User:Yoana Buzova/ third

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Tentative Title

voice drop (worktitle of an an ongoing experiment)


During the past nine months I have been experimenting in different fields, using different approaches and tools. I made a few small projects, exploring these areas. My way of work is observing, collecting and reusing the collected material trough my way way of encoding it and then decoding it again ( an example would be the Street Compositions project).

In the same framework, during the following months I would like to work on a project that deals with collecting sound. I want to investigate the possibility of collecting voices and sounds in a fragmented way, and then looking into ways of reusing it by rearranging and recombining the fragments. I will collect sound both offline and online, interested in the difference in content. My interest in such a research arises from the idea of initiating a chain of audio messages, left by people in public space. That relates to the chain-like structure of my previous work. We message and communicate all the time, but this more often happens via text and images and usually among the circle of people we know. Where is sound and voice in our way of communicating. What do we want to say to someone we don't know? Is voice more difficult to leave than text? Is it something we consider transient? Is it still considered to be a personal, intimate object? Does voice make us appear less or more confident, make us less anonymous by revealing gender, age, nationality?


In public spaces I will leave an object that invites people passing by to record their voice. The last recorded message will be played back aloud every time someone approaches the object, that will both serve as a way to attract attention and also a way to construct a loose narrative, as it will be the trigger and starting point for the next message. The newly recorded sound becomes the one repeated aloud. The sounds will be stored in the order they were recorded and accessible to listen online.

Online, a website where visitors are asked to leave a recording.

contextualising : dada/ oulipo / cybertext

notes : create structure, rules (score) possibly discover a collaborative narrative / look at difference in content depending on certain tags (location, time, gender...) /

Relation to previous practice

the previous months I have mainly been working in the model of practice-based research. In the second trimester I started my self-direction project, provoked by the subject of signals and code. My approach was towards encoding and decoding simple urban patterns I collected. I photographed streets at night and then taking them as input, I created a visual code from the lit house windows. The code I played on a music box i built myself. The result are minimal, generative compositions of urban activity. I took information of a large scale ( whole streets and their buildings) to reinterpret it and notably descale it into a gentle sound, coming from a small mechanical object. As a continuation of the project and aiming to close the loop I started, I built a discrete but resistant urban installation, aiming to bring the data I processed back to its place of origin – the streets. The melodies are looped in speakers, made of concrete, placed in the city. The speakers, in contrast to the music box are resistant, heavy and keep repeating the otherwise transient moments. This iteration where the translated gentle, almost fragile information (composition) is distributed and preserved was the endpoint of the project and made it a complete piece. Relation of my interest to my previous work described above - ----> This work deals with processes of encoding and decoding and translation of data. It encloses information into tangible objects. Maybe as an unconscious result of my BA studies in photography, I take the position of a viewer, I collect data and use it examine and explore later so it can be the starting point of my work. Work is created during exploring diy strategies, conceptually and physically contrast/different materials and techniques

Practical steps

The steps I will take in the process of developing my work are focused around practice-based research. Similarly I worked throughout my self-directed research during the second and third trimester. I start by building prototypes of small project ideas and doing some related reading at the same time.

My experiments will be documented in my prototyping page aka WORKLOG ---> click here. The steps, discoveries and results of the works will influence and shape my research.

Key Words / themes

Encoding – Decoding / reinterpreting

Translating and transporting information / taking it from one domain to another, from one place to another

Compressing - Decompressing

Scaling – Descaling

environment - sound

Fascination for making objects

using, mixing / commonplace objects

practice-based research


DIY strategies


exploring, experiencing information from a source different than a computer, screen / a custom, unfamiliar object

sound, voice, shout, whisper, intimacy


preserving information in another form ( what happens when data is suddenly gone)

unpredictable behaviour -predictable behaviour // offline-online

how predictability has shifted from the public space to be present online as well did this make us at least unpredictable offline?

unaware (unconscious) collaborations, generative collaborations

a sound map --> a voice map

Relation to a larger context


Situationist approaches to psychogeography, urban tactical media and activist strategies of reclaiming the streets.

Works I find related to my interests /practice /method

Georgina Starr - Whistle

Zimoun – sound installations

Michael Kontopoulos - Machines that almost fall over

live open worldwide microphones project started 2006

sound maps ( field recordings) started 2006


'Resonant bodies, voices, memories' edited by Anke Bangma, Deirdre M. Donoghue, Lina Issa and Katarina Zdjelar

'Playing with words. The spoken word in artistic practice' Edited by Cathy Lane (2008)

Gregory Bateson 'Steps to an Ecology of Mind' (1972)

Mladen Dolar 'A Voice and Nothing More' (2006)

Yolande Harris, Phd thesis: Scorescapes On Sound Environment and Sonic Consciousness

Dr Hartmut Obendorf, In Search of “Minimalism”— Roving in Art, Music and Elsewhere

The Voice of New Music by Tom Johnson New York City 1972-1982 A collection of articles originally published in the Village Voice MUSIC

++ tech literature

two books by Nicolas Collins Handmade electronic music and Hardware Hacking