#psychoacoustic

[spwyll]

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First full-length video available at https://m.youtube.com/watch?v=RW2ZMNfuxDw #ambient #psychoacoustic #experimental #musicvideo #DarkAmbient #dronemusic #k43dg3

[bahadiryildirim2026]

Frequency and Psychoacoustics on my way!

[sonicbrutalism]

tapes for my psychoacoustic power electronics noise project AKOASMA (w/ Täterintrojekte who also made the tapes & designed the packaging)

[mysticalblizzardcolor]

Listen/purchase: Personal Myths (24bit) by Steve Brand

[trout-scout]

writing is so fun

[checrowwww-blog]

Asuna at South London Gallery, Oct.2

100 battery-powered analogue keyboards sit in circles, the only source of light is the lamp in the centre with soft illumination. Before the concert I thought, this kind of setting is almost too easy to predict: the artist would trigger every keyboard one by one, after it reaches the peak, the artist would slowly turn off the keyboards. However I was still very excited because its site-specificity and intrigued by the artist’s collection of keyboards (some of them are obviously toys).

What makes the performance really stands out from the rest of the “toy piano” kind of performance is the subtlety of the changing tones and how it influenced the audience to move actively in the room rather than receiving the sound passively. The audience are not only listening to the instruments, but also listening to the architecture. 

I felt the power of silence in the fleeting moments during the performance. You are engulfed in sound, but the room is also so quiet and intimate that you can hear the person standing next to you gently rustling his jacket. The drone is long lasting without any interruptions, just occasional shifts in tones. My ears are getting used to them that at some point I stop hearing them, sort of the same as you stop looking when you are staring at a point for too long without blinking. 

I think of Maryanne Amacher and 'auditory distortion products' (sounds generated inside the ear that are clearly audible to the hearer). She compares this psychoacoustic phenomena with image manipulation: “fusing of two images resulting in a third three dimensional image in binocular perception”. I don't think that was Asuna’s intention however its site specificity is already interesting enough when the audience starts to walk around to find other perspectives of hearing this installation/performance. 

This kind of interaction reminds me of David Toop’s writing on  Cranc’s performance at OTO: 

“By this point the room felt lighter, the audience less tightly packed, the void less empty. The involuntary poetry of the window remained as a reminder that the boundaries of performance extend beyond its physical perimeter.”

-(Skin and Bone Listening, 2014)

[nomadahowstrange]

[sound-art-text]

Sound Out of Line: In Conversation with Florian Hecker - Urbanomic

Florian Hecker talks to Urbanomic about his composition process and the evolution of his work.

Yes, looking into different models of sound perception in various branches of psychoacoustics – sound being perceived as a ‘stream’, or as an ‘event’, or as an ‘auditory object’; when I started doing all of this, it was a very intuitive and unconscious approach: I simply wanted to get rid of all of these things that constitute something like a classical tune—melody, pitch/note relations, etc.—and then see what’s left if you take this all away.