Category Archives: Sound Studies and Aural Cultures

Audio Paper Review

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My audio paper was delivered in a soft, meditative voice to complement the poetic concept of the topic discussed. Whilst written with an academic tone, it makes a constant comparison of turntablism to the earth, which fills the audio paper with metaphors, which works well with the poetic concept. Perhaps, however, this was too heavily focused on, which meant that the audio paper lacked depth of content. The bulk of the audio was my own narration, leaving the paper feeling quite thinly textured. Personally, I am a fan of this, but I am aware that this may bore many listeners. Given the context of examined work, the ten minute time constraint is what makes the focus on the style of prose a problem here. There was too much of a heavy focus on the same point, which I loved the richness of description of and detail too, but takes away from the listener’s experience of knowledge. Regardless, some insights into the art of crate digging, the foundations of the popular music industry, and the environmental impact of the vinyl industry were given.

As someone whose words are often misinterpreted due to the speed at which I speak (which also sometimes causes entire passages of sound to be lost from words, or even whole words entirely), I found it important to really take my time when speaking. The clarity of the words and audio is undeniable here. I found it important to add audio from the piece I spoke about, as I want the listener to gauge a full understanding of what I am speaking about. This also allows space for pretty, but delicate sound design, allowing for fragments of my experiment with Maria Chavez’s abstract turntablism technique to be heard throughout, as well as adding a sense of physicality to some words and explanations.

Although I did not get to interview an established vinyl collector working within the vinyl industry, I did carry out an interview as part of my research. I found that interviewing my friend, Maddie Corleone, allowed for the conversation to flow naturally, with our ideas bouncing off of each other for a whole half hour. This provided much good content for perhaps a future document more centred around dance music culture, but also provided some gems of wisdom which I embedded scarcely throughout the audio paper. Again here, the time constraint became a problem; I felt very limited as to how much of the interview I could include without forfeiting my script.

On a very honest note, the biggest downfall of my audio paper was the lack of focussed research. Time constraints did, still however, hinder the display of knowledge gathered from research particularly on my words about sustainability. It would have been wise to base my points on research, rather than the other way, as there is so much literature, and one can interpret a whole host of ideas from just one line of academic prose, yet it feels so difficult to do so the other way around. I would have also loved to have spoken more on the art of abstract turntablism, as that is where the idea for this audio paper stemmed from in the first place. I would like to note that whilst I am aware this isn’t particularly of academic standard, this audio paper was written from a place of the heart and the soul. With this, I mean that the ideas discovered in the audio paper are ideas that without the guide of this course, and consequently the research I carried out, I would not have been able to verbalise. This process has taught me that within the realm of sound art, my purpose is to use and create academia that provides explanation for intrinsic human qualities and needs.

Audio Paper Script: Introduction Draft 1

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*Record crackling*
Narator: A turntable is an abstraction of the earth- a constant cycle rotating steadily in one direction, and the records- the life that inhabits the earth; they have endings, and once one record ends, the next one is played. The music may end, but the facilitation doesn’t. Analog sound may be connected to the earth more than we think about when using analog instruments. Whilst digital developments in sound distribution may be the path of the future, the A side of this audio paper demonstrates and provides an argument for why vinyl culture will have a much greater historical and cultural impact. 

As a turntablist DJ, I view my artform as storytelling, using records to evoke and heal feelings within those listening, grounding the sound in one type of music whilst creating an abstractified journey with the sound design of the selection; this presentation of music which I liken to the electronic empowerment of the turntable. Turntables, like much analog equipment, are connected to the mixer or amplifier through RCA cables. {explain small science behind RCA cables in terms of earth wire, unbalanced etc} {link this to the way in which i present music}. {quick demonstration of a set I would do}. To achieve this feeling of grounding and journey within my sets, I value the importance of crate digging- arguably the main practice keeping vinyl culture alive today. A lifelong practice which {insert name of interviewee} thinks of as {insert extract of interview describing crate digging} {continuation of extracts from the interview}

As is immediately obvious to any reader, this frist draft at a script is a clear failure. It starts off promising, with a “stage direction” being given immediately, showing that there is life and thought going into the journey of the audio. However, with the topic of the audio paper being completely centred around turntablism, it was really the only sound effect that was reasonable to be inserted. It felt futile, only writing this once, and / or having it feature in the audio paper only once. Regardless, the opening of the script is still strong- written somewhat poetically, it allows the reader to feel the same adoration for turntablism as I, giving them a deeper interest into the topic.

However, great adoration of the topic doesn’t equal great execution of education on said topic. The first problem I stumbled into was that I couldn’t find research to justify my points. I searched endlessly for an article or academic explanation of the science behind RCA cables, what each component means and carries. Because of this, I wasn’t able to make the metaphorical link between the art and the technical set up of turntablism. It also greatly disheartened me from trying to look for the science behind earthing wires. The second great barrier I came accross was that I wasn’t able to insert a demonstartion of a set I would do, as the quality of recording was far too poor- it would seem as thought the connection on my needles for the turntables don’t pick up effectively whilst recording, though they seem fine to be used live. Whilst a solution around this would be to book a studio to carry out the recording, most commercial studios don’t have turntables, and the ones that do were booked too far ahead and would hinder the process of completing the audio paper. The final problem that occured is that I couldn’t find an interviewee in the time I thought I would be able to. The turntablists I am in contact with who would have provided wisdom on this topic were far too busy touring / gigging / just working. Most people don’t have time to be interviewed for merely a university project.

However, just because I cannot find acadmeic texts to support knowledge that I already have, doesn’t mean I cannot include it to some degree. It may be hard to justify my topic because of this, which will push me to use emotive language and tone when delivering the audio paper.

Abstract Turntablism: In Practice

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Using Maria Chavez’s technique of breaking records and layering them atop one another on the turntable to create sound collage, I carried out a ten minute long recording. When recording from my own turntables, there is a constant low hum due to my lack of earthing cables. On top of this, the signal from my needles when recording is poor. However, I found these “hinderances” actually came to elevate the effect of my experiment. Chavez uses much more ambient sounding records, records with deep sonic interest and a lack of musicality. I wanted to complete my experiment by tying it into my usual DJ style, by using dance records. I used a pile of warped early hardcore records that I found, and defects from my workplace Rhythm Section. I found this to be a sustainable practice, as I was putting to use vinyl that would have been otherwise discarded, as opposed to going out and buying new (though second hand) records.

Abstract Turntablism in practice: failed attempt at snapping records
Abstract Turntablsim in practice: successful attempt at snapping records

The older, less weighted records were much easier to snap. It felt blasphemous, snapping these records which carry so much value to the early UK dance music scene. In a way though, I felt like it was an abstractification of how I feel about the dance music scene right now. Where jungle was born from a place of pure enjoyment of music and breaking away from the drugs culture of acid house, it has returned to exactly that- it is broken. I would love to explain how amazing the sounds produced from this process are, but you can hear for yourself here below:

Abstract Turntablism: Research

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What is Abstract Turntablism? Pioneer Maria Chavez – Marco Gomez

A brief insight into Maria Chavez’s inspirations and mindset is given in this article. The article, though titled “What is Abstract Turntablism?” clearly highlights Chavez’s latest release at the time, which is highlighted as a rarity. Chavez doesn’t typically release recorded music as she’d rather not exist within the rigid structures based on capitalism that “corporations created to commodify sound.”

Although she was born non-hearing due to fluid retaining in her ears, Chavez does not consider this a factor to her desire to create sound, as her earliest memories are from after this issue was resolved. Chavez’s book is described to be an interactive piece- the reader is encouraged to rip out the pages as instructed.

The Marco Gomez interview with Maria Chavez’s transcript was a short, but interesting read. It is titled “What is Abstract Turntablism?”, yet doesn’t give an answer to this question. It may seem as though the article was some sort of marketing plot to entice readers of the article to buy her book. Regardless, it is very insightful to Chavez as a person. Through her style of speech, it is evident that she thinks of life in an abstracted way; she comes across as anti mainstream, anti corporation, and sees art in all aspects of life. Chavez is a sound artist I feel very aligned to, and I’m very keen to get experimenting with her methods.

Spinning Record – Emily Downe

Emily Downe’s sound and animation piece, Spinning Record, is inspired by NASA’s sending of golden records of 1977, by which NASA sent two golden records to space, which contained pieces of music members of the board deemed to be reflective of humanity at the time. Downe’s piece is created with the idea in mind that humans exist on a linear path, whilst the rest of “existence continues spinning on an endless loop. I love how Downe was able to express this idea in art, as it’s an idea that I have been attempting to verbalise for a while now. The video feels reflective of human existence, with  the pace of the animation increasing as time passes. The sound design has emphasised the concept on the vinyl record, with the famous crackle heard throughout.

Spinning a Record to Pieces at 12,500fps – The Slow Mo Guys

Although not intended to be an art piece, the Slow Mo Guys have demonstrated another abstractification of the use of the vinyl record here, https://www.youtube.com/watch?v=n-DTjpde9-0, even if only intended to be a video to show their experiment on speed. I loved their creativity in finding a method to spin the record at such a fast speed, how carefully planned each stage of the experiment was. Blending the use of household items with the use of the vinyl felt like a real utilisation of resources, and proved how easy it is to carry out artistic experiments right at home.

Information, Language and Interaction

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As sound artists, we may often assume the whole world feels sound the way we do, that feeling being one we emit within our sonic practices. And whilst the listener or consumer may be able to resonate and connect with that feeling, they may not truly understand whatever the message it is the composer is conveying. Audio papers become important in helping those not immersed within the world of sound to understand the meaning behind sound. Of course, those wanting to gain that understanding could read pre-written literature on topics of interest, so what is it that makes the audio paper so special? Of course, there’s a huge difference in format which makes it more accessible to some and many other practical factors, but what makes the audio paper truly special is its connection with its creator. For a successful audio paper, a sound artist must be aware of one’s voice and self as the performer of the audio paper.

I plan for my audio paper to be based around vinyl culture and abstract turntablism. As someone who is immersed within the world of dance music, it can be challenging to contextualise myself and my own practices within the world of sound art. Within the opening chapters of Richard Osbourne’s Vinyl: A History of the Analog Record, it is mentioned that the art of DJing (my sonic practice I use most) is an art of experimenting with the turntable in a way it was not initially manufactured to be used for. Scratching, pulling back and other small techniques DJ use wear out the records more than intended. This makes it appropriate to talk about vinyl culture in an audio paper within the realm of sound arts. This experimental nature of turntablism is challenged and taken to more extreme depths by artists such as Maria Cahvez, who breaks up records, layering them atop each other to create sound collage. 

Being immersed within the world of dance music, I would love to be able to interview vinyl collectors in my social sphere- people such as Bradley Zero, who runs Rhythm Section, where I work. This would allow the social and musical context of turntablism to be explored without simply rewording academic texts to understand the historical context. This would also allow my musicality away from the sound art realm to be presented within the audio paper. I would also like to explore my own record collection within the audio paper, which gives a brief insight into my upbringing and cultures that make up the sound artist I am today, giving the audio paper a sense of personality. 

Whilst the audio paper may seem like an attempt to keep my research safe, as it regards a practice I am heavily involved in, I feel as though I am taking it as an opportunity to open the mainstream listener of sound to the world of sound art. I honestly believe that a deep understanding of sound away from its musicality, and experimenting with any form of sound creation is what keeps our minds connected to the Earth and to God. Giving people this knowledge may just be what we need to heal as a human race and create a better world.

Podcast Review: Sound Matters- Bad Vibrations

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This podcast begins with a flurry of out of tune sounds clashing together, only lightly audible in the mix as the attention is on the narrator. Immediately, a soundscape that reflects the title and theme- Bad Vibrations- of the podcast is set. The narrator explains that this podcast is an exploration into how sound and music actually physically affect us, providing rhetorical examples such as “can music control your nervous system” and if it can ”turn you into a knife wielding murderer”. Whilst the topic of the podcast has been drawn out, an entire summary on the points covered has not been laid out, instead a passage of an interview which he has conducted is played. The flow feels more natural and conversations like, whilst information isn’t being repeated- all the information given feels fresh and interesting.

Exploring ideas laid out in James Kenneway’s book Bad Vibrations, the podcast explores claims throughout history about the idea of music making one ill- which Kenneway regards as “just plain nonesense”. Despite this opinion, the podcast somewhat gives credit to these claims (considering the time periods and science of those times) by detailing where music has an effect on health. The phenomenon of musicogenic epilepsy leads to those affeted having siezures induced by music. However, the difference between inducing and causing is made clear- the condition is not as a result of music, but once an individual suffers from it, music will beome a point of sensitivity for them, the same way light is for epileptics typically. The speakers use this point to take away credibility from the historical claims, and move onto their next point. I find this interesting, as I would have loved to be given an insight into the modern science behind musicogenic epilepsy, so as to gather my own opinion as to whether music has a negative effect on health. The podcast goes on to detail other phenomena of music inducing ill health and death, such as conductors dying whilst conducting works by Wagner, and Benjamin Franklin’s glass harmonica.

The idea of pathological music is explored- music as a catalsyt for disease, and music as a dangerous nervous stimulant. The discourse around this focuses on women, always with a focus on womens’ fertility. With a growing interest in psycohology, there too was an emphasis on analysing composers’ mental weakness. With 20th century psuedo scientific racist theories about music, the arguments around pathological music become futile, however, polotical weaponisation of music continues. This includes torture using music in the war on terror, and in CIA interrogation methods (totrture).

The podcast concludes by letting the reader know that research into the harmful effects on music on health is vague and inconclusive. I would have liked to hear examples of Wagner’s work, or even the CIA interrogation music within the podcast to add aesthetic quality. It would have also been nice to hear more than one person be interviewed. As this is a podcast series, however, it is understandable that there is a sole focus on one interviewee. I enjoyed listening to this podcast.

Introduction to Sound Studies and Ethnographic Modes

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With sound art being a range of practices rooted in audio and sound culture, it would make sense if there was a way of presenting worded information sonically- which there is: audio papers. An audio paper is an academic publication which is presented as an audio document. It allows for information to be relayed with added expression and detail which just written words, even just word themselves, can’t do on their own. In addition to this, they may be more accessible to people with visual impairments or who generally struggle to grasp a written document. Audio papers may also be preffered to a written document, as they may have the opportunity to be presented in exhibition spaces.

Before looking at and reviewing a few audio papers, it is important to be aware of the ‘Audio Paper Manifesto’, outlined below:

  1. The audio paper affords performative aesthetics
  2. The audio paper is idiosyncratic.
  3. The audio paper is situated and partial.
  4. The audio paper renders affects and sensations.
  5. The audio paper is multifocal; it assembles diverse and often heterogeneous voices.
  6. The audio paper has multiple protagonists, narrators and material agencies.
  7. The audio paper brings aesthetics and technologies together in mediation.
  8. The audio paper is a constituent part of larger ecologies.

Maria Chavez live performance: As a turntablist, I was fascinated by the way Maria Chavez uses “abstract turntablism” to create soundscapes- she describes the art of turntablism itself as audacious, as the performer touches the vinyl during playback, unlike it was designed to be. “Abstractifying” this is to just take it one step further in breaking conventions. Chavez foregoes the use of record sleeves and allows her vinyl to be stored in her record box, touching one another, creatin scratches. With other records, Chavez breaks them, using them to create sound collages. She uses a specially designed double needle cartridge to be able to stack the fragments of vinyl on top of each other.

As a turntablist, Chavez’s practice has inspired me to take my musical practice into the sound art realm in order to understand what it is she does. Being involved in abstract turntablism requires a good technical understanding of turntablism, so that one is able to break the conventions of how a turntable is meant to be used without damaging equipment / cuasing safety hazards.

It would be important to to talk about abstract turntablism in the form of an audio paper, as it would give the opportunity for demonstrations to be made on how works created within the practice sound. To be able to draft a script for an audio paper on abstract turntablsim, the historical context of turntablism must be understood and discovered within the audio paper, without making the listening experience consuiming for the consumer of the audio paper. To go about this, I would have to carry out interviews to provide information in a way that feels new and fresh.

Thinking forward, I believe talking about abstract turntablism in an audio paper would make for a great gallery exhibit, as it can be pressed onto vinyl to be presented in the form that it discusess.