1: introduction to audio papers
Preproduction: (how to start my planning)
The pre-production phase of an audio paper is crucial for establishing a solid foundation. Begin by conducting thorough research on your chosen theme, just as you would for a written paper.
Develop a clear thesis and outline your main arguments.
Next, create a detailed script that translates your academic ideas into spoken language, considering how to effectively convey complex concepts aurally.
Identify key points where audio elements could enhance your argument, perhaps to emphasise important concepts or create emotional resonance.
Plan your sound design, deciding on any music, field recordings, or FX that will support your narrative.
Finally, create a production plan, arrange any necessary interviews, and prepare your recording equipment.
What is an audio paper?
“Audio papers resemble the regular essay or the academic text in that they deal with a certain topic of interest, but presented in the form of an audio production.”
From my own understanding, audio paper is a type of presentation that uses voice to explain and analyze what we have explored in the field.
I have then explored the audio paper “Mundania” from Robert william. His work exhibits the audio paper begins with ideas about what is audible and then explores mundanization processes. Voice-over and acoustic compositions created by manipulating a single recorded sound are combined in this paper. The conversational comments and discussions are made more intense by the way the recording is sonically altered.
What are the influential historical and contemporary theories on sound art?
Firstly I want to start my inspiration from the aspects of influential historical and contemporary theories on sound art. My interests are more focused on sound designing, however I have planned to develop my base knowledge first.
There are some influential theories on sound art:
- Futurism (early 20th century): The Futurist movement, pioneered by artists like Luigi Russolo, celebrated the sounds of the industrial age and sought to incorporate these noises into music and art, challenging traditional notions of harmony and melody.
- Musique Concrète (1940s-1950s): Developed by Pierre Schaeffer and Pierre Henry, this theory focused on the manipulation and organization of recorded sounds from the environment, treating them as raw materials for composition. (Field recording to be the base)
- Fluxus (1960s-1970s): This international avant-garde movement, influenced by artists like John Cage and Nam June Paik, emphasized the integration of different art forms, including sound, performance, and multimedia installations.
- Acoustic Ecology (1960s-present): Theorized by R. Murray Schafer, this concept explores the relationship between living beings and their sonic environments, advocating for conscious listening and preservation of natural soundscapes.
- Phenomenology (1970s-present): Influenced by philosophers like Maurice Merleau-Ponty and Don Ihde, this theory emphasizes the subjective experience of sound and the ways in which it shapes our perception of the world.
- Sound Installation Art (1970s-present): This contemporary practice involves the creation of immersive sonic environments, often site-specific, that engage with the physical and spatial dimensions of sound.
- Sonic Materialism (1990s-present): Theorists like Salomé Voegelin and Christoph Cox have explored the materiality of sound and its capacity to shape and transform physical spaces and objects.
- Sound Studies (2000s-present): This interdisciplinary field, drawing from disciplines like anthropology, cultural studies, and sociology, examines the cultural, social, and political dimensions of sound and listening practices.
What is my concept? How do l produce it? What is my plan? (what do l require and prepare)
To start my audio paper: The audio paper takes its point of departure in notions of