CONTEXT of Sawako
PDF01...p113(An Ocean of Sound) - p121(last) : "SONIC BOOM" by David Toop (From the catalogue of the exhibition, Sonic Boom, which is held in 2000 at Hayward Gallery, London, and is curated by David Toop.) . . . . . Well summarized the history of sound art in 20 century from the unique view point as the ambient musician, writer and curator.
If you want read more. . . . .PDF02... From Wireless Imagination, edited by Douglas Kahn and Gregory Whitehead (The MIT Press, 1994). This book was prepared in early 90s. The word "wireless" is used for the radio and the sound art after phonographe age, not for the WiFi network or the mobile phone. To compare the essay with the Toop's one written in 2000 and to determine about what changed and what is same in these 10 years may be interesting.
MY PROJECTS
omnibus(2003). . . . The CDEP as the result of the postal and online sound data exchanges, and the offline improvisation with 8+ collaborators (both musicians and non musicians) in Japan, Canada, France and Italy. After releases, now I am planning to the online sound pool where people can upload and download the source materials and their remixed tracks.
Phonographic Migration(2004). . . . The series of the works about exchange of "phonographies." It's not my own projects, but the community (phonography.org) based project. I involved in #01 (which was the cdr release with the result of online sound exchanges between 7 people) and soundscapeFM (Phonographic Migration #03) as the musician/field recordist.
RELATED WORK
SONIC CITY. . . . . personal soundscape, everyday music creation, mobile
SINE WAVE ORCHESTRA . . . . . sound and space, everyone can participate. They never try yet, but if they register the simple idea in the creative common and accept everyone to held the event freely, the concept of the SWO becomes the score, like the FLUXUS era.
"Empty Vessels" by Alvin Lucier . . . Sound and Space. The feedback sound is changed by the audiences' positions and movements in the room. In other word, the audiences become the one part of the work, the room as an instrument.