1. Understand the inter-relationships between musical/sonic/image creation and location/exhibition/performance, especially noting aesthetic and philosophical issues concerning sonic art.
2. Consider the use of sound, light, structure, ecology, location and image as parts of performance/exhibition.
3. Create and use software and hardware for tasks such as sonic manipulation, performance and/or exhibition.
4. Utilise skills in public presentation, including an awareness of audience characteristics and responses, reacting spontaneously, managing risk and coping with the unexpected as well as in the acquisition of performance/exhibition opportunities.

This course involves the study of source recording, sonic manipulation and sonic installations. Although the course contains technical components, its focus is strictly aesthetic. A range of techniques will be examined, together with an investigation of current manifestations of Sonic Art in the UK and around the world, including installation art and bioacoustics. Discussion and analysis of the potential links between sound, light, structure, ecology, location and image will lead to experiments and exercises in the aesthetic and technical creation of acousmatic spaces. Students will be expected to investigate their own performance/demonstration opportunities and compose/arrange/design their creations to take account of the site-specific performance/exhibition space. Students will provide their collected exercises in a portfolio including a critical evaluation placing the student's work in the context of current trends in sonic art as well as providing a basis for the students own criteria and judgement.

1. A series of lecture-workshops is used to introduce and explain various concepts and techniques behind the creation of sonic art.
2. Specific software and hardware design tools are taught so that students may develop a familiarity with these that will enable them to produce items of sonic art.
3. A comprehensive range of sonic artworks are examined and discussed in order to provide the students with a critical underpinning that will inform their choices of sonic art, especially regarding the effects of light, structure, ecology, location and image on the perception of sound.
4. The main practical activity is the preparation of a series of new media items that will demonstrate an effective and creative application of the techniques studied during the module.
5. Students will arrange an exhibition/concert during the semester in which they present their ideas publicly.

The final deadline for final submission of all material is Thursday 10th May 2012.

Your work will be marked according to the criteria set out in the document Artefact Creation

tbc

Hel037
1000-1130 .

1130-1300 ..

1300-1430 ...

1430-1600 ....

1600-1730 .....

1730-1900 ......


Hel038a
1000-1130 .

1130-1300 ..

1300-1430 ...

1430-1600 ....

1600-1730 .....

1730-1900 ......

1900-2030 ......

- Read Douglas Kahn, (1999), Noise Water Meat, MIT: Introduction and Part 1

- Introduction to Sonic Art
- The Turner Prize
- The Scrapheap Orchestra (MYO)
- Perfection

- Assessments
- Sonic Art Examples Presentation [0.9MB pdf]
- The Make your Own Project and Presentation [587KB pdf]
- The Make your Own Project: 25%

Algorithms and Rules
- Go to "Wikipedia." 
- Hit "random" and the first article you get is the name of your band. 
- Then go to "Wikiquote" and choose "Random Page" and the last four or five words of the 
very last quote of the page is the title of your first album. 
- Then, go to Flickr and click on "Explore the Last Seven Days" and the third picture, 
no matter what it is, will be your album cover.

task summary | VLE

- Read Douglas Kahn, (1999), Noise Water Meat, MIT: Parts 2 & 3
- Cornelius Cardew, the Scratch Orchestra and Social Involvement.
- Sonic Art Presentation [3.6MB pdf]

- The National Student Survey

task summary | VLE

Read 
Douglas Kahn, (1999), Noise Water Meat, MIT: Parts 4 & 5

Focus
- Painting Music/Graphic Abstraction
- Painting Music Presentation [pdf: 1.6MB]

Read
Schafer, R. M. (1977). The tuning of the world. Parts 1 and 2.

Focus
MYO Workshop

Preparation
- Read Schafer, R. M. (1977). The tuning of the world. New York: Knopf - parts 3 & 4

Focus
- Principals and ideas behind Bioacoustics and bioart.
- Introduction to Bioacoustics and bioart
- Bioacoustics  and bioart Presentation [pdf: 0.66MB]
- Links
- The Bioacoustics and Bioart Project

Other things
- Formulate Bioacoustics Project
Soundscape: Journal of Acoustic Ecology
Mini-documentary about Christian Marclay
- Listening: Listen and Hukkle

Preparation
- Read Krause, B., (2002), 
Wild Soundscapes: Discovering the Voice of the Natural World, 
Berkeley: Wilderness Press

Focus
- Graphic Abstraction Presentation [pdf: 4.9MB]

- Sonic and Kinetic Sculpture
- Robotics
- http://www.plinia.net/
- More Bioacoustics
- http://www.fictive.org/~peter/bits/
Sonic Installations on the Web

Other things
- The Sound of Life (BBC Radio Documentary Series)

Preparation
- Read De Oliveira, N., Oxley N., Petry M., Archer M., (2003), Installation Art, 
London: Thames and Hudson

Focus
- The Origins of Installation Art
- Installation Art Presentation (pdf: 1.66MB), also on WebCT
- The Turner Prize

Preparation
- Read Taylor, Brandon. (2004), Art today, London : Laurence King

Focus
- Bioacoustics Workshop
- Approximately eight submissions will be chosen at random on the day.

Focus
- Appreciate the graphic and artistic manipulation of musical notation...
- Synaesthesia
- Notation as Art
- Notation as Art presentation (1.8MB)
- Music Notation Modernisation Association


- Metaform and Metaforming Presentation (pdf: 600KB)

Focus
- Presentation of final project schemes

Focus
- Light, Sound and Synaesthesia
- Synaesthesia Presentation [1MB pdf]
- Tutorials

Focus
- Tutorials or Workshop

Focus
- Workshops (to be confirmed)

• De Oliveira, N., Oxley N., Petry M., Archer M., (2003) Installation Art, London: Thames and Hudson
• Krause, B. (2002), Wild Soundscapes: Discovering the Voice of the Natural World, Berkeley: Wilderness Press
• Krause, B. (1998), Into a Wild Sanctuary: A Life in Music & Natural Sound, Berkeley: Heyday Books
• Marclay, C., (2005), Christian Marclay London: Phaidon
• Winkler, T. (2001), Composing Interactive Music, MIT Press

Listening

Various, (2000), OHM: The Early Gurus of Electronic Music, New York: Ellipsis Arts
Pauline Oliveros, (1990), Crone Music, New York: Lovely Music; 
Maggi Payne, (2001), Breaks and Motors, New York: Lovely Music; 
Louis & Bebe Barron, (1956), Forbidden Planet, New York: Crescendo; 

http://www.plinia.net/studio/michelli/34501conceptart.html