On Community Listening: 3

Check out my previous posts, On Community Listening 1 and 2 for context.

The visual aesthetic of the web environment is minimal because I want listeners to focus on the sounds that the interface holds and not on the overstimulation of visual content. Think Sol Lewitt. This is my favorite series by Mr. Lewitt.

The form of the interface is inspired by Alexander Calder’s kinetic sculptures and Earl Brown’sOpen Form” works. I like these structures because the art is composed of a network of reconfigurable vignettes that can be perceived from many different perspectives. Calder’s sculptures are reconfigured by environmental factors like the wind and light. The conductor and/or the musicians reconfigure most of Brown’s music.

The web interface for “Community Listening” will be different from these two types of works. The form will allow listeners the ability to directly reconfigure and interact with the ethnographic composition. In a sense, the listeners will also become the “conductor” of the work. This type of user flexibility confronts issues of access. The form of digital scholarship can “speak” to many different people from many backgrounds. Right?

Unrelated:

I’m listening to this and this.

Erik DeLuca makes music that moves from being influenced by 90's rock and the New York School of composers, to listening in quiet places. His dissertation, "Fieldworks: a Path to Composing" entwines the boundaries of acoustic ecology, audio documentary, anthropology, and electroacoustic music composition. In 2013 "Winter"—a piece for orchestra, voice, and recordings of silence—premiered in Denali National Park by the Fairbanks Summer Arts Festival Orchestra and "Community Listening in Isle Royale National Park", a multi-media sonic ethnography, was featured on a panel at the Society for Ethnomusicology Conference. Erik is a PhD candidate in the Music Department at UVa.

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