Professional Documents
Culture Documents
02
UN TUNE
06
By Chris Salter
10
By Paul Devereux
44
T TALK
48
54
16
By Lawrence English
58
SONIC ANOMALIES
20
64
28
By Claire Tolan
68
32
By Annie Garlid
36
74
A MEMOIR OF DISINTEGRATION
Rohrer, live visuals by Tina Frank, and excerpts from the writings
of David Wojnarowicz
82
40
By Marc Couroux
104
CREDITS
LISTENING TO
WETWARE CIRCUITRY
SONIC EXPERIMENTATIONS AND ALGORHYTHMICS* 1>
BY SHINTARO MIYAZAKI
Aesthetic experimentation with detected and amplified signals of moving particles, electrons, molecules, and other small objects carrying energy transformed into sound, vision, vibration, or feeling
create, under certain conditions, affective experiences of ''tuning in or out. In his essay, Shintaro
Miyazaki explores the history of tuning and un-tuning, or long-forgotten listening techniques for
understanding processes within all kinds of organic and non-organic circuitry, and excavates the
often-omitted significance of the telephone in such contexts.
a visual coding system using dots and dashes, but was trans-
sound.
or not. If the pitch of the violin does not match the pitch of the
tuning fork exactly but is very close, you can sometimes hear
muscles and other parts of the body. Not only were small bio-
beating frequencies.
electrical currents made audible, but listening to >>natural radio" became prevalent with the advent of the telephone and its
A.
son, the so-called assistant of Bell, are probably the first testi-
Wat-
las Kahn, media and art historian of natural radio, writes: >>Wat-
put energy into output energy, for example acoustic waves into
son heard natural radio when the long iron telephone test line
electric current. While both are differing in kind, they are di-
yone knew what an antenna was or, for that matter, what elec-
tromagnetic radio waves were. [ ... ] The only reason that Wat-
son was the first person to accidentally hear these sounds was
the telephone."' 3 )
SONIC EXPERIMENTATION
in the late 1900s provided the basis that transformed the tel-
65
years ago. In the 1930s and 1940s, the modeling of signal pro-
Medicine, were looking at the visual stimuli the cat was watch-
when the orientation of the stimulus was just right, and the ut-
I MACHINE BODIES
AFFECTS OF MACHINES
shined a bright flashlight into the eat's eyes.</ 5l Hubel and Wie-
ELECTRIC OSCILLATIONS AS
WELL AS BIOELECTRIC SIGNALS
AND ACOUSTIC VIBRATIONS
ARE EQUAL IN MATHEMATICAL
TERMS, AND CAN ALL BE
DESCRIBED BY USING EQUIVALENT-CIRCUIT DIAGRAMS.
interface
~~
~terface
-\membrane
~ +---signal
Detectors by Martin Howse and Shintaro Miyazaki- prototype and final PCB.
because signa ling and speech were transmitted over the same
were caught p la ying with the phone system, some using the
was not the first computer at MIT to make sounds. The TX-0
formed not only the human voice but also audible electroa -
into vol tage fluctuations. In the early 1960 s this latent vu lner-
ley, author of
erating proper ly or not .<< Samson wrote a compi ler for the PDP-
cal led the blue box - that enabled him to communicate, con -
trol, and tune into the telephone network's automatic switc hin g
possible to synthes ize two simu lt aneous tones that the phone
Bell System
1960 s one cou ld pick up the telephone and make a free call to
ly computers, such as the one built into the TX-0 and prob-
ably the PDP-1 as well, were not unusual. Other famous com-
swer the call, one cou ld trick the machinic listening circuitry
telephone number you could dial any number in the US for free.
England. A working program had its characteristic sound depending on where the amplifier's input was connected, and the
paper,
became
algorhythms. *7)
67
REPLACEMENT OF LISTENING SKILLS
ALGORHYTHMICS
While some students at MIT were playing with the PDP-1, Fer-
computation, and of symbolic manipulation with energetic processing. >>The algorhythmic<< is an extension of >>the sonic<< as an
UN-TUNING
liche Automaten.
erativity.
This is an adapted and edited version of a forthcoming article in the collection Postdigital
Aesthetics: Art, Computation and Design (Palgrave Macmillian, 2015) edited by David
Berry and Michael Dieter. For references ask the author, miyazaki.shintaro@gmail.com
*2) Devices that sense all forms of stimuli, such as heat, radiation, sound, vibration, pressure,
acceleration, and so on, and that can produce output signals that are electrical, pneumatic
or hydraulic may be called transducers. Thus many measuring and sensing devices, as
well as loudspeakers, thermocouples, microphones, and phonograph or guitar pickups are
all transducers
ing, tuning, and un-tuning to their signals with simple trans*3) Kahn, D. (2013), Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts,
W H. Freeman (Scientific
American Library), 69
thus blindness. The so-called blind spot of media conceptual*6) Wittje, R. (2013), "The Electrical Imagination: Sound Analogies, Equivalent Circuits,
*7) See for more details on this Miyazaki, S. (2012), "Aigorhythmics: Understanding Micro-
is not possible. Besides waiting for the rare moments when me-
dia processing, or operativity, becomes perceivable, it is mostly through unexpected disturbances, glitches, and failures, as
well as oscillating between looking and listening as described
Studies, No.2, online issue. And by the same author (2013), ,Urban Sounds Unheard-of
well www.algorhythmics.ixdm.ch
*8) Parikka,