Sabine Breitsameter | Hochschule Darmstadt (original) (raw)
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Papers by Sabine Breitsameter
Populärkultur, Massenmedien, Avantgarde 1919–1933, 2014
The following thoughts stem primarily from an artistic position, not from a technical or manageri... more The following thoughts stem primarily from an artistic position, not from a technical or managerial one. The prime aim of the following discourse on 3D audio is to carve out major specifics of working with and in this new medium. By emphasising and advocating the artistic position in respect of the “fluid social interactions”2 Donna Haraway is referring to, the above-mentioned discourse is not only pointing to the facilitation of aesthetic possibilities, but also to negotiating technologies’ “meaning”, which its inventors and promoters need to perform with society and the arts in order to bring out the innovative potential of a new apparatus.
Soundscape is a biannual English language publication of the World Forum for Acoustic Ecology (WF... more Soundscape is a biannual English language publication of the World Forum for Acoustic Ecology (WFAE). It is conceived as a place of communication and discussion about interdisciplinary research and practice in the field of Acoustic Ecology, focussing on the inter-relationship between sound, nature, and society. The publication seeks to balance its content between scholarly writings, research, and an active engagement in current soundscape issues.
The following thoughts stem primarily from an artistic position, not from a technical or manageri... more The following thoughts stem primarily from an artistic position, not from a technical or managerial one. The prime aim of the following discourse on 3D audio is to carve out major specifics of working with and in this new medium. By emphasising and advocating the artistic position in respect of the “fluid social interactions”2 Donna Haraway is referring to, the above-mentioned discourse is not only pointing to the facilitation of aesthetic possibilities, but also to negotiating technologies’ “meaning”, which its inventors and promoters need to perform with society and the arts in order to bring out the innovative potential of a new apparatus.
Since around one decade, the word “immersion” has become one of the major terms relating to curre... more Since around one decade, the word “immersion” has become one of the major terms relating to current developments in digital media. Being able to (re-)create the experience of being surrounded by and immersed in sensory impressions is widely considered as a main characteristic of nowaday’s digital technologies, as for example in games, in 360° film or in 3D audio. As in 3D audio, immersion’s aesthetic strength is mainly assigned to cohesiveness as well as to its capability to create an “as if” experience. By this it is coming very close to the experience of reality, and is touching, if not transgressing the boundaries to Virtual Reality. Concerning sound and audiomedia, there is, however, an interesting history of critical approach, when it comes to illusionism and realism made possible and enhanced by new technologies. This paper will not only point out critical aspects of immersion as a goal for media experience in general, but show artistic methods and strategies, by which the cri...
Populärkultur, Massenmedien, Avantgarde 1919-1933
Introduction In 1977, Canadian pianist Glenn Gould produced The Quiet in the Land for CBC radio—a... more Introduction In 1977, Canadian pianist Glenn Gould produced The Quiet in the Land for CBC radio—a one-hour documentary on Mennonite life in and around Kitchener-Waterloo, Ontario and Winnipeg, Manitoba based on interviews and vocal soundscapes. In it he applied his polyphonous audio aesthetic of “contrapuntal radio,” mixing materials in a way considered an absolute nogo for a professional broadcaster: spoken word mixed with spoken word. For listeners this created a new experience; in contrast to their long-time radio listening habits, they would soon get lost in a mélange of unidentifiable words dissolving into mere sound. Gould subordinated his interview materials to the compositional principles of a fugue, which work on sonic, not semantic, patterns. The characteristic voices of his interviewees can be followed by their pitch, their intonation, or their sentence melody, but only vaguely by their content. Even today, The Quiet in the Land is considered a challenging production, for...
Populärkultur, Massenmedien, Avantgarde 1919–1933, 2014
The following thoughts stem primarily from an artistic position, not from a technical or manageri... more The following thoughts stem primarily from an artistic position, not from a technical or managerial one. The prime aim of the following discourse on 3D audio is to carve out major specifics of working with and in this new medium. By emphasising and advocating the artistic position in respect of the “fluid social interactions”2 Donna Haraway is referring to, the above-mentioned discourse is not only pointing to the facilitation of aesthetic possibilities, but also to negotiating technologies’ “meaning”, which its inventors and promoters need to perform with society and the arts in order to bring out the innovative potential of a new apparatus.
Soundscape is a biannual English language publication of the World Forum for Acoustic Ecology (WF... more Soundscape is a biannual English language publication of the World Forum for Acoustic Ecology (WFAE). It is conceived as a place of communication and discussion about interdisciplinary research and practice in the field of Acoustic Ecology, focussing on the inter-relationship between sound, nature, and society. The publication seeks to balance its content between scholarly writings, research, and an active engagement in current soundscape issues.
The following thoughts stem primarily from an artistic position, not from a technical or manageri... more The following thoughts stem primarily from an artistic position, not from a technical or managerial one. The prime aim of the following discourse on 3D audio is to carve out major specifics of working with and in this new medium. By emphasising and advocating the artistic position in respect of the “fluid social interactions”2 Donna Haraway is referring to, the above-mentioned discourse is not only pointing to the facilitation of aesthetic possibilities, but also to negotiating technologies’ “meaning”, which its inventors and promoters need to perform with society and the arts in order to bring out the innovative potential of a new apparatus.
Since around one decade, the word “immersion” has become one of the major terms relating to curre... more Since around one decade, the word “immersion” has become one of the major terms relating to current developments in digital media. Being able to (re-)create the experience of being surrounded by and immersed in sensory impressions is widely considered as a main characteristic of nowaday’s digital technologies, as for example in games, in 360° film or in 3D audio. As in 3D audio, immersion’s aesthetic strength is mainly assigned to cohesiveness as well as to its capability to create an “as if” experience. By this it is coming very close to the experience of reality, and is touching, if not transgressing the boundaries to Virtual Reality. Concerning sound and audiomedia, there is, however, an interesting history of critical approach, when it comes to illusionism and realism made possible and enhanced by new technologies. This paper will not only point out critical aspects of immersion as a goal for media experience in general, but show artistic methods and strategies, by which the cri...
Populärkultur, Massenmedien, Avantgarde 1919-1933
Introduction In 1977, Canadian pianist Glenn Gould produced The Quiet in the Land for CBC radio—a... more Introduction In 1977, Canadian pianist Glenn Gould produced The Quiet in the Land for CBC radio—a one-hour documentary on Mennonite life in and around Kitchener-Waterloo, Ontario and Winnipeg, Manitoba based on interviews and vocal soundscapes. In it he applied his polyphonous audio aesthetic of “contrapuntal radio,” mixing materials in a way considered an absolute nogo for a professional broadcaster: spoken word mixed with spoken word. For listeners this created a new experience; in contrast to their long-time radio listening habits, they would soon get lost in a mélange of unidentifiable words dissolving into mere sound. Gould subordinated his interview materials to the compositional principles of a fugue, which work on sonic, not semantic, patterns. The characteristic voices of his interviewees can be followed by their pitch, their intonation, or their sentence melody, but only vaguely by their content. Even today, The Quiet in the Land is considered a challenging production, for...