for shamisen and sinetones

gen tuning 08:31

composed by Ryoko Akama
realised by Tsukakoshi Takashi

gen tuning (2014)

Algorithmic politics of listening is a podcast that explores the topics of synthetic voice, machine listening, data-driven governance of (and on) sound. 
It was composed in 2021, during my doctoral research on artificial voice, and live streamed by Radio AlHara on January 31st 2023 in the framework of CTM Festival (thanks to Ibrahim Owais).

Unhautorized sounds and speechs by (in appearance order): 
Hyto Steyerl, “How not to be seen. A fucking didactic educational .mov file”, https://www.artforum.com/video/hito-steyerl-how-not-to-be-seen-a-fucking-didactic-educational-mov-file-2013-51651
Tarab, “I’m lost 1”, I’m lost, 2014
Paul De Marinis, “Fonetica francese”, Music as a second language, 1991
Otomo Yoshihide & Gunter Muller, “Matsushima 89”, Time travel, 2003
Sean Dockray, “Learning from YouTube”, video essay presented at the Unsound 2020 / Machine Listening conference, https://www.youtube.com/watch?v=ddnvR7IGpes
Lionel Marchetti & Olivier Capparos, “Les dormeurs – somni portae”, Livre des morts, 2008
Lionel Marchetti & Seijiro Murayama, “Hatali Atsalei 3”, Hatali Atsalei, 2008
Maria W. Horn, “Ave”, Kontrapoetik, 2018
Alvin Curran, “Animal Behavior”, Animal Behavior, 1995
Tootlegboy, The first album, 2001
Kate Crawford, “(Against) the coming world of listening machines”, video interview at the Unsound 2020 / Machine Listening conference, https://www.youtube.com/watch?v=ddnvR7IGpes
Aspec(t) & Dave Phillips, “Non-Central Nervous System, Non-Cephalized Body”, Medusa, 2014
Franck Virgoux, “2024”, Centaure, 2014
Trevor Paglen, “Training Humans”, Osservatorio Fondazione Prada, https://www.youtube.com/watch?v=P4JpD1PWBDI
Marja Ahti, “The Currents”, The Current Inside, 2020
Mark Vernon, “Print-through (may all your prayers be answered)”, Lend an ear, leave a word, 2016
Lawrence Abu Hamdan, “The politics of listening”, keynote presentation at What now? 2015, https://vimeo.com/129018344
Olivier Di Placido & Fritz Welch, “Cymbal’s dump”, Hammering nails by hand, 2021
Using a convolutional neural network to generate samples of Dr. Layman’s voice: https://www.youtube.com/watch?v=-H7SMCQernw&ab_channel=Mwcq0111
Dadabots, “Tricente”, Megaturing, 2018
AGF, “Abundantia [roman]”, AbundANTIA EP, 2020
Yona, “Oblivious”, C, 2018
Happy Valley Band, “Madonna’s Like a Prayer, as heard by a computer algorithm and re-performed by humans”, ORGANVM PERCEPTVS, 2017
Agostino Di Scipio & Dario Sanfilippo, “Concrescence 3”, Machine milieu, 2021
SEC_, excerpts from live at P-Node radio, 19/04/2020

Algorithmic Politics Of Listening - by SEC_

dadascalico

Car Composer

SEC_ - Orogenesi
in AA.VV. "Tutto a posto Niente in ordine" (LP, Nashazphone, 2023)

Orogenesi

The DownBeat Blindfold Test is a listening test that challenges the featured artist to identify and discuss the music and musicians who perform on selected recordings. The artist is then asked to rate each tune using a 5-star system. No information is given to the artist prior to the test. 

The Monterey Jazz Festival has hosted live DownBeat Blindfold tests since 1996, and are moderated by Dan Ouellette. In 1997, for the 40th Annual Monterey Jazz Festival, bassist Charlie Haden was the blindfold artist.

Recorded in Dizzy's Den at the 40th Monterey Jazz Festival, at the Monterey County Fairgrounds in Monterey, California, September 21, 1997. Moderated by Dan Ouellette.

Photograph of Charlie Haden ©2002 Monterey Jazz Festival / Michael Piazza.

Charlie Haden: DownBeat Blindfold Test at MJF40 (1997)

Violent farmer

unlike the snail

Original sound source : Electric guitar (extremely filtered and compressed )
I like to listen to asynchronous loop for hours.
Here is a short 5 min 30 sec track.

A saint chrono

my complete live solo set at Radio Black Out - Turin (Italy) .
22-05-2016

dadascalico

gustafTurmak

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