A World View, Acoustic Rorschach, Alva Noto, Ann Winsper, Apophenia, Argos, Art & Illusion, Art & Illusion for Sound, Artefact, Artificial Language, Audio Apophenia, Audio Inkblot, Audio Pareidolia, Audio Rorschach, Auditory Ambiguity, Auditory Apophenia, Auditory Illusion, Auditory Inkblot, Auditory Projective Test, Auditory Rorschach, Aura Satz, Barbara Ellison, Bárbara Rodríguez Muñoz, BBC Radio, BBC Radio 4, BBC Wales, Brussels, Carbonic Oscillation, Carsten Nicolai, Cave Leeds, Centre for Audio Visual Experimentation, Chelsea College of Arts, Continent, Damion Searls, Dead Lines, Diana Deutsch, Discipline, Duke University Press, EH Gombrich, Eigen+Art, Eigen-Art, Eleonora Oreggia, Erik Bunger, Francis Parker, Ghost in the Machine, Ghosts In The Machine, Goldsmiths, Haunted Technology, Hearing Voices in the Noise, Helen Hughes, Hermann Rorschach, High Static, Histories and Theories of Sound, Histories of Sound, Human Conversation, Islington Mill, Jamie Hamilton, Jo Burzynska, Joel Stern, John Latham, Kristen Gallerneaux, Language as Technology, Language Game[s], Larry Sider, Laurie Taylor, Liquid Architecture, Marina Warner, Mark Coeckelbergh, Mark Underwood, Martyna Poznanska, Mishearing, Mishearings, Neil Matheson, New York University, Now You're Talking, Oenosthesia, Overtoon, Pedagogies of the Ear, Penguin, Penguin Random House, Pete Bebergal, Peter Bebergal, Phantasma Humana, Phantasmata, Phantasmata and Illusions, Phantasmatic, Poetry as I need it, Random House, Raster Noton, Raudive Surrogate, Sam Belinfante, Sas Mays, School of Sound, Serpentine Gallery, Shane Butler, Simon & Schuster, Sonic Inkblot, Sonic Phantoms, Sonic Rorschach, Sonic Spectres, Sonic Studies, Sophie Scott, Sound Studies, Speak, Steve Rajam, Steven Rajam, Strange Frequencies, STUK, Susan Hiller, Suzanne Treister, Technology and Spiritualism, Technology as Language, The Act of Magic, The Ancient Phonograph, The Inkblots, The Machine and the Ghost, Theories of Sound, This is a Voice, Trevor Cox, Unit for Sound Practice Research, Vocal Phantoms, Wellcome Collection, Writing Around Sound, Xname, Zone Books
“Rorschach Audio” talk in Feb 2014, organised by Argos & Overtoon
“Rorschach Audio” lecture-demonstration recorded at the Argos Centre for Art & Media, Brussels, organised with the sonic arts platform Overtoon, 13 Feb 2014. This video documents a number of arguments not included in the earliest “Rorschach Audio” lectures – “Speech itself is an art-form”, “The earliest from of sound recording technology was… written language”, “Sound art is one of, if not the, most mainstream… of cultural commodities”, the discourse about the sonic art of the 17th century dramatist John Dennis, and demonstrations of Sine-Wave Speech and of the illusions produced by “The Analysis of Beauty” installation (alongside older elements like clips from the film “Orphée” by Jean Cocteau). The Q&A then responds to some great questions – discussing Pawel Jastreboff’s theory of tinnitus and auditory hypersensitivity; Erik Bunger’s exhibit “The Girl Who Never Was”, the “ear-lids” hypothesis and Theodor Adorno; the role of evolutionary biology in the formation of perceptual faculties; debate about analogue vs. digital in context of music perception; then finally debate about the role of religious identity and of the Vatican in the EVP movement. Thanks again to Aernoudt Jacobs and to Ive Stevenheydens.
http://www.overtoon.org/ + http://www.argosarts.org/
Related
From → Uncategorized
