END TO BEGIN: feedback, looping, and prolonged transitions
Ana Maria Irimia
Hilda Daniel
Jiyun Park
Jonatan Carrasco
Lauren Wong
Marek Hlavac
Misindigo
Pierrot Desperes
Stephanie Loveless (Center for Deep Listening)
Hosted by Wayne Garrett & Caitlind Brown.
In our last program of 2022, we’re exploring the cyclical relationship between endings and beginnings. As one year draws to a close, another begins, in a rhythm that moves not in a line or a circle, but a slow spiral through time and space.
This month’s episode features an interview with Stephanie Loveless, Director of the Center for Deep Listening, discussing A Year of Deep Listening (a tribute to Pauline Oliveros).
Thanks to the participating artists and our friends at CJSW!
Ana Maria Irimia
Ana Maria Irimia is a curious multidisciplinary artist from Romania, juggling with acting, performing, singing, producing sounds, recording and editing images, always exploring new artistic languages to tell her stories.
Drops of Life is part of a series dedicated to the universe of Tudor Arghezi, a Romanian symbolist poet who wrote in the Baudelairian style. The artist created it in October 2021, she she was “feeling very autumnal myself, searching to integrate and celebrate growth and transformation through sound dynamics and frequencies. Becoming aware of the cyclical stages of matter, witnessing it without the need to oppose or intervene, I can more easily accept and embrace my own existence.”
Hilda Daniel
Hilda Daniel is a multi-media artist from Singapore currently living/working in New York City. She is very grateful to have had her work included in curated film festivals, gallery and sound exhibitions in the US, UK, Europe, Mexico and Canada, and to have it written about in the New York Times, Performance Art Journal and other publications.
Red Rocked (Blue Moon) was originally reworked from bits of soundtrack to video recorded on audio cassette tapes on a Pixel2000 toy camera, featuring ravaged film-like footage of a highway drive alongside Red Rock Desert near the Nevada California border, and manipulated recordings of Elvis’s 1956 version of Rogers and Hart’s standard, Blue Moon. The audio tracks themselves are now haunted by the manipulations of the original video, re-recorded on moribund technologies several times in varying speeds and motion – and bear (and bare) the intermittent tracking, dragging beat of the now phantom video, a mad repetition, fluffs of windblown sound. Repetition here is serialized in form, layers of various times like broken cubist planes, with spectered beats, tumbling in on themselves – aesthetically and conceptually – playing out a slow blur of motion in perpetual struggle and lonely, unsatisfied yearning. Creating a kind of memory field recording, the iconic song and this seminal version of it by Elvis Presley, are very much a part and picture of the larger time/landscape: the promise of a once seemingly endless frontier embodied in places like Red Rock Desert, and in this piece as a memory of its utopian sweep and reverb of personal disappointment. The longings in the piece are perpetual, and in the ravages of time on its technologies and the surrounding landscape, the piece continues to shift and evolve, with the slowness of epics and the velocity of dreams.
Jiyun Park
Jiyun Park is a sound artist based in Cologne. By experimenting with different types of materials, she explores sensory and synaesthetic states in search of hidden and inherent sounds, spatial acoustics and performances for crossing borders in relation to space and time.
Aleak is a video with pipe objects as a path of sound which warps the surrounding environment and creates sound to feed themselves. It expands to reinterpret space by drawing connections between location, sound and imagination. Feedback sound has generated and recorded by activated pipe materials in which a transducer is attached on its metal surface and a microphone is inserted.
Jonatan Carrasco
Jonatan Carrasco is a teacher and composer whose main interest is mixing acoustic music with technology, transforming traditional music into contemporary sound.
Xipe Totec is inspired by the Aztec god of the same name. Xipe Totec was the god of life-death-rebirth. This work is inspired by the flayed skins often taken from sacrificial victims who had their hearts cut out. Some representations of Xipe Totec show a stitched-up wound in the chest.
Lauren Wong
Lauren Wong is a sound engineer who lives in Hong Kong and likes experimental sound.
About Present Continuous: “
“Thanks for having me in the past few months.
Wish you all the best in 2023.”
Marek Hlaváč
Marek Hlavac is a Czech sound artist whose work is focused on intersection of technology and natural and social environments.
Artificial Birds (1st – 10th generation) uses the sound of birds, machine-learned over and over again (outcome of one iteration is used as dataset for the next one).
Misindigo
misindigo (Eileen Mc Loughlin) is a composer/sound artist from Dublin, Ireland. misindigo’s style is ambient, atmospheric, experimental, avant-garde and cinematic.
Amaranthine is a short ambient instrumental soundscape with luscious pulsating loops accompanied by long transitions and feedback. The piece has a sense of being unfinished and leaves the listener curious for more.
Pierrot Desperes
Pierrot Desperes collects sounds while exploring the natural world. Artifacts discovered in the field and a region’s history guide the fabrication of his sound works.
Creek Crossed Wires was created from sounds collected from Greentree Park in Kirkwood, Missouri, USA. This park contains a creek and restored wetlands under high tension power lines. Electrical sounds were recorded from the overhead power lines using an electromagnetic pickup. These sounds were then looped and fed back through a modulated bitcrusher that created a sound similar to the buzz of the two toned North American landline dial tone. A hydrophone recording of the creek flowing under its frozen surface in the winter was modified through granular synthesis to create a rumbling effect. This reoccurring thunder-like sound suggests that a natural phenomenon is modulating the amplitude and fidelity of the electrical tones. After a prolonged transition, the buzz of drifting tones coalesce into a short lived steady tone near the end.
The Center for Deep Listening
(Director Stephanie Loveless)
The Center for Deep Listening at Rensselaer (New York State) stewards the practice of Deep Listening pioneered by composer Pauline Oliveros. Deep Listening is, in Oliveros’ words, “a way of listening in every possible way to everything possible, to hear no matter what you are doing.” Our mission at the Center for Deep Listening is to foster creative innovation across boundaries and abilities, among artists and audiences, musicians and non-musicians, and children of all ages.
Stephanie Loveless is a sound and media artist whose research centers on listening and vocal embodiment. Her recent projects include a mobile web-app for geo-located listening, and sound works that channel the voices of plants, animals, and musical divas. She currently lives and works in upstate New York where she is a Lecturer at Rensselaer Polytechnic Institute in the Department of Arts, and Director of the Center for Deep Listening at Rensselaer.
A Year of Deep Listening is a 365-day celebration of the legacy of Pauline Oliveros, and what would have been her 90th birthday. The Center for Deep Listening at Rensselaer is publishing one text score per day—online and across social media platforms—beginning on Oliveros’ 90th birthday: May 30, 2022.
The scores have been offered by the community of listeners who have been touched by the philosophy and practice of Deep Listening. In addition to marking and celebrating Oliveros’ 90th birthday, this project is an attempt to explore what listening can make possible in the context of our current moment.
Follow the project below, or on Facebook, Twitter, and Instagram.
Thank you to the artists & listeners! Special thanks to CJSW.
THE HIBERNATION PROJECT 
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