Acerca de
SOUND ART EXPLORATION
SOUND INMERSION
Manifesto of the Futurist Musicians
die Grenzen zu überwinden
tRANSGRESSING BOUNDARIES
hybridization
roots- cultural area
germany- kleinkunst
obras silenciosas. sonido congelado.
metareferentiell.
Klangunsichtbarkeit
síntesis granular
VOICES/ZOOM7
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first sound exploration ///////==001 ART_E_FICIAL VOICE effects// street RECORDINGS
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#noise #soundlandscape #experimentalmusic #experimentalambient #artsound #artificial
PERFECT ENSEMBLE =========================
PERFECT ENSEMBLE==001_ROMANCe // SOUND COLLAGE
https://soundcloud.com/futuro3000/perfect-ensemblepart001_romance
PERFECT ENSEMBLE===part002_ANXTY // SOUND COLLAGE
https://soundcloud.com/futuro3000/perfect-ensemblepart002_anxty
PERFECT ENSEMBLE===part003_WASH. AhULLAR // SOUND COLLAGE
https://soundcloud.com/futuro3000/perfect-ensemblepart003_wash
PERFECT ENSEMBLE===part004_ALOOP // SOUND COLLAGE
https://soundcloud.com/futuro3000/perfect-ensemblepart004_aloop
PERFECT ENSEMBLE===part005_ALOOP // SOUND COLLAGE
https://soundcloud.com/futuro3000/perfect-ensemblepart005_aloop
PERFECT ENSEMBLE===part006_ALOOP // SOUND COLLAGE
https://soundcloud.com/futuro3000/perfect-ensemblepart006_aloop
INSTRUMENTS:
Zoom HRM-7- RECORDING SYSTEM (VOICES+++++ SOUND SPACES)
MODULAR SYSTEM
SYNTHETIZER (MINILOGUE)
PEDALS
colors and sound
white noise: sound signal that contains all frequencies and these are of the same power.
white noise: listen to the waterfall inside the room.
brown noise: can be the sound of a waterfall in the distance.
pink noise: combines high and low frequencies, such as the sound of rain.
infrasound - black noise
Acoustic waves are classified according to their frequency into infrasound, audible sound and ultrasound. Frequency is measured in hertz and is defined as the number of cycles or pressure changes that occur every second of time. The frequency of infrasonic waves coincides with the biological resonance frequency of internal human organs such as the lungs, heart, diaphragm and to a greater extent in the central nervous system (CNS).
Infrasound has traditionally been described as acoustic waves whose frequency is less than 20 hertz. Infrasonic waves can cause the cells of these organs to oscillate.
They appear to accompany the audible sound of thunder
MY REFERENCES
https://canal.march.es/
https://www.revista-fanzineprocedimentum.com/
https://ars.electronica.art/prix/en/winners/digital-musics-sound-art/
https://alejandroquinteros.files.wordpress.com/2012/02/las_imagenes_del_sonido1.pdf
https://es.wikipedia.org/wiki/Paisaje_sonoro
https://www.redalyc.org/journal/5860/586062185005/html/
https://educacionartes.com/Blog/ecologia-acustica-y-arte-sonoro/
https://www.arssonorus.org/curso-arte
https://www.arssonorus.org/product-page/caminatas-sonoras-como-producciones-de-cruces
https://www.arssonorus.org/product-page/imagen-y-sonido-en-convergencias-creativas?currency=EUR
https://www.arssonorus.org/product-page/la-acción-sonora
https://www.bbc.com/mundo/noticias-40637592
https://archive.org/details/newsoundscapehan0000scha
https://archive.org/details/soundscapeourson0000scha/page/n323/mode/2up
https://books.google.de/books/about/Las_imágenes_del_sonido.html?id=-frdF1FNt0wC&redir_esc=y
https://en.wikipedia.org/wiki/Philip_Corner
https://en.wikipedia.org/wiki/John_Cage
https://de.wikipedia.org/wiki/Raoul_Hausmann
http://www.educomelles.com/search/label/Sound%20Works
https://www.soundohm.com/product/piano-activity
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ARIZA, J. (2003): “Las imágenes del sonido”, Colección Monografías, Universidad de Castilla–La Mancha, Cuenca.
BRUNER, J. (1989): Juego, pensamiento y lenguaje, Alianza Editorial, Madrid.
CARLES, J. L. (2003): “Música y Naturaleza”, Revista SCHERZO, Año XVIII, nº 174, Madrid.
DEWEY, J. (1949): El arte como experiencia, Fondo Cultura Económica, México.
GARCIA SÍPIDO, A. L. (1997): El carácter disciplinar de la educación plástica y visual, UNED, Madrid.
Brady, E.: The Sublime in Modern Philosophy. Aesthetics, Ethics and Nature. Cambridge: Cambridge University Press, 2013.
Burke, E.: De lo sublime y de lo bello, trad. y estudio preliminar de Menene Gras Balaguer. Madrid: Tecnos, 2010 [1757].
Contesi, F.: “Savoring Disgust: the Foul and the Fair in Aesthetics” en British Journal of Aesthetics 52 (1), 2012, pp. 113-116.
Dowling, Ch.: “The Aesthetics of Daily Life” en British Journal of Aesthetics, 50 (3), 2010, pp. 225-242.
Forsey, J.: “Appraising the Ordinary. Tension in Everyday Aesthetics” en Proceedings of the European Society for Aesthetics, 5, 2013a, pp. 237-245.
Forsey, J.: The Aesthetics of Design. Oxford: Oxford University Press, 2013b.
Haapala, A.: “On the Aesthetics of the Everyday: Familiarity, Strangeness and the Meaning of Place” en Light, A. y Smith, J. M. (eds): The Aesthetics of Everyday Life. Nueva York: Columbia University Press, 2004, pp. 39-55.
Heidegger, M. Sein und Zeit, Frankfurt: Klostermann, 1977, [1927].
Johnson, D. B.: “The Postmodern Sublime: Presentation and its Limits” en Costelloe, T. M. (ed.): The Sublime from Antiquity to the Present. Cambridge: Cambridge University Press, 2012, pp. 118-131.
Kant, I.: Crítica del juicio, ed. y trad. de Manuel García Morente. Madrid: Espasa Calpe, 2001 [1790].
Keltner, D. y Haidt, J.: “Approaching Awe, a Moral, Spiritual an Aesthetic Emotion” en Cognition and Emotion 17(2), 2003, pp. 297-314.
Korsmeyer, C.: Savoring Disgust. The Foul and the Fair in Aesthetics. Oxford: Oxford University Press, 2011.
Leddy, T.: “Experience of Awe: an Expansive Approach to Everyday Aesthetics” en Contemporary Aesthetics Journal 13, 2015.
Leddy, T.: The Extraordinary in the Ordinary. The Aesthetics of Everyday Life. Ontario: Broadview Press, 2012.
Murcia Serrano, I.: “Ortega y Gasset y la metamorfosis de la categoría estética de lo sublime” en Romero de Solís, D. y Murcia Serrano, I. (coords.): En ningún lugar. El paisaje y lo sublime. Sevilla: Universidad de Sevilla, 2015, pp. 351-379.
La liberación del sonido: Las artes sonoras y su campo expandido
Ortega y Gasset, J.: “Arte de este mundo y del otro” en Obras completas. Madrid: Santillana/Fundación Ortega y Gasset/Centro de Estudios Ortguianos, 2004a [1911], tomo I, pp. 434-450.
Saint Girons, B.: Lo sublime, trad. de Juan Antonio Méndez. Madrid: Antonio Machado Libros, 2008.
Saito, Y.: Everyday Aesthetics. Oxford: Oxford University Press, 2007.
Saito, Y.: “The Aesthetics of Weather” en Light, A. y Smith, J. M. (eds.): The Aesthetics of Everyday Life. Nueva York: Columbia University Press, 2005, pp. 156-176.
Schopenhauer, A.: El mundo como voluntad y representación, trad. de Eduardo Ovejero y Maury. México: Porrúa, 1987 [1818].
Stellar, J. et al.: “Self-Transcendent Emotions and Their Social Functions: Compassion, Gratitute and Awe Bind us to Others through Prosociality” en Emotion Review 9(3), 2017, pp. 200-207.
Trías, E.: Lo bello y lo siniestro. Barcelona: Ariel, 2001.
INTERESANT RADIOS:
https://teslafm.net/la-politica-del-ruido-12/
https://bajafrecuenciab.blogspot.com/search/label/RÀDIO%20P.I.C.A.
http://radiocirculo.es/programas/undae/
https://www.ivoox.com/chorro-luz-118-110612-audios-mp3_rf_1338920_1.html
https://www.rtve.es/play/audios/via-limite/
https://www.rtve.es/play/audios/fluido-rosa/
https://documentamusac.org/ficha/ras-revista-de-arte-sonoro-6/
https://archive.monoton.es/index.php/es/
LIST ARTISTS
Pauline Oliveros, Ellen Fullman, Beatriz Ferreyra, Annette Vande Gorne, Delia Derbyshire, Teresa Rampazzi, Maryanne Amacher, Ursula Bogner, Gudrun Gut y Laurie Anderson, Neo Zelanda, Amy Denio, Ruth White, Anne Gillis, Alice Shields, Loïse Bulot, Io Casino, Eli Gras, Christina Kubisch y Diamanda Galas, Laurie Spiegel, Johanna M. Beyer, Daphne Oram, Else Marie Pade, Joanna Brouk, Eliane Radigue, Hildegard Von Bingen.
http://www.dramonline.org/composers
Concha Jerez, Javier Maderuelo e Isidoro Valcárcel Medina.
Tonalité Keynote// Signaux sonores o Sound signal// Les marqueurs sonoros o Soundmarks
TOPICS:
Abstract Acoustic Aktionismus Antiart Artist's book audio cassette culture Audio Collage Audiovisual Aural Avantgarde catalogue Computers Conceptual ArtContemporary Contemporary Classical Contemporary Counter Culture Destroy All Monsters Drama Drone Electroacoustic Electronic esoteric Exhibition Experimental Extended Voices FeedbackField Recordings Fluxus Free Improvisation Futurism Generative Music Graphic Design Happening Immersive installation Invented instruments Japan Lettrism Mike Kelley Minimalism Mixed MediaMusic & Sound Studies Musique Concrète mysticism Nature Noise non-music Open Form Organic Originators Outsider Art Performance Art Phonetics PIano exploration Psychedelia Radio art Record Collecting Records By Artists Religious Resonating plates Retromania self built instruments Sound Archeology sound-art Sound Collage Sound installation Sound PoetrySound Sculpture Soundtrack Soundwalk Spoken Word synth Tape Loop Text-Sound Time Turntablism Zaj