The event begins with an electronic music performance by The Health and Beauty Consortium. Jean Michel Crettaz discusses the MediaScapes program and the relevance of sound to architecture. Crettaz introduces panelists David Rosenboom, Steve Roden, Carolina Trigo, Juan Azulay, Lance Putnam and Curtis Roads.
Video Archive | Electronic Music (5)
Roads discusses the relation of electronic music with acoustic music, and plays some samples of classical music generated by a computer. He describes electronic music as the liberation of sound. By paying attention to sound spatialization can generate synthetic portraits of imaginary spaces. Besides playing several sound samples, Roads discusses sound visualization, showing some scientific and artistic examples. Roads concludes by stating that his work is all about awakening consciousness through perception.
Roads reviews his background and describes his books, The Computer Music Tutorial and Microsounds. He discusses the relation of electronic music with acoustic music, and plays some samples of classical music generated by a computer. Roads explains the role of electronic music calling it the liberation of sounds. In contrast to traditional music, electronic notes are expanded into unlimited sound objects. Roads pays close attention to the concept of sound spatialization and how we can generate synthetic portraits for imaginary spaces. He explains his research in microsound and methodologies to decompose sound into elementary particles called “grains.”
Curtis Roads explains his investigations in time frequency and spectrum analysis. He presents the analysis he did for the Ferrari engine. In this part of the lecture Roads focuses in sound visualization showing some examples of scientific and artistic visualizations. Roads explains a project done at the San Francisco Media Lab with 16 sound channels
and 10 video channels. Roads concludes the lecture by arguing that the function of music is to synthesize perception, and that his works are about awakening consciousness through perception.
Phil Silberman introduces experimental composer, writer, and interdisciplinary theorist David Dunn. Dunn has been the director of the electronic music studio at San Diego State University and has taught at numerous other universities. Currently he is Vice President of the International Synergy Institute of Los Angeles and editor of Is Journal. For about fifteen years his work has focused on the interrelationships between geophysical phenomena, environmental sound, and music. He links his work to a number of non-musical disciplines such as experimental linguistics, cognitive ethology, cybernetics, and systems philosophy.