Abstracts
- Philip Samartzis
- John Bassett
- Damian Castaldi
- Densil Cabrera
- Kees Tazelaar
- Nigel Helyer
- Sherre Delys
- Kirsten Reese
- Jim Denley
- Andrew Johnston
- Stephen Barrass
- Danielle Wilde
- Donna Hewitt
- Ernest Edmonds
- Ian Andrews
- Darrin Verhagen
- Tom Ellard
- Andrew Plain
- Peter Blamey
- Mitchell Whitelaw
- Caleb Kelly
- Robin Fox
- Yasunao Tone
Philip Samartzis - The Space of Sound
The gallery space is becoming an increasingly popular site for the presentation of sound art. An ever-expanding assortment of technologies, procedures and concepts, has extended the possibilities for composition and presentation, of which the installation format appears to be the most appropriate. As a site of exhibition the gallery space possesses both distinct advantages and disadvantages for the sound artist. In particular, the qualities that define the contemporary art space and the critical relationship between context and content challenge the way sound art may be exhibited and experienced. In the context of Western culture's privileging of sight and visuality, sound art presents a challenge where the ear, rather than the eye, provides the central mode of perception and evaluation. For audiences unfamiliar with the medium, this may forge effective new modes of communication and aesthetic appreciation. This discussion presents a series of concepts, procedures and strategies concerning the theory and practice of surround-sound installation that contribute towards resolving the schism between seeing and listening.
John Bassett - Acoustics & Transduction - The Complex Components in Recorded and Live Sound Capture and Reproduction
A review of practitioners in audio reveals a tendency for the industry to focus on the electronic hardware that is an essential component in any recording or reproduction process. Examination of the recording or reproduction chain however, reveals that the electronic manipulation of the audio signal no longer holds many challenges. The two areas of greater complexity in the chain are the acoustic character of the instrument/performer and their interaction with the acoustic environment followed by the transduction process of converting acoustic energy to electrical energy through microphones and loudspeakers. This discussion will review aspects of these frequently overlooked parts of the audio chain.