NMSAT CMR.en - Jerome Joy website

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!!! 1.1. Research Context (Locus Sonus) NMSAT is part of Locus Sonus’s research into audio art (Joy & Sinclair, 2008; Sinclair, 2007){footnote}Joy J. & Sinclair S. (2008). ''Les Espaces Sonores en Réseau (Networked Sonic Spaces)''. In GlobalWare Corporation (Ed.) Roots/Routes, International Computer Music Conference ICMC’08 (Panel : Networking Performance) (pp. 553-555). Belfast : SARC, Sonic Art Research Center, Queen’s University, & International Computer Music Association ICMA (Publishers). Sinclair S. (2007). ''Locus Sonus''. In Double-Entendre (Ed.), Autumn Leaves – Sound and the Environment in Artistic Practice (pp. 74-77). Paris : Angus Carlyle, CRiSAP Creative Research into Sound Arts Practice, London College of Communication, University of the Arts London (Publishers).{/footnote}. Locus Sonus’ current research agenda and artistic production is organized into two main axes — Networked Sonic Spaces and Field Spatialization that combine local and remote spaces{footnote}This term was introduced by the authors; it combines the concept of field recording and of spatialization, generally associated with a fixed system in a closed environment (electro-acoustics).{/footnote}. Part of our mission is to keep up to date on, or indeed to update, the nascent art form that audio art represents, situated as it is at the intersection of what have been considered, at least until recently, as separate art forms (visual arts, music). Locus Sonus’s research revolves around a pool of artistic and technical experimentations, practice-led and verified through public presentation. Many of these projects are based on streaming techniques, exploring the interlacing of space and distance and the modifications that ensue : related to synchronous and asynchronous temporality, spatial qualities (local, remote, geographically situated) and resulting structures (''autophone'' and ''chronotope''{footnote}« [P]oints in the geography of a community where time and space intersect and fuse » according to the anthropologist and linguist, Keith Basso (1984), Stalking with Stories: Names, Places, and Moral Narratives among the Western Apache. In E. Bruner, ed. ''Text, Play and Story''. Proceedings of the American Ethnological Society.{/footnote}). Intrinsically transdisciplinary in nature, artworks evolving within the Locus Sonus research group often refer to other disciplines such as philosophy, sociology, landscape design, computer music, telecommunications, etc., all of which will need to be accessible, in a limited context, via NMSAT. Methodologies employed in the development of NMSAT are based on the needs of audio networked experimentations as well as on the contextualization and analysis of such practices. Resources developed within Locus Sonus are designed to be made available to art education & research establishments in general and to scientific collaborations in the field of study. The NMSAT project stems from previous research on the « Telemusic - organology of netmusic » which began seven years ago (Joy, 2003-2005). The initial goal was to provide an historical and prospective framework for research on networked audio art{footnote}with the help of a systematic on-line review including categorized and generic lists of bookmarks and links to access existing documents : Télémusique - organologie de la musique en réseau (organology of networked music), Jérôme Joy, 2003-2005, retrieved April 13, 2009, from http://audiolib4.free.fr/wikithing/.{/footnote}. However, it has subsequently nourished development of various projects and artistic proposals, which go beyond a purely documentary approach. Additional theoretical research led by Locus Sonus includes a study on the Locustream’s open-microphones (Joy, 2007), a remote sound recording study (Joy, 2007), a study on streams and audio-topy (Salmona, 2007){footnote}Salmona E. (2008). Sujet à Stream. In L’Entretemps, Coll. L’Électron Musagète (Ed.), ''Poétique(s) du Numérique'' (pp. 143-156). Montpellier (F): Apo33, CERCI & AlphabetVille (Publishers).{/footnote}, and a survey on ‘geotagged’ sound projects - soundmaps and soundwalks (Joy, 2007). These, along with practice-based experimentations, have allowed the development of a more pertinent analytical framework, which today constitutes the theoretical structure of NMSAT. {br}{br}
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