Sonic Art Research Papers - Academia.edu (original) (raw)

Based on the author's artistic research on migration, contemporary urban experience, and sonic alienation, The Nomadic Listener is composed of a series of texts stemming from psychogeographic explorations of contemporary cities, including... more

Based on the author's artistic research on migration, contemporary urban experience, and sonic alienation, The Nomadic Listener is composed of a series of texts stemming from psychogeographic explorations of contemporary cities, including Copenhagen, Berlin, Kolkata, Vienna, Delhi, Hong Kong, Mumbai, and New York, among others.
Each text is an act of listening, where the author records his surrounding environment and attunes to the sonic fluctuations of movement and the passing of events. What surfaces is a collection of meditations on the occurrences of life movingly interwoven with memories, associations, desires, and reflections. Readers are brought into a tender map of contemporary urban experience and the often lonely, surprising, and random interactions found in traveling. The Nomadic Listener includes parallel drawings based on the original audio recordings and appears as ghostly renderings of the corresponding experiences. The recordings are published by Gruenrekorder and accessed through a QR code in the book.

I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the... more

I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice-based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed ‘live’ event to one consumed ‘on demand’ by a segmented audience across multiple platforms. Exploring the implications of this transition through my radio practice focuses upon the productive tensions which characterise the artist’s engagement with radio technology, specifically between the autonomous potentialities offered by the reappropriation of obsolete technology and the proliferation of new infrastructures and networks promised by the exponential development of new media. Switch Off takes as its overarching theme the possible futures for FM radio, incorporating elements from eight ‘trace’ stations, produced as a series of radio actions investigating these tensions. Interviews have been conducted with case study subjects Vicki Bennett, Anna Friz, LIGNA, Hildegard Westerkamp and Gregory Whitehead, whose work was chosen as being exemplary of the five recurrent facets of radio arts practice I have identified: Appropriation, Transmission, Activism, Soundscape and Performance. These categories are derived from the genealogy of experimental radiophonic practice set out in Chapter One.

This project presents a model to sonify data. It uses a multichannel audio system to create a spatial illusion of the presence of the sound source. This in order to present with a way of translating information from other domains into... more

This project presents a model to sonify data. It uses a multichannel audio system to create a spatial illusion of the presence of the sound source. This in order to present with a way of translating information from other domains into sound, at the same time that the spatial position conveys information also from this data.

The autonomous sensory meridian response (ASMR) is a sensory phenomenon, sometimes referred to as a "brain orgasm," which involves pleasant tingling sensations in a body in reaction to certain stimuli. This article analyzes ASMR within... more

The autonomous sensory meridian response (ASMR) is a sensory phenomenon, sometimes referred to as a "brain orgasm," which involves pleasant tingling sensations in a body in reaction to certain stimuli. This article analyzes ASMR within the framework of ideas put forward by the musique concrète that offered new sensibilities of musical expression and promoted attentive listening to matter. At the same time, we treat sonic practices of ASMR as inspired by the concepts developed by New Materialism, especially the notions of physicality and materiality of sound recognized within the ontology of its vibrational force.

Altered states of consciousness (ASC) can be represented in video games through appropriate use of sound and computer graphics. Our research seeks to establish systematic methods for simulating ASC using computer sound and graphics, to... more

Altered states of consciousness (ASC) can be represented in video games through appropriate use of sound and computer graphics. Our research seeks to establish systematic methods for simulating ASC using computer sound and graphics, to improve the realism of ASC representations in video game engines. Quake Delirium is a prototype ‘ASC Simulation’ that we have created by modifying the video game Quake. Through automation of various graphical parameters that represent the conscious state of the game character, hallucinatory ASC are represented. While the initial version of Quake Delirium utilised a pre-determined automation path to produce these changes, we propose that immersion may be improved by providing the user with a ‘passive’ method of control, using a brain-computer interface (BCI). In this initial trial, we explore the use of a consumer-grade electroencephalograph (EEG) headset for this purpose. Keywords—Altered States of Consciousness; Video Games; Brain-Computer Interface ...

This paper describes a framework for exploring the boundaries of interactive whole-body improvisational performances using the Orient-3 Wireless Motion Capture System in collaboration with composers and musicians. The requirements for... more

This paper describes a framework for exploring the boundaries of interactive whole-body improvisational performances using the Orient-3 Wireless Motion Capture System in collaboration with composers and musicians. The requirements for improvisational performances are explored and the choice of the Orient-3 motion capture system is justified from among mechanical, acoustic, magnetic, optical and inertial motion capture methods.

We are part of an artistic research group into multidisciplinary improvisation, exploring the intersection of free improvisation in sound and dance. We combine performance work with discussion of issues relating to cross-disciplinary... more

We are part of an artistic research group into multidisciplinary improvisation, exploring the intersection of free improvisation in sound and dance. We combine performance work with discussion of issues relating to cross-disciplinary improvisation, sharing perspectives from each discipline, exploring differences and similarities, general improvisation strategies, and strategies for communication and collaboration between musician/sound artists and dancers.
Through our collaborative research, we have begun to form an understanding of the differences in perspective between the two disciplines, and have begun forming effective strategies for collaborative improvisation and performance.
The sound performers of the group include both musicians and sound artists, instruments and electronics; and in fact, many performers move flexibly between 'music' and 'sound art'. As a result, it has become possible to outline general categories of potential for communication between sounding performers and dancers, which vary somewhat between 'sound art' and 'music'. These include opportunities offered by, for example, rhythm, gesture, phrasing, and space.

"This practice-led research investigates a design framework within an artistic context for the implementation of Whole Body Interactive (WBI) performance systems that employ real-time motion capture technology. Following an Interaction... more

"This practice-led research investigates a design framework within an artistic context for the
implementation of Whole Body Interactive (WBI) performance systems that employ real-time motion
capture technology. Following an Interaction Design perspective I engage in exploring the
requirements for composers, dancers, musicians and performers and their expectations, within
a series of transdisciplinary collaborative artistic projects. Integral to this investigation is a comprehensive
review and analysis of the progression of interactivity in fine art, music, dance and
performance practices, presented in this thesis. As I am particularly concerned with the seamless
transfer of the tacit skills and the implicit knowledge of non-digital artists and practitioners to a
WBI performance setting, my practical explorations emerged in the contexts of music improvisation
- Untitled#1, contemporary dance - Untitled#2, contemporary music composition - Hiroshima,
and traditional dance - Duende. Adopting a Holistic Design approach, the experience and knowledge
gained from my first practical explorations led to the design and implementation of a WBI
prototyping software environment called EnActor, used in tandem with the Orient wireless inertial
motion capture system, developed by the Research Consortium in Speckled Computing,
at the University of Edinburgh. EnActor provides a simple and effective solution to the problem
of linking physical actions to rich digital media responses and can serve as a blueprint for
the development of other WBI design software, since it has operated successfully as a prototype,
addressing a wide range of WBI design briefs in various contexts. In this thesis I introduce the
role of the WBI designer as a specialist interaction designer able to conceptualise WBI scenarios
and implement complete systems that operate within various levels of body sensing and control.
I also propose the development of WBI systems that are autonomous and unsupervised,
and I explore various compositional concepts and mappings that are implemented as automatic,
semi-automatic or manual modules and ultimately arranged into layers and to series of blocks
that represent complete compositions. Following the understanding of interactivity as a property
between systems, I identify the design of three basic types of WBI performance systems that differ
in how a user engages with them: methodical, empirical and dialectic. Overall this research
aims to facilitate designers and artists interested in the use of real-time motion capture systems in
dance, music, theatre and performance art applications."

Recent years have seen an exponential increase in the number of composers and sound artists directly responding to global environmental issues, such as biodiversity loss, pollution and climate change, through their creative practice. The... more

Sonic.exe, Ben Drowned, Super Mario, Tails Doll y Mortal Kombat. Seguro que a muchos de ustedes les han regalado algún videojuego por navidades. Como a mis sobrinos, que este año se portaron muy bien. Pues de eso vamos a hablar, como pasa... more

Sonic.exe, Ben Drowned, Super Mario, Tails Doll y Mortal Kombat. Seguro que a muchos de ustedes les han regalado algún videojuego por navidades. Como a mis sobrinos, que este año se portaron muy bien. Pues de eso vamos a hablar, como pasa con algunos hechos históricos o rodajes de películas, son muchas las leyendas urbanas basadas en videojuegos malditos. Algunos nunca han existido; otros han sido poseídos, causándole daño a los jugadores… o incluso la muerte. Debes tener mucho cuidado con Sonic, Tails Doll, Ben Drowned, Super Mario o Mortal Kombat… podría ser la última partida que jueguen. Al igual que la mayoría de la gente, soy un gran fan de Sonic el erizo, me gustan los juegos nuevos, pero no me importa jugar a los clásicos. Todo comenzó en una tarde de verano, estaba tranquilamente jugando en mi habitación cuando escuché al cartero dejar algo en el buzón. Paré el juego y fui a recoger el correo. Sólo había una caja de CD y una nota. Era mi mejor amigo Kyle, no sabía nada de él desde hacía dos semanas. La nota estaba como escrita con prisa y ponía:-Tom, no puedo soportarlo más, tengo que deshacerme de esto. Confío en que puedas hacerlo por mi. Yo no puedo, el me persigue. Si no destruyes este CD vendrá a por ti también, es demasiado tarde para mi… destruye el disco, hazlo rápido. No se te ocurra jugar, eso es lo que el quiere, simplemente acaba con el. Por favor… Kyle-Después de leer la nota no entendía nada, ¿estaba Kyle gastándome una broma? Observé la caja y el disco del interior, no había nada raro, solo tenía escrito en rotulador negro las palabras SONIC.EXE, ¿de qué manera me podría hacer daño? La verdad es que me entraron ganas de jugar, ya les dije antes que soy muy fan de Sonic. Subí a mi habitación e instalé el juego. Cuando apareció el título me di cuenta de que era uno de los primeros juegos de Sonic. Todo parecía ir normal, hasta que por una fracción de segundo me pareció ver algo raro en la pantalla de inicio. El cielo se había oscurecido, el emblema título estaba oxidado y arruinado, el 1991 SEGA fue reemplazado por un 666 y el agua se había vuelto roja. Lo más espeluznante eran los ojos de Sonic, de tono negro y sangrando con dos puntos brillantes rojos mirándome. También su sonrisa daba miedo. Cuando llego a la pantalla de personajes para elegir, estaban Tails, Knuckles y el Dr. Robotnik. manuelverdugo.com

Over the course of the twentieth-century, both the ethereal material of sound and light (vision) converged through emerging technology and mediums – creating new audio-visual art practices and forms. Whilst artists past and present still... more

Over the course of the twentieth-century, both the ethereal material of sound and light (vision) converged through emerging technology and mediums – creating new audio-visual art practices and forms. Whilst artists past and present still use sound and vision in singular artistic practices, the emergence of The Internet is creating a conundrum for sonic artists. This is because The Internet is a multimedia medium, creating a need for sonic artists to explore the possibilities of audio-visual practices to utilize the full potential of the medium. Furthermore, prominent academic and sound artist Barry Truax posits in his key sound art text Acoustic Communication ‘we live in a visually centred culture’. The conundrum of sound only art practices like soundscaping, and how to transform such practices into audio-visual ones for broader viewing and dissemination on multimedia mediums is the question to be investigated in the thesis. The practical component of the thesis, through practice-led experimentation will demonstrate how to transform the sound only practice of soundscaping into an audio-visual form. To achieve both these aims, historical avant-garde film art or ‘film painting’ and sonic art will be explored, along with digital art theory.

Il presente scritto descrive alcune caratteristiche tecniche, linguistiche ed espressive di tre installazioni d’arte elettroacustica da me realizzate, presentando così i risultati di una ricerca artistica “in itinere” il cui principio... more

Il presente scritto descrive alcune caratteristiche tecniche,
linguistiche ed espressive di tre installazioni d’arte
elettroacustica da me realizzate, presentando così i risultati di
una ricerca artistica “in itinere” il cui principio estetico
comune fa proprio il concetto di intermedialità.
Il suono incausato, improvvisa-azione per clarinetto sospeso
clarinettista ed elettronica (2005), Voce, per piccolo coro di
vetro, voce femminile ed elettronica (2006) e Risonanze dalla
Terra, sculture sonore in terracotta, canapa e suoni elettronici
(2007), sono lavori di arte elettroacustica in cui il mezzo
tecnologico, anziché sovrapporsi al suono naturale per
trasformarlo con artifici algoritmici, prende parte all’intera
struttura fisico-acustica di un nuovo “strumento”, concepito e
progettato insieme alla composizione musicale in modo da
dare vita ogni volta ad uno specifico ed autonomo oggetto
d’arte, sonora e plastica insieme.

Although examples of work investigating the perceptual relationship and possibilities of sound and image are common, relatively little work has been carried out into multimedia works combining sound and three-dimensional objects. A... more

Although examples of work investigating the perceptual relationship and possibilities of sound and image are common, relatively little work has been carried out into multimedia works combining sound and three-dimensional objects. A practice-based investigation into this subject is presented, with original artworks and contextual material from sound art, sculpture, moving image and psychology. The project sets out to more examine the perception of multimedia work, specifically through the creation and analysis of artworks combining sound and physical objects. It considers three main areas of study: sound’s ability to draw attention to, or modify, the existing properties of an object; techniques which encourage sound and object to appear cohesively as part of the same work; and a discussion of cognitive effects that may occur as a result of their simultaneous perception. Using the concept of the search space from evolutionary computing as an example, the case is made that multimedia artworks can present a larger field of creative opportunity than single-media works, due to the enhanced interplay between the two media and the viewer’s a priori knowledge. The roles of balance, dynamism and interactivity in multimedia work are also explored. Throughout the thesis examples of original artworks are given which exemplify the issues raised. The main outcome of the study is a proposed framework for categorising and analysing the perception of multimedia artworks, based on increasing semantic separation between the sensory elements. It is claimed that as the relationship between these elements becomes less obvious, more work is demanded of the viewer’s imagination in trying to reconcile the gap, leading to active engagement and the possibility of extra
imaginary forms which do not exist in the original material. It is proposed that the framework and ideas in this document will be applicable beyond the sound/object focus of this study, and it is hoped they will inform research into multimedia work in other forms.

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back... more

The portfolio contains seven compositions with varying instrumentation, ranging from string quartet to computer processed voice ensemble to purely electronic forces. Fata Morgana is the largest work in the portfolio and written for female... more

The portfolio contains seven compositions with varying instrumentation, ranging from string quartet to computer processed voice ensemble to purely electronic forces. Fata Morgana is the largest work in the portfolio and written for female voice ensemble, percussion and live computer processing or tape. Its main concern is that of extending the human voice via the auditory illusion of the Shepard’s tone. String Quartet No 1 contains excessive glissade to expose microtonal qualities. Haute Rorschach, When all memory is gone, Drift, Gala and Mutation 2 all explore complex and unique microtonal tuning systems and are written with instrumentation left relatively open ended: given certain conditions, both acoustic and electronic forces are able to perform it.
The most prominent compositional aspect that features in the portfolio is an approach towards the experience of movement in terms of colour, form, texture and space. Material consists of lines and curves such as glissandi or the Shepard’s tone auditory illusion, pitch fields, waves, pulses, flickering morphologies, distorted glows, morphs and slow transformations. This material originates from focusing on the internal properties of sounds, for example, the use of microtonal intervals that are clustered to produce beating patterns, third tones and unique colors. Macro forms are determined by this material and range from drone to simplistic, repetitive gestures. The final approach is a focus on the experience of sound in and as space: most pieces feature artificial acoustics as prominent part of the material and overall texture.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

This multi-authored essay collects a range of position statements made by leading scholars/practitioners in the fields of theatre aurality, music theatre/opera, and sound design. Contributors independently prepared short statements in... more

This multi-authored essay collects a range of position statements made by leading scholars/practitioners in the fields of theatre aurality, music theatre/opera, and sound design. Contributors independently prepared short statements in response to a central provocation—namely, the mooted ‘scenographic turn’ and its implication for theatre sound studies. The essay provides snapshots of current opinions about theatre sound design and scenography. It does not advance a single, unified argument but rather outlines some key ways in which sound/music and scenography are operating, and have operated, in theatre, and have been discussed in aesthetic theory. The essay ultimately reinforces the importance of attending to sound and scenography as co-constitutive elements, and suggests there is no single or best way of doing this.

Catalogue essay for an exhibition I curated.

This paper investigates documentary films in which real-world sound captured from the location shoot has been treated more creatively than the captured image; in particular, instances when real-world noises pass freely between sound and... more

This paper investigates documentary films in which real-world sound captured from the location shoot has been treated more creatively than the captured image; in particular, instances when real-world noises pass freely between sound and musical composition. I call this process the sonic elongation from sound to music; a blurring that allows the soundtrack to keep one foot in the image, thus allowing the film to retain a loose grip on the traditional nonfiction aesthetic. With reference to several recent documentary feature films, I argue that such moments rely on a confusion between hearing and listening.

This article investigates the essential association between location and sound, mediated and represented by the process of recording and the subsequent creation of an artwork. The basic argument this article would like to develop is that... more

This article investigates the essential association between location and sound, mediated and represented by the process of recording and the subsequent creation of an artwork. The basic argument this article would like to develop is that location-specific sound recording, as practised by artists and phonographers, is basically an exercise in disembodiment of sound from environment, whether it is observational or immersive in approach; if the purpose of this mediation by recording is artistically reconstructive, the location-specificity of the recorded sound is displaced by the further mediation of the creative process. By developing the argument from an experimental angle, in relation to an audio art project Landscape in Metamorphoses, this article will try to examine how the discourse of acoustic ecology becomes reconfigured in the shift from environmental sound content recorded at location to production of soundscape composition as audio artwork. Today, the application of digital media to artistic practice has become integral – in the case of audio art via creation of auditory art works (for both spatial diffusion and live interaction); this can bring about a reconfiguration of environmental aesthetics. The article will find relevance in redesigning the ecological discourse in the digital realm of ‘soundscaping’ through the practice of mediation, as composing of the sound of location, or ‘place’.

Throughout American history, political (re)education has been closely intertwined with sound. Concepts of democracy and citizenship with their entailing values such as liberty, individualism, and justice have been mediated (a) through the... more

Throughout American history, political (re)education has been closely intertwined with sound. Concepts of democracy and citizenship with their entailing values such as liberty, individualism, and justice have been mediated (a) through the teaching/imposition of sounds deemed acceptable and desirable: e.g., music, English language teaching, political speeches, the tapping of the gavel in courts, the sounding of church bells; (b) through the subjection of those perceived to be outside the normative order to unwanted sound: e.g., in military prisons; and (c) through the suppression of "noise"-all those sounds perceived to be irritating and, hence undesired: e.g., unwanted speech, utterances, and performances, music challenging conventional aesthetics, even the absence of sound (silence as a form of noise).

Environmental and spatial installation are prone to research and experimentation into the approach of the artist and public relationship. An audience mostly have the opportunity to accept the built environment as designers and architects... more

Environmental and spatial installation are prone to research and experimentation into the approach of the artist and public relationship. An audience mostly have the opportunity to accept the built environment as designers and architects intended - the challenge is to integrates the visitor as a integral part of the structure. Installation art in a compositional perspective offer an alternative to re-appropriate spaces where technology potentially provides all the necessary to includes the passive participant as actor.

This research branches from the study of silence in sound studies and musicology. It contributes by theorising ‘sonic subtlety’, a new category of sound positioned between silence and sound, where the sound is more restrained, but also... more

This paper outlines a way forward for an anthropologically inclined electroacoustic music. Considering the similarities in methodological approaches between the fields of ethnography and soundscape composition, this paper proposes to... more

This paper outlines a way forward for an anthropologically inclined electroacoustic music. Considering the similarities in methodological approaches between the fields of ethnography and soundscape composition, this paper proposes to further the use of contextual information when making compositional decisions with sound materials derived from field recordings: a socio-sonic methodology. To begin the discussion, theoretical readings of sound in context are presented. Parallels are highlighted between the practices of ethnographic study and soundscape composition, illustrated with the work of Steve Feld and the World Soundscape Project. A brief consideration of the soundscape–acousmatic continuum with reference to works by Luc Ferrari, Denis Smalley and Hildegard Westerkamp is followed by a combined summation of ethnographic, soundscape and acousmatic approaches to outline a socio-sonic methodology for composition. Examples of work by Peter Cusack, Justin Bennett and Bob Ostertag are discussed alongside my own work Manifest – a fixed-media composition based on field recordings and interviews made at political protests in Barcelona. The potential is for a music considered equally for its sonic and socio-political properties.

Electroacoustic music occupies a curious position within the arts. On the one hand, it appears to be aligned with the plastic arts, such as painting and sculpture; composers often refer to the haptic, kinaesthetic and even proprioceptive... more

Electroacoustic music occupies a curious position within the arts. On the one hand, it appears to be aligned with the plastic arts, such as painting and sculpture; composers often refer to the haptic, kinaesthetic and even proprioceptive nature of their compositional acts in terms of crafting, moulding and sculpting sounds in the studio. On the other hand, electroacoustic music appears be aligned with the performing arts, such as drama, dance and most forms of instrumental music; the proliferation of diffusion systems and the increasing sophistication of tools for real-time spatialisation lend credence to associations with traditional notions of performance practice. This paper seeks to demystify this ostensible paradox. It starts considering an ontological distinction that holds between the plastic arts and the performing arts, goes on to consider whether electroacoustic music is ontologically similar to one or the other, and concludes with the following point: electroacoustic music may be characterised by either plasticity or performance but, in many cases, it falls between these polarities. This observation may help to explain why some philosophers, aestheticians and musicologists have struggled to accept electroacoustic music whilst enabling one to identify where the unique value of this exciting and uncompromising art-form resides.

From the initial release of the CD in 1982, artists have tampered with the system to test it, compose with it and sample from it. The author examines the use of the cracked and manipulated CD in the work of Yasunao Tone, Nicolas Collins... more

From the initial release of the CD in 1982, artists have tampered with the system to test it, compose with it and sample from it. The author examines the use of the cracked and manipulated CD in the work of Yasunao Tone, Nicolas Collins and Oval in relation to their differing approaches and the role of the CD in sound expansion. Tone and Collins are interested in indeterminacy and the benevolent catastrophe in composition, while Oval’s process has more in common with pop production and studio practices.

Trevor Wishart is an electroacoustic composer who obtained his PhD at the University of York in 1973 . books On Sonic Art (1984 and 1996) and Audible Design (1994), which present his ideas about sound treatment, perception and... more

Trevor Wishart is an electroacoustic composer who obtained his PhD at the University of York in 1973 . books On Sonic Art (1984 and 1996) and Audible Design (1994), which present his ideas about sound treatment, perception and composition. All of the theories and ideas I talk about here are related to my research as a graduate student in music and musicology, entitled Sound identification, listening strategy and narrativity in Trevor Wishart’s Journey into Space – Agentization, objectization and narrativizations (translated from the French: Identification sonore, stratégie d’écoute et narrativité dans Journey into Space de Trevor Wishart – Agentisation, objétisation et narrativisations). The present essay is mainly the transcription of an interview with Wishart himself, in which we talked about Journey into Space, sound identification (“landscape”), voice (both recorded and improvised), symbolism and narrativity. I will add some comments and ideas throughout the essay; these will deal with music and meaning, the main subject of JMM, as well as with my own research on electroacoustic narrativity.