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Historique de l’Art Audio et de la Musique en Réseau (NMSAT)NMSAT — Networked Music & Sound Art TimelinePanorama des Pratiques et Techniques Liées aux Transports de Sons et aux Actions Sonores à Distance :Archéologie, Généalogie et Anthropologie Sonore des Auditoriums Internet et de l’Écoute à Distance |
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NMSAT Historique de l'art audio et de la musique en réseau — Un Fonds Documentaire sur les pratiques et techniques liées aux transports de sons et aux actions sonores à distance
Jérôme Joy & Peter Sinclair — (2009)
(Version française / French version)
(Article publié dans sa version anglaise in “Contemporary Music Review”, Vol. 28, Nos. 4 & 5 ”Network Performance”, August/October 2009, pp. 351-361, Edited by Peter Nelson, Issue editor Pedro Rebelo. Routledge, Taylor & Francis Group)
Access to the issue : http://www.tandfonline.com/toc/gcmr20/28/4-5
Abstract : Initié en 2008, le « Networked Music and SoundArt Timeline » (NMSAT) est une veille documentaire sur l’historique de l’art audio et de la musique en réseau. À partir de cette première version 1.0 présentée ici, cet historique est proposé comme une ressource qui sera mise à jour en continu sur la base d'un cadre contributif de recherche pour aboutir à la version 2.0 qui sera rendue publique. Le Timeline est maintenu par une équipe : le NMSAT development board (collège de développement du NMSAT) constitué principalement de chercheurs et d’artistes. Ce collège a deux objectifs : 1) amender et compléter la base de données existante comprenant à ce jour plus de 2000 entrées et environ 550 articles de référence, 2) encadrer le développement technique et éditorial du projet en ligne destiné à être publié et dont l’accès sera public.
Cette présentation décrit l’état actuel du Timeline et la manière selon laquelle il a été structuré. Elle propose également les objectifs de son évolution vers une base de données en tant que ressource ouverte, accessible au travers d’une variété d’interfaces spécialisées. Le NMSAT fait partie des programmes de recherche de Locus Sonus (Networked Sonic Spaces et Field Spatialization), et vise à donner un cadre historique à la recherche artistique practice-led et à l’exploration des technologies et des problématiques liées à ces pratiques en réseau, notamment au travers des les réalisations artistiques menées par le laboratoire Locus Sonus (Locustream, New Atlantis et Wimicam). Le NMSAT est nourri à la fois par une veille continuelle sur les aspects historiques et contemporains de ces pratiques et de leurs contextes, et par des objectifs de développement d’études à partir du corpus documentaire. -
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Networked Music & Soundart Timeline (NMSAT): A Panoramic View of Practices and Techniques Related to Sound Transmission and Distance Listening
Jérôme Joy & Peter Sinclair — (2009)
(Version anglaise / English version)
(In “Contemporary Music Review”, Vol. 28, Nos. 4 & 5 ”Network Performance”, August/October 2009, pp. 351-361, Edited by Peter Nelson, Issue editor Pedro Rebelo. Routledge, Taylor & Francis Group)
Access to the issue : http://www.tandfonline.com/toc/gcmr20/28/4-5
Abstract : In 2008, Jérôme Joy initiated the ‘Networked Music & SoundArt Timeline’ (NMSAT)—a monitor on the history of networked music and sound. The Timeline is maintained by the NMSAT Development Committee, consisting primarily of researchers and artists from partner institutions. The team is complemented by a pool of authors and editors contributing to Locus Sonus's projects (such as, for instance, members of WLP – World Listening Project) and individuals who are part of other collaborative projects. The Committee has two major objectives: to amend and expand the existing database comprised currently of more than 2,000 entries and approximately 550 reference articles (NMSAT v.1.090319, March 2009); and to support the online technical and editorial development of the project. This article describes the current state of the timeline and the way in which it has been structured, as well as its evolution towards an open resource database accessible through a variety of specialized interfaces. NMSAT is part of the Locus Sonus research program and provides an essential historical backbone to practice-based artistic research and the exploration of developing technologies. -
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Networked Music & Soundart Timeline (NMSAT): Excerpts of Part One: Ancient and Modern History, Anticipatory Literature, and Technical Developments References
Jérôme Joy — (2009)
(Version anglaise / English version)
(In “Contemporary Music Review”, Vol. 28, Nos. 4 & 5 ”Network Performance”, August/October 2009, pp. 449-490, Edited by Peter Nelson, Issue editor Pedro Rebelo. Routledge, Taylor & Francis Group)
Access to the issue : http://www.tandfonline.com/toc/gcmr20/28/4-5
Abstract : This article presents a sample of references present in the existing Networked Music & SoundArt Timeline (NMSAT) database. The NMSAT is a research project led and initiated in 2008 by Jérôme Joy within the Locus Sonus lab. It is conceived as a monitor and a pool of informations on history of networked music and sound (Joy & Sinclair, 2009). It aims to provide an overview of practices and techniques in the realm of networked music and networked sonic performance from ancient history to the present (2008), related to sound transmission and distance listening. It consists of a collection of references from various online and bibliographical documents, articles, workshop notes and so on. The NMSAT offers a valuable resource made available to actors in the artistic and scientific spheres. Because it is not possible to summarise in one article the large spectrum of references from all periods, we decided to present a sample related to Part 1 of the database (Part 2 concerns references of networked music and soundart, technological developments and contemporary history; Part 3 contains a bibliography of reference papers). This sample lists a selection of references covering the period from the sixteenth century to the middle of the nineteenth century, just before the major developments of the telephone by Alexander Graham Bell and Elisha Gray from 1876. Situated before the realisation of apparatuses of telecommunication, the selected period can reveal, across the interactions between inventions, ‘uchronias’ (alternate history) and anticipation (Apollinaire, 1916; see also Valéry, 1960 [1928]), the paradigm of listening, and of manufacturing listenings, involved in the systems of sound transmission (and transport) and sound actions at a distance. This will highlight the contextualisation and foster analysis of the development of audio networked practices towards an ‘organology’ (the science of musical instruments and their classification, and more largely, the science of organs or of anything considered as an organic structure) of such of systems and the exploration of the soniferous condition of electronic networks (interconnected spaces, audiences and ‘streamers’) (Joy, 2009). Of course, all the other periods, before and after these dates, are covered by the existing database currently developed by the NMSAT group. Currently this database comprises more than 1400 pages. This selection illustrates the historical and theoretical context of networked music and soundart, and more largely of network art. -
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What NMSAT says about sonification
Jérôme Joy — (2010-2012)
(Version anglaise / English version)
(In “AI & Society : Knowledge, Culture and Communication”, Vol. 27:2, ”Proceedings of Locus Sonus Symposium : « Sonification (What, Where, How, Why) »”, May 2012, pp. 233-244, Edited by Karamjit S. Gill, Victoria Vesna, David Smith and Richard Ennals, Issue editor Peter Sinclair / Locus Sonus. London : Springer (Pub.))
Access to the issue : http://rd.springer.com/journal/146/27/2/page/1
Abstract : This article presents a sample of references issuing directly from the existing NMSAT database. The method employed—that of systematically probing the database—reveals forms of sonification, but also hypothetical premises of sonification, covering the period from ancient times to the beginning of the twentieth century. The following are some of the categories of sonification that have emerged as a result of this search: Natural phenomenon & meteorology to sound (autophones); Image to sound; Text & communication to sound; Human & machine activities to sound (auditing); Localisation to sound (sonar); Architecture & geometry & abstract proportions to sound (scalization, transcription, & spatialization); Energy to sound; Human body to sound; Distance to sound (distance listening); Movement to sound (holophony, kynophony); and Interpreted observations to sound (naturalist music, transpositions & analogies, paraphrasing). The search also uncovered other principals and practices in the vicinity of sonification including: audification, auditing, auscultation, auralization, soniculation, transduction, mapping, earcons, auditory icons, sympathy, echometry, etc. It has been decided to summarise the results of « What NMSAT Says About Sonification » in this special issue of AI&Society, access to the unabridged version of article is available here: http://www.locusonus.org/sonification/.
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