"In the plateau '1440: The Smooth and Striated' from their book A Thousand Plateaus: Capitalism and Schizophrenia, Deleuze and Guattari propose a distinction between smooth and striated space. Presenting a dialectical construction of space in which 'the two spaces in fact exist only in mixture' they argue 'smooth space is constantly being translated, transversed into a striated space, striated space is constantly being reversed, returned to a smooth space' . In particular the technological model of smooth and striated space Deleuze and Guattari put forward serves as a useful construction of the interaction between sound and digital technologies. Using the example of fabric, Deleuze and Guattari explain a conception of striated space in which there are 'two kinds of parallel elements; in the simplest case there are vertical and horizontal elements, and the two intertwine, intersect perpendicularly' .
Performing different functions, one of these remains fixed, the other mobile, as demonstrated by one piece of thread remaining in place while another interweaves, or transverses, it or by the x–axis of time in a digital sound buffer which remains linear, straight, as its corresponding y–axis of amplitude simultaneously traces and diverges from it. It is crucial that 'a striated space of this kind is necessarily delimited, closed on at least one side', as 'fabric can be infinite in length but not in width' and though time does not constrain sound the limited headroom of digital audio means amplitude must . Technological striated spaces are constructed with top and bottom, as belied by the seams of fabric or bit depth of digital sound . Digital sound involves a constant process of translation in which sound moves between the smooth phenomenal space of actualized sonority and the striated space of potential that is the digital domain, while still presenting a smooth space of its own, and so is itself nothing more than a functional abstraction."
(Ben Byrne, 2009)
Byrne, B. (2009). "Digital Sound: On Technology, Infidelity and Potentiality". Totally Huge New Music Festival Conference. Edith Cowan University, Perth.
"'The early history of this art was driven by an interest in color. In the eighteenth century, a Jesuit priest, Louis Bertrand Castel, invented the first color organ. Others, including D.D. Jameson, Bainbridge Bishop, and A. Wallace Rimington, created color organs through the next century ."
(Maura McDonnell, 2002)
"Organised by committees in every major city in NZ under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and avant–garde sound art from around the world to New Zealand.
As a turning cog in a thriving local audio art culture, Altmusic has, since 2001, offered a concentrated gathering point where New Zealand's audio art and experimental music scenes can cross wires with those from other centres (and other peripheries). At the same time Altmusic gives audiences the opportunity to share space with audio artists at the very pinnacle of their field, and previous years have seen programmes of performers who tour rarely and are highly regarded around the world.
Altmusic is listening with an eclectic breadth across a range of sonic trajectories, with programmes including artists investigating the embodied nature of performance and the place of live media within sound culture and some of the world's most respected pioneers of electronic music.
Altmusic does not offer a unifying framework, into which a genre ('sound art' 'noise' etc) is neatly packed, rather it attempts to disclose an–often clamorous – discursive space, in which ongoing debate as to what comprises an innovative art of sound can be publicly articulated. Aligned to such utterance is the experiential listening space which is the ground where sound art thrives, and where you, as listener, are given a chance, via the live context, to re–imagine spectatorship as participation."
(Sally Ann McIntyre)
Thursday 27th June 2013, 10:00am – 4:30pm, Waterside 2, The Watershed, Bristol, UK.
"This one–day symposium explores the historical present in creative practice. In a cultural climate that valorizes the 'now' what does it mean to occupy the present moment? Our aim is to examine the present tense of creative practice as itself historical as opposed to understanding it as the end point of a linear chronological line. The symposium is motivated by a desire to pay attention to the atmospheric 'thickness' of the present tense in art, media and design practices and to imagine what kinds of experience can be articulated when what Lauren Berlant calls the 'ongoingness' of life is slowed down and brought into visibility. The symposium includes papers on the historical present in relation to painting, sound, photography, film, digital media and video."