Lost Oscillations is a spatio-temporal sound art installation that allows users to explore the past and present of a city's soundscape. Participants are positioned in the center of an octophonic speaker array; situated in the middle of the array is a touch-sensitive user interface. The user interface is a stylized representation of a map of Christchurch, New Zealand, with electrodes placed throughout the map. Upon touching an electrode, one of many sound recordings made at the electrode's real-world location is chosen and played; users must stay in contact with the electrodes in order for the sounds to continue playing, requiring commitment from users in order to explore the soundscape. The sound recordings have been chosen to represent Christchurch's development throughout its history, allowing participants to explore the evolution of the city from the early 20th Century through to its post-earthquake reconstruction. This paper discusses the motivations for Lost Oscillations before presenting the installation's design, development, and presentation

MISAME

Recording of Dugal McKinnon's Horizont im ohr. The title is translated literally as "Horizon in the Ear." This composition is regarded as a polymorph by the composer, as it suggests minutia and mass; it utilizes schizophonia through dislocation, juxtaposition, and transformation. The listener becomes both territorializer and the territorialized. Of particular note and emphasis is, per the composer's statement, the sensual physicality of the acousmatic. Horizont im Ohr was produced at the Electroacoustic Music Studios of the University of Birmingham, UK. Dugal McKinnon is a composer of instrumental and electroacoustic music. His output includes music-theater, radiophonic, installation and instrument/tape works

Arcades - Who's Most Lost?

Arcades’ is a song-writing collaboration between Prior and Dugal McKinnon. ‘Arcades’ owes its title to the Walter Benjamin project of the same name, signalling acknowledgement of the palimpsest of influences upon which it draws. However, rather than these influences being represented in the music by means of direct sampling, ‘Arcades’ makes use of a dense collage of sounds, all of which remain subservient to the overall gestalt: ‘Arcades’ is conceived as an ecology in which the constituent elements of a song rarely rise in significance above one-another but, rather, gain meaning from the way in which they blend and clash. While ‘Arcades’ draws heavily on acoustic instruments, these are used more as cultural signifiers than vehicles for expressive performance. ‘Arcades’ is an acousmatic studio construction which attempts to reinterpret some of the central themes of classical ‘musique concrète’ through the lens of the pop song, with all its ‘redundant’ protocols of traditional pitch, harmony, rhythm and structure serving as sonic sign-posts to focus the listener on the fabric of the sound itself

Complex: Physical Re-sonification of Urban Noise

Presented at the 20th International Conference on Auditory Display (ICAD2014), June 22-25, 2014, New York, NY.This paper explores the aesthetic and social values of the noises of modern urban soundscapes and discusses some strategies for boosting the accessibility and appreciation of works of sound art and experimental music that employ them. A proposed audiovisual installation––entitled complex––is outlined as a practical application of techniques designed to reveal the sonic aesthetics of urban technological noise, primarily through resonification and visualization. This will be achieved sonically and physically, by mapping sonic data collected from New York City soundscape (using the Citygram project) onto custom-designed mechatronic soundsculptures

Click::RAND. A Minimalist Sound Sculpture

Discovering outmoded or obsolete technologies and appropriating them in creative practice can uncover new relationships between those technologies. Using a media archaeological research approach, this paper presents the electromechanical relay and a book of random numbers as related forms of obsolete media. Situated within the context of electromechanical sound art, the work uses a non-deterministic approach to explore the non-linear and unpredictable agency and materiality of the objects in the work. Developed by the first author, Click::RAND is an object-based sound installation. The work has been developed as an audio- visual representation of a genealogy of connections between these two forms of media in the history of computing

TwttrGraph: I Wish to Speak with You. A Telegraphic Sound Installation

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