Month: November 2021

-Frequency of a space

-Site Specific work (made for location)

-Maria Chavez

-Rain of appliance (Café Oto), 4.1, live diffusion, BLM

-Abemolpas (10m16s), 2004

-Jonty Harrison- ‘Afterthoughts’ (15m59s, 2007): “…the everyday sounds of a summer garden evoke more memories and imaginations as the listener drifts into a semi-slumber“

-Embracing a site-specific response (Hayes, 2013)

-John Cage: “I would like the happening to be arranged in such a way that I could at least see through the happening to something that wasn’t it”

-Associating Places: Strategies for live, site specific, Sound Art performance (the actual, the activated & the associative)

Timeline of recording sound

-the phonograph

-the tinfoil phonograph (1887), speaking machine (Thomas Edison)

-Hill & Dale vertical grooves

-Wax Cylinder (1889)

-The Gramophone/Shellac discs (1887)

-Instantaneous Disc (1929), (Lacquer, 1934)

-Microgroove disc (LP, 1948, USA), (EP, 1949, USA)

-Magnetic Recording (tape)

-Wire Recorder (Woody Guthrie)

Configuration:

-full track mono

-twin track

-4, quarter length track stereo (1+3 one way, 2+4 the other)

-compact cassette (1963)

-Pulse Code Modulation (PCM), Alec Reeves (1937)

-NHK R+D (1967) 12-bit, 30 KHz mono, then 13-bit, 32 KHz stereo

-Denon (1972)-DN-023R (8-track)

-Sony PCM-1 (1977), F1 1981-PAL/NTSC signals

-Betamax, U-matic, VHS

-E1AG (14-bit)

-Sony Phillips Compact Disc (1982): Optical Laser, 74 min duration, 16-bit, 44.1 kHz, Pits and Land.

-Sony Phillips CD-R/CD-RW (1998): Photosensitive dye (burning), Audio+Data, 80 min, 10 years duration, digital (Sony DASH, Mitsubishi prodigi)

-Sony DAT (1987): Smaller than a cassette, 16-bit, 44.1, 48 or 32 kHz, Helical scan, expensive + RIAA concern, DDS (Digital Data Storage)

-Sony MiniDisc (MD, 1992): Magneto-optical tech (formative layer), Lossy ATRAC (Later Hi-MD), 80 min. Low uptake.

-Phillips Matsushita DCC (1992)

-HDD & Solid state

-MPMan (1998)

-iPod (2001), Spotify (2006)