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Bibliography

BOOKS /JOURNALS

Barthes, Roland. La cámara lúcida. Paidós, 2011.

Blesser, Barry, and Linda-Ruth Salter. Spaces Speak, Are You Listening?: Experiencing Aural Architecture. MIT Press, 2009

Brech, Martha, and Ralph Paland. Kompositionen für hörbaren Raum: Die frühe Elektroakustische Musik Und Ihre Kontexte = Compositions for Audible Space: the Early Electroacoustic Music and Its Contexts. Transcript, 2015.

Brook, Peter. The Empty Space. Penguin Books, 1968

Cage, John. Themes & Variations. Station Hill, 1982.

Chion, Michel, and Claudia Gorbman. Audio-Vision: Sound on Screen. Columbia University Press, 2019.

Cox, Christoph. Audio Culture, Revised Edition: Readings in Modern Music. Bloomsbury Publishing Plc, 2017.

Cox, Christoph. Sonic Flux: Sound, Art, and Metaphysics. The University of Chicago Press, 2018

Chris, et al. “Self Unbound: Ego Dissolution in Psychedelic Experience.” OUP Academic, Oxford University Press, 30 June 2017, academic.oup.com/nc/article/2017/1/nix016/3916730.

Deleuze and Guattari's A thousand plateaus

Eugene Holland - Bloomsbury - 2013

Eliade, Mircea. Shamanism: Archaic Techniques of Ecstasy. Princeton University Press, 2004

Goodman, Steve. Sonic Warfare: Sound, Affect, and the Ecology of Fear. MIT Press, 2012

Gottschalk, Jennie. Experimental Music since 1970. Bloomsbury Academic, an Imprint of Bloomsbury Publishing, 2017.

Iyer, Vijay. “Improvisation, Action Understanding, and Music Cognition with and without Bodies.” Oxford Handbooks, Oxford University Press, 17 June 2017, www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780195370935.001.0001/oxfordhb-9780195370935-e-014.

John, Graham St. Rave Culture and Religion.

Routledge, 2009.

Kim-Cohen, Seth. In the Blink of an Ear: toward a Non-Cochlear Sonic Art. Bloomsbury, 2013.

Kries, Mateo. Night Fever: a Design History of Club Culture. Vitra Design Museum GmbH, 2018

Leary Timothy, Ralph Metzner and Richard Alpert - The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead 1964.

Lippman, Edward A. The Philosophy & Aesthetics of Music. University of Nebraska Press, 1999.

https://books.google.co.uk/books?id=Sv785yYCL1YC&pg

Oliveros Pauline - Quantum Improvisation: The Cybernetic Presence Keynote address presented at the conference Improvisation Across Borders at UCSD April 11, 1999

Oliveros Pauline - Sonic Meditations (1974) the Complete Text and Scores.” The Hum Blog, 13 Sept. 2016, blogthehum.com/2016/09/13/pauline-oliveros-sonic-meditations-1974-the-complete-text-and-scores/

Oram, Daphne. Daphne Oram: an Individual Note of Music, Sound and Electronics. Anomie Academic, 2017

Silver, Micah. Figures in Air: Essays toward a Philosophy of Audio. Inventory Press, 2014.

Smalley, Denis. “Space-Form and the Acousmatic Image.” Organised Sound, vol. 12, no. 01, 2007, p. 42., doi:10.1017/s1355771807001665

Thompson, Marie, and Ian Biddle. Sound, Music, Affect: Theorizing Sonic Experience. Bloomsbury Academic, 2013.

Reynolds, Simon. Generation Ecstasy: into the World of Techno and Rave Culture. Routledge, 2016.

Thompson, Marie, and Ian D. Biddle. Sound, Music, Affect: Theorizing Sonic Experience. Bloomsbury, 2013.

Wilber, Ken. No Boundary, an Illuminating Overview of Eastern and Western Approaches to Personal Growth. Center Publications, 1979

WEB

Arq. Wendell Cole in Observatori Espais Escénics, espaciosescenicos.org/The-theatre-projects-of-Walter-Gropius-Wendell-Cole.

Fabrizi, Mariabruna. “Yannis Xenakis' Polytopes: Cosmogonies in Sound and Architecture.” SOCKS, 9 Feb. 2018, socks-studio.com/2014/01/08/yannis-xenakis-polytopes-cosmogonies-in-sound-and-architecture/

“Technologies of the Self.” Michel Foucault, Info., Michel Foucault, Info., foucault.info/documents/foucault.technologiesOfSelf.en/

“Set and Setting.” Wikipedia, Wikimedia Foundation, 16 Aug. 2018, en.wikipedia.org/wiki/ Set_and_setting

“Cine De Destape.” Wikipedia, Wikimedia Foundation, 30 Jan. 2019, es.wikipedia.org/wiki/Cine_de_destape

“Salience (Neuroscience).” Wikipedia, Wikimedia Foundation, 15 Feb. 2019, en.wikipedia.org/wiki/Salience_(neuroscience)

“Gesamtkunstwerk.” Wikipedia, Wikimedia Foundation, 10 Feb. 2019, en.wikipedia.org/wiki/Gesamtkunstwerk

“Unity of Opposites.” Wikipedia, Wikimedia Foundation, 29 Aug. 2018, en.wikipedia.org/wiki/Unity_of_opposites

Ruffolo, Mattia. “Breaking down the German Artist Anne Imhof's Astounding Venice Biennale Pavilion.” I, VICE, 23 May 2017, i-d.vice.com/en_uk/article/d37gkm/breaking-down-the-german-artist-anne-imhofs-astounding-venice-biennale-pavilion

Pearl, Max. Kode9 Installs 40,000-Watt Soundsystem in Tate Modern. Resident Advisor, 1 Oct. 2018, www.residentadvisor.net/news/42581

Terence Mckenna in: Henrykeats, director. Terence Mckenna: Build Your Own Damn Boat [FULL].YouTube, YouTube, 23 Feb. 2017, www.youtube.com/watch?v=S2zvVAdqj8Y 08m 23s

Technology Networks. “This Is How LSD Alters Our Perception.” Neuroscience from Technology Networks, Technology Networks, 31 Oct. 2018, www.technologynetworks.com/neuroscience/news/how-lsd-changes-perception-311248

U B U W E B :: Dick Higgins on Intermedia, www.ubu.com/papers/higgins_intermedia.html

Hantelmann, von. The Experiential Turn. Walker Art Center, Walker Art Center, 30 June 2014, walkerart.org/collections/publications/performativity/experiential-turn/

“Harvard University Graduate School of Design.” Entanglement of Movement and Meaning: The Architect, Spatial Perception and the Technological Body - Harvard Graduate School of Design, www.gsd.harvard.edu/course/entanglement-of-movement-and-meaning-the-architect-spatial-perception-and-the-technological-body-spring-2019

Resident Advisor. “Reviews.” Resident Advisor,

www.residentadvisor.net/reviews/20813.

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Some Actual Sinergies

In the search for examples of current interactions between diverse fields involved with Club culture, I noted a wide variability intercrossed worlds such as Architecture, international shows such as the Venice Bienalle, Museum exhibitions, and DJ´s playing spatialized live sets that cross over from Club to experimental music venues

Brooklyn-based sound artist and sound engineer, Daniel Neuman, explores sound material and its modulation through space. In the piece ‘Channels’ exposed in the Fridman Gallery in New York, he used the space in a very particular way. He hung a huge mixing board from the ceiling which shows the automation of the piece’s many active channels in action, being diffused in space. Neumann ‘s approach in this piece is an intercrossing of artistic expressions. He distributed a sculptoric collection of vintage speakers that reproduce sound with a strong visual presence that are one part of the of the sound system,proposing an experience that involves the body and physical interactio of the architecture as a resonator and the affective reaction of the body as happens in the club, but without dancing.http://

In recent years, avant-garde electronic clubs have opened with an experimental approach to the evolution of this practice, including installations and experimental music.. A good example is zerø (better known as ø) created in January 20172 at Corsica studios in London.

Other example is Saüle, an “experimental club” that opened in March of 2017 at the famous Berghain complex in Berlin. “Säule is the club’s third dance floor, and looks to be dedicated to experimental sounds. A low-key group of acts—Natalia Escobar, Yves Tumor, Deena Abdelwahed and Alessandro Adriani—were booked for the opening, but, as expected, most people seemed more interested in the space”.3

Lee Gamble, who is a Birmingham DJ orientated to Jungle and bass music, but influenced by the BBC radio workshop sound, performed an ‘ambisonic’ live set in 2019.

“Lee Gamble will transform his material from “In A Paraventral Scale“, the first chapter of his upcoming Hyperdub triptych album “Flush Real Pharynx“, into a 3D ambisonic the piece, which will be shown for the first time at Dominm Berg in as part of the Hyperdub 15 programme inconjunctionn with ‘The Kunstuni Graz —Institute of Electronic Music and Acoustics’”.4

Finally the “Ricson Room” situated in Hangar.org in Barcelona is another place that hosts very diverse ways of sonic experimentation involved with sound spatialization.

The connections between sound art, experimental music, museums, fashion and performance with Club and Rave, are strong and varied, and continue to cross lines and create synergies.

2 The club is commanded by Kode9 and host varied transdisciplinary events. https://zerø.info/#Ø1

3 Unicomb, Matt. Review: Saule Opening at Berghain.Resident Advisor, 24 Mar. 2017

4 Lee Gamble. Elevate Festival, 30 Jan. 2019, elevate.at/en/speakers/lee_gamble/ (Lee Gamble also collaboratedd with a festival in a performed in a cave, at the same time where Eliane Radigue premiered the piece OCCAM River XV) https://www.tinymixtapes.com/news/eliane-radigue-and-lee-gamble-perform-live-inside-cave-september.

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Architectural Home system

Photo credits Ignacio Bruno: https://igbruno.tumblr.com

This project was developed between the fall of 2018 and spring 2019 in Berlin, Germany. This city has a particular history in relation to electronic clubs and the social meaning of club culture. In the above writing, I described the way people conceive the art of raving as a search of new ways of seeing fuelled by technology.

But while I was writing, I started noticing concrete shreds of evidence about people’s changing perspectives about using technology, this time, far away from the club and museums. Around the city, observing the architecture, I started noticing that, the pores of the building´s dermis (the windows), permitted a view of very diverse lighting effects, changing night by night during the raw winter. This makes me think that the inhabitants are constantly shaping their perspectives with the decision of transforming their houses with technological tools.

They construct home-playgrounds with lighting effects, video projection, and with large Hi-Fi sound systems that resonates all through the building structures floor by floor, articulating an architectural instrument. This reinforced my idea of the human using space as a resonating architectural/cognitive system.

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Why Navigate this way?

I have to say the attemps of documentation and the description of this kind of experiences always are representational and will hardly reflect the real bodily experience. The complex interactions and the ambiguous multiplicity of realities produced in a field of tension make a club, almost exclusively, a vivential thing and not something to document. But, in my attempt to write about this performative and vivential act, and because I think this subject demands a complex way interacting and interconnecting, I present it as an open framework in which many concepts and personal ideas overlap. I take from rhizomatic thinking the principles of connection and heterogeneity, meaning that “any point of a rhizome can be connected to anything other, and must be“(Deleuze et al. 2013, 7).1 An open framework can best allow the concepts involved to continue to grow and interconnect, revealing how the Club setting, space and affect has a decisive role in the unfolding of this hypermillenial techno/cognitive/chemical process.

1 Introduction: Rhizome - A Thousand Plateaus, by Gilles Deleuze et al., Bloomsbury, 2013. p.7

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CONCLUSION

Here I want to add that this project is not intended to enoble Club with artworld or academic thinking. The intention is to encourage the collision of ideas that are present in both places and encourage a wider understanding and new ideas to the act of raving and the role played by the Club. I hope to contribute to the evolution of this practice.

I´m adding my perspective to "making" clubs in a way that becomes kind of art form in itself - be it a pointed minimalism or a baroque Gesamtkunstwerk”. (Kries et al., 2018, 177), working as an aural architect with a software mixer designed to skim over the complex flows and fields presented in the space of the Club.

This project is conceived in a context of sound art, but my software is a product that in the end does not make sounds itself and is not bound to any sonic aesthetic. It is an instrument for open spacialization that gives a possibility to any kind of approach to sound to work with space in a more democratic way. Another layer of space can be added to sonic performances. This pretends to integrate, to unify, to bind. It is a work about the unity of ourselves, space, and every natural flux that surrounds us, fueling freeform cognition. It is for me a way to contribute to a global sensitivity. For me, to be sensitive is to be aware of our surrounding, of how things flow, grow, die, burn, love, feel, taste, sound. I think this gives us the chance to make decisions more connected to ourselves and to natural streams. My software is intended to be open and be used by any other artist or DJ to explore new ways of integrating sound, space, feelings.

I have grown a lot during the development of this idea, both technically and personally. I believe that nothing is more important than our process of experience, and the experience of space is the most situational example. Look up, look around, listen to yourself, listen to your context, smell, touch, dance, breath, reflect, act, re-act, don't act, contemplate. Connect those senses to your experience in a space that always is there to be felt.

I understand in a deeper way the importance of here and now. This contrasts the virtual intention of digital social media to recreate experiences, reducing them to a few inches of OLED screen and portable Bluetooth speakers capable of reproducing only a small band of sound frequencies. I understand that diffused sound is an in-situ experience.

Releasing total control of things, in this case of the instrument, is another achievement. This is to say that I feel that this instrument is not only there to be played, but that it is more of a relationship, as David Tudor would say, between the influence I have over the instrument, and vice-versa, listening to what the instrument can do to influence the player and the communal ecosystem.

A special intuitive field has opened to me since entering the study of sound. I have come to understand sound as a multi-dimensional thread that allows a self-tuning, proposing infinite transdimensional paths, holding a transmodal cognitive/affective potential, nested in a sonic river path, that finally will flood through us, bonding a total cognitive experience.

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TECHNICAL DESCRIPTION

This software began as a simple spatial mixer. It was programmed as a patch file built with Max/MSP, the multimedia programming environment from Cycling74 (www.cycling74.com) and the actual ambisonic encoding/decoding (ICST objects) with a matrix control of outputs.

It is my intention to include many other transdisciplinary features in future versions, such as encrypted messaging, 3D printing, speaker layout tracking to be calculated via IPS (Indoor position system), QR code configurations, Vj software link and also a link to Rhino + Grasshopper, that is a 3D modeling interface + parametric design modeling. Version 0.1 uses three different ways of mixing per deck, as well as one called “Groove module” that can interact with each of the four main decks.

The three ways of mixing are:

#1. Ambisonic mode, in which the ambisonic module is used, in this case to manipulate a sonic source manually via an iPad connected through OSC, or presets of rotation and random trajectories with the possibility of controlling the speed of the movement.

#2. A manual mode is added to control active/inactive speakers by hand.

#3. A switching matrix based on the greatest common divisor method between the active speakers and their total number. This provides an equidistant matrix between speakers. This method is taken from the euclidean algorithm, so I call it Euclidean mode.

All of these are controlled via MIDI from a Launchpad mini and correspond to a single deck. The mixer contains four main decks, and a fifth is added as an auxiliary, only capable of working in Ambisonic mode.

The groove module is intended to work not only as a dynamic player of samples, but also as a dynamic diffuser. The sync option is connected to the Euclidean mode (of each deck), to controll the number of speakers active and also the rotation of the matrix, a speed adjustment and loop modes are also enabled. A sync~ feature between a phasor~ to pulse program, or via the sync~ option of the groove module is available as well.

The actual version of inputs is mono, with the possibility of merging the stereo image into a mono one, (a stereo version is on the way!). Two adc~ inputs are available per deck, diverse waveform oscillators are added, white/pink noises, and a sample player as well.

A dynamic and pressure sensitive volume control is available to drive the volume of each speaker. This is controlled via midi with a Beatstep sequencer. Deck volumes and Ambisonic coordinates (x,y) are controlled from the upper group of knobs. The transpose wheel is mapped to rotate the euclidean mode matrix.

The distribution of speakers in this first version is in round crown, where a circle is divided with the number of speakers and automatically filled equidistantly all around the edge. A rotation adjustment is possible. The maximum number of speakers available for now is 8, tested with very good results. Recording performance in multichannel and stereo image is also available. The perspective is to have an instrument that is enabled to grow in a fractal way to work with the space in a total way.

The tracking of the speakers will allow playing a mirrored situation of an ambisonic spacialization. This tracking will enable intersecting (by moving the speakers) sound sources virtually ubicated in space, thus playing with a double reality and bringing chance to play when crosshatching this merged reality.

A sequencer will be added to every deck, in which each step of a sequence corresponds to the position of a speaker. The tempo of each one is pretended to be independent one from the other to give freedom to the mixing, like a turntable, although a sync function will be provided.

Connecting this with Rhino Grasshopper (an architectural visualization software) via OSC1, will allow the possibility of somehow modeling the experience to then render it as a visual piece or build structures generated by these interactions. The connection of sonic performances with the tridimensional world in both cases representational and physical, will open the design process to new outcomes. The transmutation of some elements by means of sensors or signals interconnected to variable parameters, will allow exploration related to the interdisciplinary transmutations of morphologies. This can be traduced to spectromorphologies, CG2 morphologies, and physical printed, or laser cut morphologies. These interdisciplinary transmutations will add heuristic3 or other design processes, the possinility to evolve into new chaotic design results. It seems that many of these interactions were present in the imagination of earlier experimental musicians and sound researchers.

Pauline Oliveros dreamed in 1999 of a way to render interdimensional galactic improvisations with yet unknown beings in 3D Color.4

The connection with architectural software, also adds an update to the visualization of the architectural model, integrating it with the visual interface and the ambimonitor of the software in order to gain a greater understanding of the space.

The Indoor positioning system (IPS) feature will be available after researching the most convenient method for this connection.5 Luigi Nono and the holophone6, or the coffee mill7 conceived by Stockhausen are some examples for further investigations in programming ways of mixing. I am also carrying out other experimentations with new switching matrix methods.

I realized that there is much to be done in the professional arena with innovation in the way space and technology is integrated. This research pushed me to analyze how other artists in the field who are exploring multichannel spatial sound and whose work spans both the experimental art world and the technical management of Club spaces.

In a very inspiring conversation with Daniel Neumann, a Brooklyn-based sound artist and sound engineer who explores sound material and its modulation through space, I asked why these days a multichannel sound system is not often available in most clubs, and he answered that the main problem in venues with big sound systems to be used for a multifocal purpose is the elevated price of amplifiers, because each channel needs amplification, and this presents a problem for the afordability. After a funny chat, we came across a reality, that we are in the perfect moment to bring this practice to more places. Note: Neumann runs (CT::SWaM) in New York City, a platform that is engaged in presenting spatial sound works and focussed listening.

1 Example: https://vimeo.com/34705539

2 see: https://en.wikipedia.org/wiki/CG_Artist

3 Is any approach to problem solving or self-discovery that employs a practical method, not guaranteed to be optimal, perfect, logical, or rational, but instead sufficient for reaching an immediate goal. Where finding an optimal solution is impossible or impractical, heuristic methods can be used to speed up the process of finding a satisfactory solution. Heuristics can be mental shortcuts that ease the cognitive load of making a decision.

Examples that employ heuristics include using a rule of thumb, an educated guess, an intuitive judgment, a guesstimate, profiling, or common sense.

4 Oliveros, Pauline. “Quantum Improvisation: The Cybernetic Presence.” Academia.edu, www.academia.edu/174616/Quantum_Improvisation_The_Cybernetic_Presence?email_work_card=view-paper. p.9

5 See https://www.airfinder.com/blog/indoor-positioning-system

6 (Brech and Paland, 2015, 193)

7 (ibid, 192)