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Sonic Interaction and Participatory
Performance as practices in Soundscape
Juan Duarte Regino
SOCCOS
A-I-R
Overview
[SOCCOS]
Southscapes / Soundscapes
The New Media perspective
Sound Map Hailuoto
[A-I-R at CSW]
Electroacoustic Atelier
Pulsar kite
Barry Truax
World Soundscape Project
Curtis Roads - Micro SoundBarry Truax
Southscapes
Beyond merely aesthetic contemplation.
Building a narrative about the other.
A perspective where art becomes an empowerment tool.
Use sound as element of exploration
through levels of research.
[Sound art, Soundscape, Radio Art]
Post digital paradigm
New Media
The New Media perspective enables to connect with
grassroots initiatives where practitioners are empowered
to create tools for sonic and data exploration, to table a
remapping of spaces, specially on remote locations.
Format of New Media practices:
Workshops on digital Tools empowerment,
Use of electronics in daily life
Do it yourself (DIY) & Do it with Others (DIWO)
Locative Media
-Use of environmental data and remap
visualizing the territory and soundscape.
-Provide educational tools for collaborative
media to map a public space.
-Placement, how individuals engage in
media projects with a location to become
part of the space.
Sound Map Hailuoto
Electro Acoustic Atelier
It is not production of an art work in the classi-
cal sense. A workshop enables an understanding
of both ecology and entanglement of people,
ideas, tools, materials, systems and processes.
Workshops also may cloud artistic or personal
objectives- including some of the community en-
gagement agendas from institutional - political
organisations that work with art and culture.
Any learning that implies creative empowerment
should not be concerned with idea transmission.
But is oriented to a construction and reconstruc-
tion of knowledge through experience.
Schedule for
Electroacoustic Atelier
First Workshop
18th June
6 pm
Second Workshop
22nd June
6 pm
No prior experience on
electronics is required
~15 participants
What we are building:
Amplifier circuit
Piezo Microphone
Coil Inductor
Light Synthesizer
Pulsar Kite Intervention
John Grzinich - Wind Harp
Niklas Roy - Umbrella Phone
Audible Forces - Sonic Art Research
Development Process:
Physical Computing
Tangible Auditory Interfaces
Programming for Sound Design
Signal Processing
User Experience
Digital Fabrication
New Digital Instruments
On the performativity: Allan Kaprow sought to
elaborate public performances towards an inte-
gration of art and life.
Johan Huizinga’s notions of play: (Found in his
book Homo Ludens “Man the player”) points out
the need of play for the generation of culture.
Huizinga’s work proposes a study of the play-ele-
ment in culture.
According to Huizinga; Play is in fact freedom, is dis-
tinct from “ordinary” (life both as locality and du-
ration), play creates order (demand order absolute
and supreme), play is connected with no material in-
terest, no profit can be gained from it.
Geroge Caillois key ideas about play: Agon (com-
petition), Alea (Chance), Mimicry (mimesis), llimx
(“whirlpool” the sense of altering perception, verti-
go and altering perception).
Paidia - uncontrolled fantasy.
Ludus - requires an ever greater amount of effort,
patience, skill, or ingenuity.
Open Studio Sessions:
20th June - 1st Open Studio meeting:
Arduino and Pure Data
24th June - 2nd open studio meeting:
Raspberry Pi
29th June - 3rd Open Studio:
Casing and interface design.
Sonic Interaction and Participatory Performance. As Practices in soundscape

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Sonic Interaction and Participatory Performance. As Practices in soundscape

  • 1. Sonic Interaction and Participatory Performance as practices in Soundscape Juan Duarte Regino SOCCOS A-I-R
  • 2. Overview [SOCCOS] Southscapes / Soundscapes The New Media perspective Sound Map Hailuoto [A-I-R at CSW] Electroacoustic Atelier Pulsar kite
  • 4. Curtis Roads - Micro SoundBarry Truax
  • 5.
  • 6. Southscapes Beyond merely aesthetic contemplation. Building a narrative about the other. A perspective where art becomes an empowerment tool. Use sound as element of exploration through levels of research. [Sound art, Soundscape, Radio Art] Post digital paradigm
  • 7.
  • 8. New Media The New Media perspective enables to connect with grassroots initiatives where practitioners are empowered to create tools for sonic and data exploration, to table a remapping of spaces, specially on remote locations. Format of New Media practices: Workshops on digital Tools empowerment, Use of electronics in daily life Do it yourself (DIY) & Do it with Others (DIWO)
  • 9. Locative Media -Use of environmental data and remap visualizing the territory and soundscape. -Provide educational tools for collaborative media to map a public space. -Placement, how individuals engage in media projects with a location to become part of the space.
  • 11.
  • 12.
  • 13.
  • 15.
  • 16. It is not production of an art work in the classi- cal sense. A workshop enables an understanding of both ecology and entanglement of people, ideas, tools, materials, systems and processes.
  • 17.
  • 18. Workshops also may cloud artistic or personal objectives- including some of the community en- gagement agendas from institutional - political organisations that work with art and culture.
  • 19. Any learning that implies creative empowerment should not be concerned with idea transmission. But is oriented to a construction and reconstruc- tion of knowledge through experience.
  • 20.
  • 21.
  • 25. No prior experience on electronics is required ~15 participants What we are building: Amplifier circuit Piezo Microphone Coil Inductor Light Synthesizer
  • 27.
  • 28.
  • 29.
  • 30. John Grzinich - Wind Harp
  • 31. Niklas Roy - Umbrella Phone
  • 32. Audible Forces - Sonic Art Research
  • 33.
  • 34. Development Process: Physical Computing Tangible Auditory Interfaces Programming for Sound Design Signal Processing User Experience Digital Fabrication New Digital Instruments
  • 35. On the performativity: Allan Kaprow sought to elaborate public performances towards an inte- gration of art and life. Johan Huizinga’s notions of play: (Found in his book Homo Ludens “Man the player”) points out the need of play for the generation of culture. Huizinga’s work proposes a study of the play-ele- ment in culture.
  • 36. According to Huizinga; Play is in fact freedom, is dis- tinct from “ordinary” (life both as locality and du- ration), play creates order (demand order absolute and supreme), play is connected with no material in- terest, no profit can be gained from it.
  • 37. Geroge Caillois key ideas about play: Agon (com- petition), Alea (Chance), Mimicry (mimesis), llimx (“whirlpool” the sense of altering perception, verti- go and altering perception). Paidia - uncontrolled fantasy. Ludus - requires an ever greater amount of effort, patience, skill, or ingenuity.
  • 38.
  • 39. Open Studio Sessions: 20th June - 1st Open Studio meeting: Arduino and Pure Data 24th June - 2nd open studio meeting: Raspberry Pi 29th June - 3rd Open Studio: Casing and interface design.