1,354,797 research outputs found
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No full textRecording of Philip Samartzis' Windmills bordered by Nothingness. The original material in this work is made up of electroacoustic transformations of guitar and percussion. The composer altered them in a such a way to suggest the flow, texture, and sound of an ancient windmill
At the End of Night: explorations of Antarctica and Space in the sound art of Philip Samartzis
No full textThis article explores the work of Australian sound artist Philip Samartzis, who documented the eco-acoustic characteristics and atmospheric effects of Antarctica and its environs during two field trips in 2010 and 2016. It begins by situating his work within the context of other compositions that engage with Antarctica, the atmosphere and Outer Space, before focusing on examples of two of his compositions. At the End of Night is based on sound recordings of a Medium Frequency Spaced Array radar used to measure upper atmospheric conditions through the transmission and reception of coded sine tone pulsations, while Aurora Australis is derived from the sonification of digital data generated by auroral activity produced over one calendar year. The article concludes with a section in which the composer reflects on Antarctica and its soundscape ecology, as well as the methods and processes he has employed whilst conducting field work in this extreme environment. In doing so, it aims to reveal the approaches and methods behind his sound art and to show how his compositions can not only enhance general understanding of Antarctica and the Earth's atmosphere, but also encourage us to engage with these spaces in new, and powerfully affecting, ways
At the End of Night: explorations of Antarctica and Space in the sound art of Philip Samartzis
No full textThis article explores the work of Australian sound artist Philip Samartzis, who documented the eco-acoustic characteristics and atmospheric effects of Antarctica and its environs during two field trips in 2010 and 2016. It begins by situating his work within the context of other compositions that engage with Antarctica, the atmosphere and Outer Space, before focusing on examples of two of his compositions. At the End of Night is based on sound recordings of a Medium Frequency Spaced Array radar used to measure upper atmospheric conditions through the transmission and reception of coded sine tone pulsations, while Aurora Australis is derived from the sonification of digital data generated by auroral activity produced over one calendar year. The article concludes with a section in which the composer reflects on Antarctica and its soundscape ecology, as well as the methods and processes he has employed whilst conducting field work in this extreme environment. In doing so, it aims to reveal the approaches and methods behind his sound art and to show how his compositions can not only enhance general understanding of Antarctica and the Earth’s atmosphere, but also encourage us to engage with these spaces in new, and powerfully affecting, ways
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No full textRecording of Philip Samartzis' Dark Woods. Sparse and quiet interjections of sound make up Dark Woods. Variously panning echoed rumbles, mechanical clatters, metallic clinks, muffled conversations, birdie chirps, a cappella song, wind and waves, iron creaking, harmonica blares, distorted electronics, low power drones, distant footsteps all appear and disappear. The travel usually flows smoothly, some transitions are almost imperceptibly feathered, while others are obvious cuts
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No full textRecording of Philip Samartzis' Unheard Spaces. This work is made up of field recordings from Venice conducted over a three-week period in 2000. The focus of the composition is on the way sound permeates Venice to highlight the specific acoustics that characterize the aural dimension of the city. This piece uses narrative to locate the listener within a set of complex sonic interactions resounding within the myriad of passageways, piazzas, and canals. This work is consists of 5 untitled movements
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No full textRecording of Philip Samartzis' Hérimoncourt. Based on environmental recordings of the Peaugot Chateau and surrounding grounds, located in Herimoncourt, France. . The Peaugot Chateau is a large, wooden, acoustically dense building which has continually shifting moods and textures. The intention was to create a sonic narrative which captured the dense acoustic character of the estate with an emphasis on the granulation of many of the sounds I recorded there. The granulation technique enabled me to sonically replicate the creaking tones which permeate through every crevice of Herimoncourt
Floe
No full textBackground:
Floe, commissioned by the NGV for the Great Hall, is an installation that draws on the atmospheric effects of the Antarctic landscape to create a speculative architectural work. Floe is a collaborative work developed by Philip Samartzis (sound art), and Roland Snooks (architecture), and explores the architectural implications of algorithmic design through robotic 3D fabrication. The sound work was recorded by Samartzis in Antarctica in 2010 and 2016.
Contribution:
This project constitutes one of the first applications of 3D printed polymers within architecture and creates a valuable contribution to the development and discourse surrounding architectural implications of large-scale 3D printing. Designing a 3D printed project of this scale enables the exploration and development of the architectonic and ornamental qualities of 3D printing. The composition comprising Floe builds on the work occurring in soundscape studies, acoustic ecology, sound art and environmental studies. By recording and representing the many sounds of Antarctica's constantly shifting ice shelves, glaciers, icebergs and sea ice, Samartzis challenges the perception of Antarctica as an unchanging landscape, suspended in time and place.
Significance:
Floe was commissioned by the National Gallery of Victoria as part of highly successful Triennial Extra.The sound component is a result of multiple peer review processes from a variety of institutions and funding organisations including the Australian Antarctic Division, Creative Victoria and the Australia Council for the Arts. The Triennial Extra attracted 90000 people over ten nights. The success of Floe in the context of Extra resulted in an extension of its season by three weeks, a period that included White Night. Approximate audience numbers during the one month presentation of Floe exceeded 200000 people
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
One Hundred Years From Here
No full textBACKGROUND Design 29: Creating a Capital, designed by Lora Miloloza and curated by Jane Macknight, offered a once in a century opportunity to view up close the original designs of the 1911 Federal Capital City Design Competition finalists. On display were the internationally acclaimed designs by Walter Burley and Marion Mahony Griffin (winner), and runners-up Eliel Saarinen, Donat-Alfred Agache as well as the entry of the Australian team: Walter Scott Griffiths, Robert Charles Coulter and Charles Caswell. Innovative for the time, the exhibition utilised iPads with an application to enable further exploration through augmented reality technology - involving a range of films, sound, photographs and documents. CONTRIBUTION Samartzis provided a specially commissioned soundscape composition to enable an immersive experience for visitors exploring the history of Canberra's creation. In One Hundred Years from Here Samartzis created a soundscape homage to this celebration of our federal history. Each of the individual 'captured' sounds referenced the passing of 100 years, during which Canberra developed from an isolated pastoral area to a modern federal capital. The soundscape aurally intertwines the sounds of the original natural environment, with the farming in the area, the lake formation, and the later urban landscape, with cultural and symbolic icons, such as Canberra's Carillion. This composed soundscape presents short vignettes of sound followed by silence across a sixty minute repeating interval. It complements the visual focus of the exhibition - the original designs. SIGNIFICANCE Significance is attested to first by the commission by the National Archives of Australia to create a soundscape as part of Canberra's centenary celebration. The significance of this event can be further measured by the national importance of this project as well as the iconic status of the venue in which it took place and the audience of just over 100,000 it attracted
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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