User:Kim/reading/Basta Now: Difference between revisions
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From the chapter '''3. Rec''' | From the chapter '''3. Rec''' | ||
<ul style="float: right; max-width: | <ul style="float: right; max-width: 40%;"> | ||
A list of names mentioned: | '''A list of names mentioned:''' | ||
: Beatriz Ferreyra | : Beatriz Ferreyra | ||
: Kate Carr | : Kate Carr | ||
:: Hybrid Soundscapes: Recording Ecotones + Edge Effects | |||
:: disrupt notion of authenticity (fictions of sound effects) | |||
:: "A soundscape reveals a lot about a place ... its openness and fragility the soundscape can reveal something about the process of community making ... its sensitivity to change offers both, opportunities and risks" | |||
:: [https://katecarr.bandcamp.com/album/a-field-guide-to-phantasmic-birds|A Field Guide to Phantasmic Birds] | |||
: Vanessa Rosetto | : Vanessa Rosetto | ||
:: "she strives to reveal the network of narrative threads that underlie everyday life" | :: "she strives to reveal the network of narrative threads that underlie everyday life" | ||
:: "sourced by existing in the world" | |||
:: [https://www.youtube.com/watch?v=UsoRvVg6MW8| Dogs in English Porcelain] | |||
: Jana Winderen | : Jana Winderen | ||
: Hildegard Westerkamp | : Hildegard Westerkamp | ||
| Line 15: | Line 21: | ||
:: "My studio is Nomadic and swallows the landscape it crosses." | :: "My studio is Nomadic and swallows the landscape it crosses." | ||
:: "I use machines in an empirical way." | :: "I use machines in an empirical way." | ||
:: [https://www.youtube.com/watch?v=7OZQs9bKvOE| Space as an Instrument] | |||
: Berangere Maximin | : Berangere Maximin | ||
:: Interest in Space in composition | |||
:: "I create an environment for it to grow up, to develop" | |||
: Izabela Dłużyk | : Izabela Dłużyk | ||
:: [https://www.youtube.com/watch?v=ofd5kmuce5g| Soundscapes of Summer] | |||
: Ecka Mordecai | : Ecka Mordecai | ||
: Karen Vogt | : Karen Vogt | ||
| Line 22: | Line 32: | ||
: Martyna Basta | : Martyna Basta | ||
: Ellen Band | : Ellen Band | ||
:: "We are suddenly reminded of the physical and vibratory reality of objects, so well known that we never take their pulse." | |||
: Gaël Segalen | : Gaël Segalen | ||
: SoS Gunver Ryberg | : SoS Gunver Ryberg | ||
| Line 30: | Line 41: | ||
</ul> | </ul> | ||
(Why) Labels: | '''(Why) Labels:''' | ||
: Can adopting label mean a guarantee within elitist music landscape? | : Can adopting label mean a guarantee within elitist music landscape? | ||
: does label allow women composers to escape suspicion for amateurism and illegitimacy? | : does label allow women composers to escape suspicion for amateurism and illegitimacy? | ||
:: diversity of forms invented by these women composers is measured in dogma ("as if creation had something to do with a nomenclature decided by a handful of white men in suits") | :: diversity of forms invented by these women composers is measured in dogma ("as if creation had something to do with a nomenclature decided by a handful of white men in suits") | ||
: | |||
'''7 Types of Field Recording (fr):''' | |||
# Additive Free fr | |||
# Instrument fr (recorded fragment of reality becomes layer among others) | |||
# Material fr (sound is modified, music arises from layering with others) | |||
# Trigger fr (recording does not only precede but direct work) | |||
# Undetectable fr | |||
# All-fr pieces | |||
# fr as Innermost Archive | |||
'''What is a field recording?''' | |||
: "recording in live conditions" opposed to editing? | |||
:: studio vs real world - impossible to identify | |||
: maybe the intention of recording sth is defining whether it is a field recording too | |||
<br> | |||
<div style="float: left">[[File:Basta-now-chapter3.png|thumb|275x275px|Cover of chaper 3, Fanny Chiarello 'Basta Now']][[File:BastaNowCover.png|thumb|210x210px|Book Cover 'Basta Now' Fanny Chiarello]]</div> | |||
Latest revision as of 15:14, 30 September 2024
Women, Trans and Non-Binary in Experimental Music
Fanny Chiarello
From the chapter 3. Rec
-
A list of names mentioned:
- Beatriz Ferreyra
- Kate Carr
- Hybrid Soundscapes: Recording Ecotones + Edge Effects
- disrupt notion of authenticity (fictions of sound effects)
- "A soundscape reveals a lot about a place ... its openness and fragility the soundscape can reveal something about the process of community making ... its sensitivity to change offers both, opportunities and risks"
- Field Guide to Phantasmic Birds
- Vanessa Rosetto
- "she strives to reveal the network of narrative threads that underlie everyday life"
- "sourced by existing in the world"
- Dogs in English Porcelain
- Jana Winderen
- Hildegard Westerkamp
- Helena Gough
- Felicia Atkinson
- "My studio is Nomadic and swallows the landscape it crosses."
- "I use machines in an empirical way."
- Space as an Instrument
- Berangere Maximin
- Interest in Space in composition
- "I create an environment for it to grow up, to develop"
- Izabela Dłużyk
- Ecka Mordecai
- Karen Vogt
- Karen Gwyer
- Martyna Basta
- Ellen Band
- "We are suddenly reminded of the physical and vibratory reality of objects, so well known that we never take their pulse."
- Gaël Segalen
- SoS Gunver Ryberg
- Andy Guthrie
- Dali de Saint Paul
- Nour Mobarak
- Nyokabi Kariuki
(Why) Labels:
- Can adopting label mean a guarantee within elitist music landscape?
- does label allow women composers to escape suspicion for amateurism and illegitimacy?
- diversity of forms invented by these women composers is measured in dogma ("as if creation had something to do with a nomenclature decided by a handful of white men in suits")
7 Types of Field Recording (fr):
- Additive Free fr
- Instrument fr (recorded fragment of reality becomes layer among others)
- Material fr (sound is modified, music arises from layering with others)
- Trigger fr (recording does not only precede but direct work)
- Undetectable fr
- All-fr pieces
- fr as Innermost Archive
What is a field recording?
- "recording in live conditions" opposed to editing?
- studio vs real world - impossible to identify
- maybe the intention of recording sth is defining whether it is a field recording too
