A sound art multimedia piece by Anthony William Rasmussen
Funded by the UC MEXUS Dissertation Research Grant
Map graphics by Julie K. Wesp
Additional Footage by Oswaldo Mejía
The megalopolis of Mexico City is experienced by many who live there as a network of “known” places, laden with both personal memory and collective meaning. Sounds provide inhabitants with a powerful means of navigation: the unique calls of street vendors, song fragments, speech, and protest chants echolocate the listener within a vast spatiotemporal grid. The title of this piece (“the snail/the shell”) refers to the prolific spiral motif in Mesoamerican cosmology and alludes to a nonlinear vision of time and space.
The piece consists of four journeys, each beginning at the outskirts of the city and ending in or near the Zócalo—Mexico City’s central plaza and the symbolic heart of the nation. The video element consists of footage captured while walking through various sites in Mexico City and represents the phenomenological present. The audio element provides a counterpoint to the visual: sounds meander and drift from the visual field; occasional ruptures of historical sound expose layers of this audible palimpsest.
Sounding Out! is thrilled to host a virtual installation of “El Caracol” right here, right now:
Featured Image: Screen Capture from El Caracol
Anthony W. Rasmussen is a musician, educator, and postdoctoral fellow at Universidad Nacional Autónoma de México. Currently, he is investigating the transformation of whistles from a rural system of long-distance communication to an aesthetic/symbolic practice in Mexico City. In 2017, he completed a PhD in ethnomusicology from UC Riverside with a dissertation on sound culture and urban conflict, “Resistance Resounds: Hearing Power in Mexico City.” His work can be found in Ethnomusicology Forum. Anthony also holds an MFA from UC Irvine where he studied Persian classical music, music composition, and interactive arts technology. He has composed for film, a range of traditional and experimental ensembles, and is singer/songwriter for the pop group, The Fantastic Toes.
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Standing Up, For Jose–Installation Piece by Mandie O’Connell
This is something you just don’t hear about in the history books.
–Alex Hutchinson, Creative Director, Assassin’s Creed III
What does it mean to speak American? According to Laura Amico, a teacher in the Cliffside Park school district in New Jersey, to speak American is the opposite of speaking Spanish. As suggested by this video, captured by students via Snapchat before they walked out in protest, to be American is the same as to speak American. Evidently, to speak American is to speak English, a historical curiosity, given that English was not spoken on the North American continent until the 17th century, preceded by many Native American languages and, ironically, Spanish. In simplest terms, “American English” is not a homogenous dialect either. What kind of “American English” does Laura Amico exalt as acceptable for patriotic conduct? How does an American patriot speak?
In The Patriot (2000), Mel Gibson plays Benjamin Martin, a hero of the French and Indian War, who is forced out of his South Carolina plantation-managing life to avenge the deaths of his sons at the hands of the British during the American Revolution. The main British villain of that film, the fictional Colonel Tavington,–played in sneering style by Jason Isaacs—is notable for his barbaric conduct (among other things, he traps civilians in a barn and burns them alive). British audiences were noticeably aghast at this characterization, which implicitly compared British command of the time period to Nazi atrocities in World War II. Tavington may in part have been based on Banastre Tarleton, a notorious and brutal, misogynist dragoon whose victory at Monck’s Corner was among the bloodiest battles in the dirty war fought in the south at the end of the Revolution, or Lord Rawdon, a serial rapist and generally unpleasant English officer.
Nevertheless, Tavington’s barn-burning exploits are more likely based on American General John Sullivan’s slash-and-burn campaign against British-allied Mohawks, Senecas, Onondagas, and Cayugas, a subject little discussed in American history. This culminated in a 1782 massacre at Gnadenhutten in Ohio, where white Americans murdered 96 Delawares who had converted to the Moravian faith (pacifists). Evidently, in The Patriot, the conflict was not a civil war, and character was constructed in part through dialect (as detailed below, dialect here refers to all the clues in the way a person speaks, not just his or her accent).
Although Tavington’s conduct in The Patriot manifested visibly onscreen, his dialect said much about him. As noted in a recent Atlantic Monthly article, entertainment—such as Disney cartoons—can “take [bias] and pour concrete over it.” Rosina Lippi-Green, a linguist, notes that such biases are then difficult to remove: “They etch it in.” Another linguist, Chi Luu, suggests that with English RP (see below), the effect is more subtle; such accents go beyond “pure evil” by shading villains as more educated and intelligent—but still bad. Relating these findings to The Patriot, viewers understand Tavington as educated, intelligent, and evil through his English RP dialect; moreover, in black-and-white terms, his dialect makes tangible that he is completely different from the rough-and-ready, courageous Benjamin Martin. An aural line is drawn between American “good guys” and British “bad guys.” The British are fighting just to be sadistic or greedy; the Americans are fighting to defend their way of life.
Compared to media about other American conflicts, there has been little recent dramatic depiction of the American Revolution. Historically, one reason dramatizations of the American Revolution have historically remained rare is the tradition of American reverence for the “Founding Fathers,” causing their depiction as human beings to be circumscribed. Just as visual conventions have been built up regarding the antagonists of the conflict, so, too, have aural conventions in audio-visual representations such as a general use of a Standard North American accent for American (patriot) characters (whether they hail from northern or southern colonies) and English RP for all (villainous) British characters. The effect of this is epitomized by the example from The Patriot above: “good guys” versus “bad guys.”
While the way characters sound is important in most creative works—from the written dialect of Dickens’s characters to the chilling, mask-assisted tones of Darth Vader—it is no more so than in audio drama. Richard J. Hand and Mary Traynor have argued in the The Radio Drama Handbook (2011) that the elements of audio drama are words, music, sound, and silence. Arguably the most important of these to the audio drama are words. Alan Beck’s work on radio acting further argues that to create character through words and sound, refinement of dialect is needed. In this context, dialect refers to more than just a regional pronunciation: it includes details on a character’s geographical region, social class, gender, age, style, and subgroup.
In terms of The Patriot, probably the highest profile pop cultural depiction of the American Revolution until Hamilton, accents mattered. “A well-educated British accent,” in American films at least, “had come to serve as a sufficient shorthand for villainy” as Glancy pointed out, or “British, upper class, and a psychopath, happily burning people alive,” as a 2010 Daily Mail article put it. Whatever his villainy, would a historical Colonel Tavington, have sounded the way he did as depicted in The Patriot? How did those on the North American continent in the 18th century sound?
Richard Cullen Rath has convincingly argued that sound was incredibly important in colonial America, but what role did speech in English have? David Crystal, in discussing the Globe Theatre’s 2004 production of Romeo and Juliet in original pronunciation (OP)/Early Modern English (EME), was most frequently asked one question: how do we know? How do we know what Shakespeare’s English sounded like? For EME, spelling, contemporary accounts of the language, and the use of rhythms, rhymes, and puns illuminate this area. Crystal noted that EME would not sound like any modern accent but would have the pronunciation of “rs” in common with “rural” accents, as in Ireland and the West Country (Somerset).
This is important because the association of Shakespeare with a certain kind of English accent—the RP referred to below—has long had the effect of making his works less accessible than they might have been. If Shakespeare’s actual working dialect had more in common with “rural” accents like Irish and West Country, the latter of which is often still designated as a shorthand for stupidity in common with American southern dialect, this has a liberating effect on Shakespeare in performance. It may sound “strange” at first, but it suggests that Shakespeare can/should be performed in a vernacular, at the very least to make it more accessible to a wide variety of audiences.
Crystal has suggested that, “It is unfortunately all too common to hear accents on stage or film in which—notwithstanding the best efforts of dialect coaches—accuracy and consistency throughout the performance leaves, shall we say, a little to be desired.” Sky 1’s recent big-budget effort in historical drama, Jamestown, set in 1619, is diverse and rich in dialect, with characters speaking with Irish, northern English, southern English, and Scottish accents—nor are they uniform in suggesting that one accent will signify the character’s goodness or badness (though it has to be said most of the southern English-speaking characters are, at the very least, antagonistic). Most of the Native American characters have so far not spoken English rather than racist “Tonto talk,” and white English-speaking characters must speak Powhatan (or use sign language) in order to communicate. As actor Jay Tavare points out, early Hollywood was not concerned with the accurate portrayal of indigenous languages, given that Navajo extras were most often used in Westerns (meaning the Diné language of the southwest was heard regardless of where the film was set). More recently, even such films as Dances with Wolves (1991), which has generally received praise for its accurate portrayal of Sioux/Lakota culture, included Lakota dialogue which was linguistically imprecise. Clearly, there is still a long way to go.
Suppose we decide we cannot ever know how such historical actors sounded, so we decide to depict 18th century English speakers based on other criteria. How do directors, actors, and voice coaches bring the viewer/listener as close to the author’s intent as possible in fictional depictions of the years surrounding the American Revolution? How is the 18th century made accessible through dialect? As Glancy suggests above, British officers in film, television, and radio depictions of the American Revolution are most commonly associated with Received Pronunciation (RP), though the term was not coined until 1869, and, as Crystal points out, the “best speech” heard in the English court of the 16th century was “nothing like” RP. In fact, it was probably influenced by the Devonshire accents of Sir Francis Drake and Sir Walter Raleigh (an English so far in Jamestown associated with servants . . .). As Edda Sharp and Jan Haydn Rowles point out in How to Do Standard English Accents, RP has almost disappeared in England, “now confined to a very small section of society, the older upper and upper middle classes, older actors and broadcasters.”
The officer class of the British Army in the 18th century was in fact largely composed of Scots (as per Stuart Reid and Paul Chappell)—though how much they retained their Scottish identity (including accent) is of course impossible to know. As Kevin Phillips in 1775: A Good Year for a Revolution points out, within England, support for the colonies during the American Revolution was generally strongest in the major cities and in the eastern and southern counties—the same places where during the Civil War, support had been strongest for Parliament and Cromwell. Support in Scotland was limited to a small fringe. By contrast, statistics from Revolutionary America 1763 to 1800: Almanacs of American Life on the ancestral origins of the white population of Virginia in 1790 make Scotch-Irish (11.7%) and Scottish (5.9%), the second-largest groups after English. References to the Scottish officer class are made in Cooper’s The Last of the Mohicans, where Colonel Munro is referred to as “the Scotsman” (played memorably in the Michael Mann film by Maurice Roëves). Beal suggests that guides to “correct” pronunciation in the 18th century were often written by and for Scots—to pass as “British.” The Scottish people have had a long history of wishing to disassociate themselves from rule by the English (as evident in the 2014 Scottish Referendum). The Wars of Scottish Independence in the 13th and 14th centuries were fought between English and Scottish forces, at the conclusion of which Scotland retained its status as an independent state. However, in 1707, the Act of Union unified England and Scotland under one government.
With these many regional British accents potentially to be heard in the British Army in America in the 18th century, and with approximately 92.2% of white colonists in Virginia hailing from the British Isles in 1790 (including England, Scotland, Ireland, and Wales), it is perhaps curious that there has been so little variation in dialect in media depictions such as films, TV, and radio. Traditionally, for example, George Washington has been depicted with a Standard North American accent and not a modern southern American accent. This is also true in the case of Colonial Williamsburg re-enactors.
Besides being generally a very sound depiction of the Revolutionary period, HBO’s John Adams (2008), based on David McCullough’s book, is also unusual as far as accents go. John Adams gives the British King George III, played by Tom Hollander, Standard Neutral English, but it does something very unusual with its American characters. Virginian characters (including Washington and Jefferson) have suspiciously Somerset-sounding accents. John Adams introduces a clear regionalism in Anglo-American accents that goes beyond the singling out of the Boston accent (which is generally personified in John Adams himself). It isn’t clear why this decision is made; the accent does not belong exclusively to Virginian characters, as it is also the accent of Benjamin Franklin, proudly Pennsylvanian, and Alexander Hamilton himself. Is the shorthand present to aurally distinguish between Loyalists, and American rebels? What affinity, one might ask, does the Somerset accent have with a depiction of the American character?
Standard North American speech is rhotic (people who say an ‘R’ whenever it is written), as is the Somerset accent (and, as Ben Zimmer explains, was associated with country speech in England from the 17th century). This contrasts with Neutral Standard English Accent, which is non-rhotic (people who only say an ‘R’ if there is a vowel sound spoken after it). Perhaps the filmmakers had in mind the best guesses about how “proper” Anglophones spoke in the 18th century, as in John Walker’s Critical Pronouncing Dictionary (1791), where he normatively condemns rhotic English. Then again, perhaps it is merely a storytelling expedient; look at the actors assembled to play Founding Fathers:
- Washington – David Morse, American, born in Massachusetts
- Jefferson – Richard Dillane, born in London
- Hamilton – Rufus Sewell, born in southern England of Welsh and Australian parents
- Franklin – Tom Wilkinson, born in Leeds, grew up in Canada
- Sam Adams – Danny Huston, American, born in Rome
Standardization may have made practical sense, but the use of the rhotic sends a subtly different message than North American Standard English, and perhaps hints at the influence of David Crystal’s work on OP/EME.
Even among linguists, North American 18th century English has not been examined to the extent that EME has, with Beal going no further than to suggest “the contact between the various regional dialects of the English-speaking colonists and the languages of the Native Americans and of other European colonists” would have influenced pronunciation, but she is not conclusive as to what extent. Noah Webster in 1789 envisioned “a language in North America, as different from the future language of England, as the modern Dutch, Danish and Swedish are from the German or from one another” (cited in Mühleisen). From the beginning, too, American fiction was concerned with pronunciations, with Cooper sensitive to those which “disclosed class or origins,” as Schachterle noted. The word “Americanism,” in fact, was coined by John Witherspoon in 1781. Its entry in Webster’s Compendious Dictionary (1806) is “a love of America and preference of her interest.” As David Crystal points out, this was the first dictionary written in English to include words like butternut, caucus, checkers, chowder, constitutionality, hickory, opossum, skunk and succotash. It was also the first dictionary to give now-familiar American spellings to words like color and defense.
It is probably not a surprise that many of the words above have their origins in Native American languages. Black and Native voices (and use of dialect) are somewhat rare in media depictions of the Revolutionary period, notable exceptions being The Last of the Mohicans, with its heroes (“Hawkeye,” Uncas, and Chingachgook, played by Daniel Day-Lewis, Eric Schweig, and Russell Means, respectively), as part of an extended, multi-racial family unit, speaking with a uniform Standard North American accent:
and Ubisoft’s smash video game, Assassin’s Creed III (2012).
The hero of this Xbox/Playstation game is Connor/Ratohnhaké:ton (Noah Watts), half-British, half-Mohawk, who speaks Mohawk as well as English (again, no Tonto talk here), as taught by the project’s language consultant, Akwiratekha’ Martin. However, again ignoring historical realities like the Sullivan campaign, the villains are British redcoats, echoing the storyline set up by The Patriot (Connor’s village is burned and his parents are killed by a British officer who sneers, “You are a nothing, living in the dirt like animals.”) In a making-of featurette, the creators of Assassin’s Creed III note that it has more than two hours of “cinematics,” a concept that suggests that the game will be a more potent window into history for its users than film, television, radio, or books. While it is positive that the game inaugurates a Native American action hero role model, it is disappointing that it recycles “the British are baddies” dialect trope.
In media like cartoons, video games, and audio drama, dialect supplies us with many clues about characters and what we should think and feel about them. Class is still very much implicit in accents in Britain, and every time we open our mouths we display characteristics about ourselves, whether feigned or not. When mass media-makers produce historical drama, they make choices. Despite the United States’ and the United Kingdom’s “special relationship,” the “British are baddies” trope remains. Its continued use and the future choices made by media-makers have much to say about Anglo-American relations and conventions in fiction today.
If, as suggested by several linguists identified in this article, children very quickly pick up conventions of who is “bad” via what they sound like, it behooves us to pay careful attention to the way mass media uses voices and what norms these establish, for listeners young and old. Also, what accents filmmakers use for past accents may profoundly influence who can hear themselves as “American” in the present moment–one important reason why Lin-Manuel Miranda’s Hamilton resonated with contemporary audiences. If teacher Laura Amico in the Cliffside Park school district in New Jersey has established that her pupils should “speak American,” what does this mean (besides the fact she expects them to speak English not Spanish)? Should they, for example, speak like President Trump, who uses a New York Queens accent which, according to Jeff Guo, connotes “competence, aggressiveness and directness” despite the fact its speaker comes from a privileged background? As Guo suggests, the way we speak is at least as important as what we say. In response to reports that Trump mocked the Indian Prime Minister, Narendra Modi, by imitating his accent, Congressman Raja Krishnamoorthi published a statement saying, “Americans are not defined by their accents, but by their commitment to this nation’s values and ideals.” That, perhaps, is speaking American?
Featured Image: Arno Victor Dorian, Assassin’s Creed Unity: Leon Chiro Cosplay Art
With thanks to Kenneth Longden and Matthew Kilburn
Leslie McMurtry has a PhD in English (radio drama) and an MA in Creative and Media Writing from Swansea University. Her work on audio drama has been published in The Journal of Popular Culture, The Journal of American Studies in Turkey, and Rádio-Leituras. Her radio drama The Mesmerist was produced by Camino Real Productions in 2010, and she writes about audio drama at It’s Great to Be a Radio Maniac.
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Multidisciplinary composer and media alchemist Navid Navab and his team at the Topological Media Lab based at Concordia University (Montreal) presented Aquaphoneia, a sound installation which transmutes voice into water and water into air at Biennale Nemo in Paris in December 2017 (and will run until March 2018). I conducted this interview in the context of the first presentation of Aquaphoneia originally conceptualized for Ars Electronica 2016: RADICAL ATOMS and the alchemists of our time. This version of the piece looked at technology through the lens of the living materiality. As Prof. Hiroshi Ishii, of the MIT Media Lab’s Tangible Media Group, stated, artists “suggest completely new ways of looking at the role of science in our society and the interplay of technology and nature.”
EB [Esther Bourdages]: The theme of the 2016 Ars Electronica Festival, RADICAL ATOMS – and the alchemists of our time, is very close to the Topological Media Lab’s mission: transmutation and alchemy on the philosophical and phenomenological level. For Aquaphoneia, can you expand on alchemy and specifically on how this art piece stands out from your past work? How did alchemical thought process and production techniques come up in the process of the piece?
NN [Navid Navad]: When the 2016 theme for Ars Electronica Festival was announced I was happily surprised and thought: finally, things are coming to light at a much larger scale. Yes, please can we reverse the still prominent European Modernism’s separations—between the conceptual and the material, the precise and the messy, the sciences and the arts—and go back to the holistic richness of alchemical matter? This transition that we are currently experiencing calls for a shift away from representational technologies: from interfaces to stuff, from objects to fields of matter-in-process, from fixed concepts to processes that enact concepts. For over a decade, we as alchemists have been engaging with “bodies and materials that are always suffused with ethical, vital and material power.”
The Topological Media Lab [TML] is occupied by people who are living to fuse and confuse, ready to unlearn the apparent practicality of isolated disciplines, while playfully improvising new pathways to understanding potential futures. The TML hosts an array of projects for thinking-feeling through poetry-infused-matter and breathing life into static forms—which to me is an effortlessly artistic process, and all the while inseparable from a rigorously philosophical or scientific one. Even though it might take decades for the kinds of computational-materials that we are envisioning today to be engineered from ground up at an atomic level, with what is possible today, we explore how the messy stuff of the world could become computationally charged with the potential for play: sounding, dancing, and co-performing new ways of living with or without us.
Aquaphoneia comes out of this rich ecology of experiments. In Aquaphoneia, voice and water become irreversibly fused. The installation listens to the visitors, and transmutes their utterances into aqueous voice, which then is further enriched and purified through alchemical processes.
To fully realize this liquid dream, we went to great lengths in order to fuse the messy behaviour of matter flowing throughout the installation with meticulously correlated and localized sonic behaviour. For example, the temporal texture of boiling liquid in one chamber is perceptually inseparable from the spectral entropy of simmering voices which then evaporate into a cloud of spectral mist. All of this dynamic activity is finely localized: the sounds acoustically emit exactly from where the action occurs, rather than spatially schizophying loudspeakers elsewhere.
On another hand, our material-computational-centric approach lead to a tough yet rewarding meditation on control and process. As a composer, I had to let go of all desires for immediate control over sounds and surrender important rhythmical and compositional decisions to messy material processes. In Alchemical Mercury (2009), Karen Pinkus quotes Marcel Duchamp: “alchemy is a kind of philosophy: a kind of thinking that leads to a way of understanding” (159). For us, in the process of creating Aquaphoneia, essentially what had to be understood and then given up was our attachment to our far-too-human notions of time and tempo. Instead we embraced and worked within the infinitely rich and pluri-textural tempi of matter. Technically and compositionally this meant that most of our focus had to be placed on merging the continuous richness of material processes with our computational processes through an array of techniques: temporal pattern following, audio-mosaicing, continuous tracking of fields of activity using computer vision and acoustic sensing techniques in order to synthesize highly correlated sonic morphologies, careful integration of structure-born-sound, etc. We were able to co-articulate compositions by constraining material processes sculpturally, and then letting the liquid voice and the laws of thermodynamics do their thing.
[EB]: One of the first elements that we notice in the installation is the brass horn connected to an old Edison sound recording machine, that now turns into liquid instead of wax cylinders. In fact, it came from an Edison talking machine. You repurpose an authentic artifact, but you do not fall into the trap of nostalgia, and neither into the role of collector, but you embrace innovation with a dynamic approach which excavates past media technologies in order to understand or surpass contemporary audio technologies. Where does the use of the Edison horn come from and how does it speak to your relationship with the superposition of history?
[NN]: The history of sound reproduction involves transforming audible pressure patterns or sound energy into solid matter and vice versa. The historic Edison recording machines gathered sound energy to etch pressure patterns onto tinfoil wrapped around a cylindrical drum. Sound waves, focussed at the narrow end of the horn, caused a small diaphragm to vibrate, which in turn caused a miniature steel-blade stylus to move and emboss grooves in the cylinder. The tin foil would later on be replaced by wax cylinders, vinyl disks and eventually digital encoding.
Aquaphoneia engages the intimately recursive relationship between sounding technologies and material transmutations. Our digital audio workstations are an in fact an inclusive part of this history, this endless chain of analog transmutation between energy and matter. Under the fiction of the digital there is always the murmur of electrons and of matter-energy fields in physical transmutation. As J. Fargier writes on an early book on Nam June Paik (1989) “The digital is the analog correspondence of the alchemists’ formula for gold” (translation by NN). Well, yes. The digital revolution has allowed us to shape, compute, purify, and sculpt sounds like never before… but then often at the hefty cost of a disembodying process, with interfaces that are linked to sounds only through layers upon layers of representation, far detached from resonating bodies and the sexy flux of sounding matter.
Aquaphoneia playfully juxtaposes material-computational histories of talking machines within an imaginary assemblage: sounds are fully materialized and messed with tangibly within an immediate medium very much like clay or water or perhaps more like a yet to be realized alchemico-sonic-matter. This odd assemblage orchestrates liquid sounds leveraging intuitive worldly notions—such as freezing, melting, dripping, swishing, boiling, splashing, whirling, vaporizing—and in the process borrows alchemical tactics expanding across material sciences, applied phenomenology, metaphysics, expanded materiology, and the arts. Aquaphoneia’s alchemical chambers set these materials, metaphors, and forces into play against one another. After the initial ritual of offering one’s voice to the assemblage, the aqueous voice starts performing for and with itself, and human visitors have the opportunity to watch and participate as they would when encountering the unpredictable order of an enchanted forest river.
It is also noteworthy that the horn resembles a black hole. The edge of the horn acts like an event horizon, separating sounds from their source-context. Sounds, once having passed the acousmatic event horizon, cannot return to the world that they once knew. Voices leaving the body of their human or non-human speaker, fall into the narrow depths of the horn, and are squeezed into spatio-temporal infinity. Disembodied voices, are immediately reborn again with a new liquid body that flows though alchemical chambers for sonic and metaphysical purification.
Much of my work deals with the poetics of schizophonia (separation of sound from their sources). Sound reproduction (technologies), from Edison’s talking machines to our current systems, transcode back and forth between the concrete and acousmatic, situated and abstract, materialized and dematerialized, analogue and digital. Often sounds are encoded into a stiff medium which then may be processed with an interface, eventually decoded, and re-manifested again as sound. Aquaphoneia ends this nervous cycle of separation anxiety and re-attachment by synthesizing a sounding medium capable of contemporary computational powers such as memory, and adaptive spectro-temporal modulation and morphing. To adapt Marshall McLuhan, instead of encoding and decoding a presumed message with representational technologies, it enchants the medium.
[EB]: There is the tendency to think that artwork from Media Labs are stable and high tech. Aquaphoneia uses analog and digital technologies with a Do-It-Yourself (DIY) touch in the aesthetic. Since your lab is multidisciplinary oriented and influenced by diverse fields of knowledge, can you develop on the DIY dimension in Aquaphoneia under the gaze of Clint Enns—cinematographer in the experimental field of cinema—: “Adopting a DIY methodology means choosing freedom over convenience”?
[NN]: Aquaphoneia is a truly eclectic assemblage lost in time. Aquaphoneia’s mixed form reflects its extremely fluid, collaborative and playful creative process. Instead of coming up with a definitive design and executing it industrially, Aquaphoneia’s realization involved a much more playful process, where every little aspect of the installation—materials, sounds, software, electronics, etc.—was playfully investigated and messed with. Every little detail matters and every process, undulating back and forth between conception to execution, is an artistic process. The research-creation process leading to the works that come out of our lab are as critical to us as the final and fully produced art works. This was also true for the alchemists who, through their process, were seeking to develop new approaches for understanding the world, relating to matter, and surpassing nature.
Our research-creation activities concern experimenting with ethico-aesthetics of collective thinking-making: humans, non-humans, machines, and materials enacting and co-articulating the ever-changing material-social networks of relations which shape them. This DIY art-all-the-way approach, while providing a healthy dose of aesthetic freedom, is also an ethical one: we live with and within our designs and grow with them. That being said, we are not attached to a DIY process in the same way that some maker cultures might be. Sometimes we blindly find and repurpose something that does something cool, complicated, and mysterious and that is fantastic, sort of like philosophy of media meets cyber dumpster diving meets DIY hacker space meets cutting edge tech research meets miniMax (minimum engineering with maximum impact) meets speculative whatever…
For example, at some point we decided to gather sonic vapour in a glass dome and condense it back into drops, which were then guided to fall into the bottom of the installation. The purified drop of voice—sonic “lapis philosophorum”—was to fall into the depths of the earth beneath and shine upward like sonic gold, connecting heaven and earth. We had to execute this opus magnum inside a very small hole in the base of the installation. The water drop needed to be immediately sensed and sonified, leading to sounds coming out of the same hole, along with synchronized light. You can imagine that if we were relying on “black-boxed” technologies and ready-made techniques then this task would have seemed like a nightmare to design and fabricate. The water drop was to fall all the way to the bottom of the hole where it would be acoustically sensed by a small apparatus that had to be acoustically isolated from everything else. Then the result of the sonification had to be pushed through the very same hole with a high degree of intelligibility and in a way that it would be seamlessly localized. Meanwhile, light had to shine through this hole in sync with the sounds but the source of light had to remain hidden.
The solution to this technical puzzle came to us effortlessly when playing around with random stuff. We found a hipster product—a little plastic horn—that was made for turning your iPod into a gramophone. Then a speaker was mounted inside of this plastic horn in order to focus sounds towards the end tip of the horn. The back of the speaker was fully covered with foam and duct tape to stop any sound from escaping anywhere except for where we wanted it to appear. A small hole was drilled into the brass pipe in the base of the installation. Our advanced hipster horn-tip-sound-laser-thing was then inserted, allowing crisp sounds to enter the brass hole and emit from it without any visible clues for the perceiver as to where the speaker was hidden. Meanwhile, a similar lighting solution was created so that in a very small footprint we can focus, direct, and bounce enough directional light in the brass pipe without ever getting in the way of the water drops.
We had to engage with this sort of detailed fabrication/composition process throughout the whole installation in order to come up with solutions to sense the behaviour of the materials and liquids locally and to manifest them sonically and visually so that there would be no separation from local material behaviours and their computational enchantment. In trying to do so we discovered that more often than not, there was no ready-made solution or technique to rely on, and at the same time we didn’t have months ahead of us to engage in an abstract design and fabrication process. We had limited hours of collective play time to leverage and to come up with innovative techniques that we didn’t even know could exist and that was really fun.
Aquaphoneia is a rich sound art piece – a manifesto by itself about innovation and inventiveness. The sound installation demonstrates that the main crafters Navid Navad and his partner Michael Montanaro, in collaboration with other members of the Topological Media Lab, swim easily into the multidisciplinary art. They are are not afraid to experiment and engage with the material, which results in an interlacing of forms, a mixture of historic references, and an interesting fusion of “low” and “high” technology. I was able to catch some of the build up of the art piece, and it was fantastic to witness the lab as a playful messy artistic field with a little team of scholars fusing their different backgrounds in convergence on the marriage of art and science.
Aquaphoneia, a sound installation which transmutes voice into water and water into air at Biennale Nemo in Paris runs until March 2018.
- NAVID NAVAB art direction, sound/installation concept and design, audiovisual composition, programming, behaviour design
- MICHAEL MONTANARO art direction, visual/installation concept, design and fabrication
- PETER VAN HAAFTEN electronics, sound, programming
- consulting assistants: Nima Navab (embedded lighting design) Joseph Thibodeau (electronics)
- research collaboration: Topological Media Lab
Featured Image: Aquaphoneia, Paris, Biennale Némo, 17 October 2017 – 18 March 2018, Credit: Navid Navad, 2017
Esther Bourdages works in the visual arts and technology art field as a writer, independent curator and scholar. Her curatorial research explores art forms such as site-specific art, installation and sculpture, often in conjunction with sound. She has authored many articles and critical commentaries on contemporary art. As a musician, she performs under the name of Esther B – she plays turntables, handles vinyl records, and records soundscapes. She works and lives in Montreal.
Navid Navab is a Montreal based media alchemist, multidisciplinary composer, audiovisual sculptor, phono-menologist, and gestureBender. Interested in the poetics of gesture, materiality, and embodiment, his work investigates the transmutation of matter and the enrichment of its inherent performative quali- ties. Navid uses gestures, rhythms and vibration from everyday life as basis for realtime compositions, resulting in augmented acoustical poetry and painterly light that enchants improvisational and pedestrian movements.
Navad currently co-directs the Topological Media Lab, where he leverages phenomenological studies to inform the the creation of computationally-augmented performance environments. His works, which which take on the form of gestural sound compositions, responsive architecture, site specific interven- tions, theatrical interactive installations, kinetic sound sculptures and multimodal comprovisational per- formances, have been presented internationally at diverse venues such as Canadian Center for Architec- ture, Festival du Nouveau Cinema, Ars Electronica Festival Linz, HKW Berlin, WesternFront Vancouver, McCord Museum, Musée d’art Contemporain de Montréal, Contemporary Arts Museum Houston, Inter- national Digital Arts Biennial, Musiikin Aika Finland, and Festival International Montréal/Nouvelles Mu- siques, among others. www.navidnavab.net
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In the summer of 2016, optimistic about a full-time teaching position at a minority-serving institution, yet unsure about what the U.S. election would mean for immigrants’ rights, I played the Hamilton soundtrack daily. Lin Manuel Miranda wrote the Pulitzer-prize winning musical inspired by Ron Chernow’s biography on the United States’ founding father because, he believed, Alexander Hamilton’s life embodied hip hop. My repeated listenings urged me to assign the musical as homework in my courses.
Colleagues with whom I engage on Twitter provided resources with which to begin. A public historian, Lyra Monteiro, wrote an important review for Public History,“Race-Conscious Casting and the Erasure of the Black Past in Lin-Manuel Miranda’s Hamilton,” which provide one key angle of critique. Latinx Theater scholar and SO! writer Trevor Boffone created an online syllabus, #Syllabus4Ham, that provided important critiques of the musical, news coverage of its growing popularity, and initial scholarly analyses of the cultural historical significance of the musical’s popularity. Pedagogically, Miranda’s archival research in addition to his belief that Hamilton’s life embodied hip hop sparked an interest to bring the production to my gender and interdisciplinary studies classrooms. While colleagues works’ inspired ways to discuss the musical in class, post-election coverage and the release of the Hamilton Mixtape provided more material to discuss. Teaching children of hip hop whose lives embody the struggle that Miranda made the central force behind his re-writing of Hamilton’s contribution to United States’ history, I wanted to develop lessons drawing on those relations.
By the spring 2017, I had done preliminary reading on the syllabus Boffone provided and replaced the musical with the Mixtape as my car ride soundtrack. When organizing my syllabus, I assigned tracks from the mixtape against the musical’s soundtrack with the intent of assigning students excerpts in both both my introductory Gender Studies course and Interdisciplinary Research Methods courses, but with a unique twist for each class. Gender Studies engaged with the content contextualized by discussions of immigration and citizenship. I assigned my Research Methods course Monteiro’s critique of race-consciousness of the musical against the mixtape and the musical. While students were in solidarity with Montiero’s argument, I invited them to consider Miranda’s original intent, the mixtape, which may have informed the themes Miranda prioritized.
Few of them had heard of the musical before my class and less had heard of the mixtape. Their limited exposure necessitated historicizing both Miranda’s career and the evolution Hamilton’s, which begins with 2009 Miranda’s White House performance. Miranda, invited by President Obama to perform a song from his previous hit In the Heights, instead decided to introduce his new project, a mixtape based on Alexander Hamilton.
Through discussion, I proposed that the students consider that the production, in 2009 envisioned as an album, served as a strategic catalyst to bring attention to his forthcoming mixtape. That attention evolved into encouraging Miranda to produce the musical; it would take a few more years till the intended mixtape was produced. Even though produced later, I speculated that the mixtape thematically benefited from the popularity of the musical because the musical’s focus on Alexander Hamilton rewrites the context of the mixtape.
Teaching Hamilton the musical and the mixtape felt politically necessary at a minority serving institution in this historical moment of anti-immigrant, and anti-black sentiment. Having, in the past, worked with other youth to mobilize youth empowerment through hip hop, Hamilton provided an avenue in which I could discuss its political potential because of its popularity not only in spite of it. In breaking down Miranda’s cultural and political significance, I summarized the evolution of awards he and the musical’s cast had won as well as the preliminary cast’s reflections on participating in Hamilton, along with what it means to have the success of the musical produce a wider audience for the mixtape.
After more than a semester working with students who grow frustrated with the traditional research paper and because of my own work producing research-based fiction and poetry, teaching the musical and mixtape provided an important example of research-based art. Because some students approach interdisciplinary research methods not understanding the possibilities of the relationship between art and research and some students are unsure of how to connect learning outcomes to their aspiring performance careers, I find teaching Miranda’s work remains necessary. Further, Miranda provides an avenue through which I could relate to students because of our shared interest in music as well as our conflicted relationship with consuming hip hop.
Teaching a student population that is 25% Latinx and who are either directly or indirectly affected by immigration policies, my students related, often quite deeply and intimately, to the message of the song. I watched their faces as they listened, particularly to “Immigrants (We Get the Job Done),” and their kinesthetic responses showcased what many of us ache for our students to experience: wonder, appreciation, and the illumination of insight.
I then guided them to hone in specifically on Puerto Rican rapper Residente rapping about the Mexican immigrant struggle in Spanish, emphasizing how he sonically and rhetorically urges a Latin pan-ethnicity while using his U.S. citizenship privilege to historicize border crossing Mexicans. Residente’s lyrics create an opportunity to discuss Puerto Ricans’ cultural reality of being perceived as immigrants while being legally defined as citizens, all the while calling back to the lyrical connection to the “Battle of Yorktown” from the musical.
I highlighted Miranda’s rhetorical strategy in building a song around one line that contexts changes across either song. The “Battle of Yorktown” centers on the contributions of immigrants to gaining freedom. During the lecture, I drew connections between the lyric that would become a song and the lyric subtly referencing the lack of freedoms for black people who were enslaved in the U.S. I asked about the parallels before explaining them, using the intentionality behind creating and compelling a racially diverse cast to script a narrative about who could and who had built the United States. What does it mean to hear these voices emanating from this cast, telling this story?
Pedagogically, teaching music in either course served the intent of reimagining the purpose and potential of sound, whether from a musical or a mixtape, as a site of critical thinking. Popular musicians’ cultural authority slowly decenters the white fragility I have come to expect from difficult conversations such as the ones Hamilton and The Hamilton Mixtape allow me to have. Furthermore, the call-and-response between the mixtape and the musical work address the silence of the unrecognized, exploited, and/or enslaved labor that continues to build this country. For my students, hearing musicians they like or who perform in their favorite genre, speaking truth to power about poverty, struggle, and not being thought of as good enough shifted not only our classroom energy, but many students’ perspectives.
Teaching the Hamiltons helped my student population make sense of their “invisible” status in the U.S. and want more than what’s expected. They gained something in being able to hear their stories in the classroom—not just read them on the page—but hear them from people who look and sound like them. Hungry for more material that speaks to their disenfranchisement, my students wondered why more songs that sound the complex beauty of our resilience and struggle are not on the radio. They wanted to know how they can ask for more.
Featured Image: Screen capture from “Immigrants (We Get the Job Done)” remix video
Erika Gisela Abad, Ph.D, is a Queer Latina poet, born and raised in Chicago. She received her PhD in American Studies in 2012. Since completing her degree, she has worked as: a customer service associate and a scheduler at a phone interpreter call center, head counselor for a caddy program affiliated with a high school scholarship fund, field director for an education policy campaign, an oral historian and ethnographer. Since August 2016, she has been a full time assistant professor teaching gender studies. Twitter: @lionwanderer531; @prof_eabad
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