Archive for the 'Stöbern' Category

Worldtune Interactive Sound Processing: Ist der Zuhörer Teil der Maschine?

1. Juni 2010

Worldtune – Interactive Sound Processing ist eine der spannenden Webseiten, für die ich das Internet liebe. Wohl entstanden aus einem Kunstprojekt in den 90ern des letzten Jahrhunderts, hält die Seite eine Menge Soundbites aus aller Welt bereit und man kann eigene Soundbites von bis zu 6 Sekunden hochladen (Anweisungen unter dem Menüpunkt: EDIT). Während ich das hier schreibe, lausche ich dem Grunzen eines Schweines aus Teterow (Datei: „schwein.au“). Mit F5 die Seiten neu laden, zappt durch die verschiedenen Sounds.  Schön auch „Steameng1.au“, ein hämmernder Sound aus Kinnekulle/Sweden und „highheelssz.au“ aus Beijing. Die Seite ist nicht aktuell, ich vermute, Sie wurde zuletzt 2000 bearbeitet, einmal hat sie mir den Firefox abstürzen lassen und nicht überall sind Daten hinterlegt. Trotzdem ein sehr interessantes Projekt zum Stöbern (Das Soundbite „piano.au“ aus Kopenhagen ist absolut treibend. könnte einen vielleicht auch in den Wahnsinn treiben).

World Tune wants to trace the changes of atmospheres and events of our planet acoustically and give the listener feedback about the current conditions of our world.

Hier die komplette englische Philosophy wie sie Wolfgang Neuhaus auf der Website beschreibt:

World Tune is a transnational sound machine which constantly generates arbitrary sounds of events and activities from all over the world. It is lively – a permanently transforming sculpture machine which encompasses our entire globe. Horn loudspeakers organically connected to the sculpture arise and disappear in different regions of the planet. Human sensors track local sound events, record them with the help of microphones and portable audio recorders and finally transfer them to the digital network of the World Tune soundsystem. Other inhabitants of the earth, no matter which particular region of the planet they reside, send the sounds of the World Tune soundsystem to the loudspeaker sculptures. Other visitors to the World Tune loudspeakers and World Tune homepage experience these sounds and decide if they want to change the current sound immediately…

World Tune wants to trace the changes of atmospheres and events of our planet acoustically and give the listener feedback about the current conditions of our world. World Tune as a global, interactive soundsystem is located in a contradictory field of tension which is characterized on one hand, by the fascination of complex „World-Explaining-Models“ like, for example, Keplers „Harmonice Mundi“, Luhmanns „Social Systems“ or Hawkings „Big Theory,“ but also on the other hand, that such global models are only models and not final knowledge about our World. This inconsistency becomes noticible in the World Tune project by the unsettled role of the listener.

Is the listener part of the machine? Is the machine part of a man-manipulated sound and thought system? Is the current sound a random event? Is it dependent on man, on machine, on nature? On an interweaving of all these components? Is the result of such interweavings chance? Providence? Composition? World Tune produces a choreography of chance which lures the passive listener by proceeding the single sound as an endless loop. Simultaneously, it converts the active listener into a producer who perceives his environment by listening, and who makes his sound experience available for other inhabitants of the earth by recording.

The realization of such a global soundsystem requires a medium which can send and receive sounds from all conceivable regions of the earth. For this purpose, the Internet is not the most optimum medium (because of bandwidth limitations), but it is however, permanently available and cheap. A virtual interface on the World Wide Web makes sure that every man gets access to the system.

It is extremely useful to integrate the networked computer as a transport medium into this system also from a philosophical aspect because the computer is the matter’s proof-of-the-fact that the system of mathematics in principle cannot be consistent. The intellectual construction of a „universal machine“ by Alan Turing (1936) manifests the definite death of the „consistent“ mathematics and simultaneously the birth of the computer (special case of the Turing machine). The existence of the Turing machine makes provable that there are numbers which in principle are not calculable in the mathematics.

So the invention of the computer makes clear that enclosed systems cannot really be enclosed and it shows that such enclosed systems cannot describe the world more exactly than for example the „Sacre du Printemps“ from Igor Strawinsky. „Over which one cannot talk, about this one must be silent,“ summarizes Wittgenstein‘s knowledge about the boundaries of logic. In this way of thinking the sound of World Tune can be seen as the audible form of staying silent. So, World Tune is an acoustic barometer which transforms local events to transnational sound. But, World Tune is also a musical instrument which gets composed and at the same time, composes. World Tune makes noticeable the world as a finite system which produces tonal infinity.

Quelle: