SOURCES
The original sources for the HARK project can be found in the Paper ‘Ways of Listening’ and its bibliography. We have also documented the project in the form of some formal Papers, and in Working Notes and Essays. Papers and documentation can be found below under HARK Papers & Bibliographies. We have also produced videos, a sound album and other sound files illustrating our explorations. These are contained in the website pages, particularly in Current Projects and Past Projects. We also draw on a range of papers and written sources in a wide field of sound studies, sensory anthropology and musicology. A selection of these kind of papers is set out below under Academic Papers. The HARK papers may be cited as: Lloyd-Richards, H. (date). (Title). (HARK Website). If you wish to post a paper or a comment in this section of the website please use ‘Contact Us’ from the top menu.
HARK Papers & Bibliographies
Ways of Listening: Ethnographies of Listening, Auditory Play and Music Poetics
This paper explores the cultural knowledge practices of listening from an anthropological perspective, drawing on a critical musicology. It takes as its starting point the audience as a group and social system, listening to live performances of classical instrumental music. It argues that the audience for classical instrumental music is ‘mute’, that we know little of the visceral experience of listening to music, or of the interpretive modes and frameworks at play. The audience is treated as the terminus for the interpretations of others in a linear process of consumption. The paper does not however promote an exclusive ‘reader response’ theory above other interpretive events but following Kramer identifies ‘hermeneutic windows’ at various stages, from composition to reception in the live event. The HARK project is a participatory program designed to enable listeners to articulate and share their listening experience. Its initial analytic posture identifies three possible intersecting strands: 1. Audience members’ personal listening practices – modes and repertoire; 2. How live music is interpreted and understood to have significance and meaning for listeners – what is heard; and 3. The emergence of a discourse of shared aesthetic appraisal – spanning divergent and convergent interpretations. An interdisciplinary literature review of studies of listening is placed within a hermeneutic framework and from this a listening model: Auditory Imaginative Play is derived, (see Section 13 for diagram of Auditory Play Modes). This model is proposed for application and development in an Action Research Program (see Section 2). The program proposes the creation of a standing Listening Research Seminar (Sounding Seminar) and a number of Active Listening Groups. The qualitative research output is envisaged as Ethnographies of Listening, together with other writing about listening to music referred to as Music Poetics. The Website, HARK.org.uk will support participation in the project and the Pilot Research program (2016/17). The website will include a Sound Repository, a Forum for Performance Reviews, Texts of Ethnographic output from Active Listening Groups, and links to other relevant programs.
Sounding the life of Stones
You would rightly wonder why I would make the clearly absurd claim that stones in some way take part in ‘consciousness’! They clearly do not in our dualist ontological atomic schema in any obvious way…..yet….maybe while we know the work of the imagination brings them into relation and life, maybe there is also some reasons for thinking that resonance and relation are shared properties…... My work in sensory anthropology has led me to explore some strange areas of theory and their related practices. My current work will give some idea of this, this is the HARK-Listening Research Project.
Ethnomusicology: Holy Sounds: Music and the Sacred, drawing on Christianity in a European Context
This paper is an exploratory draft exploring the connections between sensory anthropology, its ethnographic methodology, and articulated experiences of the holy, the numinous and the sacred through the medium of music. It also moves towards a practical proposal of exploring a set of relationships between music, experience and liturgy.
Creating and Performing an Ethnography of Listening
This paper explores the expression of listeners’ significations after listening to a piece of orchestral music. It describes the dialogical creation and performance of an ethnographic evocation of the experience of listening – a Performance Ethnography of Listening. 40 members of 4 Listening Groups listened to a four-movement piece for string orchestra “Photography” by Errollyn Wallen and gave their responses which were taped and transcribed. A Source Text was created from the raw responses from which was written a Performance Script for two ‘voices’. The script was set within the time signature of the piece. A Listening Event was designed to enable, an audience including the Listening Group members, the composer, the conductor, the ethnographer, and the ‘voices’ (60 people) to listen to, and discuss a ‘triptych’ performance of the work – the central panel being the performed ethnography with the music. This paper describes the ethnographic process, includes the Performance Script and audio examples of the performed ethnography. It theorises our practice in terms of the work of: Nicholas Cook (1998) on the relationship between words and music; Anthony Gritten (2017) on intermedial practice; Lawrence Kramer (2011) on criteria for ekphrastic practice; and in the light of existing explorations in the HARK Project on, listening habitus, and listening repertoire – ‘auditory play’.
The Place that Words come From… An Ethnography of Quaker Worship Practices and their Social Enactment
This thesis addresses the worship practices of contemporary Quakers and their social enactment. It presents an ethnography that attempts to evoke participation in Meeting for Worship at a local site (St Andrews Quaker Meeting) and also adopts a strategic perspective towards Quaker practices as a dispersed community of practice. It deploys two major theoretical frameworks: a revised theory of secularisation developed by Taylor (2007) and Martin (2005); and Cultural Theory developed from Douglas (1996,1998). A short history of Quakers is set out. A context for contemporary Quakers, the ‘spiritual landscape’ (Taylor, 2007), is characterised. Quaker reflexive literature is reviewed. Following the ethnography of a Meeting for Worship, four key domains of practice are further discussed – the body, silence, speech and gatheredness. The Meeting for Worship for Business is described using ethnographic material. Sources of power, decision-making criteria, the construction of the Quaker narrative, and the emergence of renewal initiatives are reviewed. Four central elements of Quaker practice – the Worship ritual, the Testimonies, Business Meetings, and Cosmologies – are plotted within the grid-group model and Cultural Theory. The thesis has twenty-two Figures and five Appendices which contain a Dramatis Personae, a Fieldwork Diary and background information on Quaker practice. The challenge for contemporary Quakers is portrayed as the attempt to create and maintain unity in diversity and this is explicated by analysing Quaker practices in the light of the pressures of secularisation and cross-pressures within the spiritual landscape, in particular the dialectical tension theorised by Taylor (2007) between ‘transcendence’ and ‘immanence’.
Ethnography of Listening: documents
HARK - Music Poetics (1): Errolyn Wallen’s “In Earth” Listening Responses.
HARK -Music Poetics (2): Full Transcript of “In Earth” Responses.
Music Poetics (3): Liela Bordrieul’s “Not an Elegy”.
Listening Groups: Structure, Composition and Program.
HARK - Listening Groups: Listening Curriculum.
HARK - Listening Research: Pilot Report.
HARK-Listening Notes for: Errollyn Wallen’s "Photography”.
Precis of Paper: An Ethnography of Listening.
HARK: Repertoire of Imaginative Auditory Play.
Soundings and Stones: documents
Lithophones and Ringing Stones.
Live Listening: Transfigurations in Rhythm.
Music and the Sacred: documents
Academic Papers
Acoustic Territoriality
Spatial perspectives in the analysis of urban sonic environments; R. Murray Schafer, J.-‐F. Augoyard, G. Deleuze & F. Guattari Jacob Kreutzfeldt
Assessing Phenomenology in Anthropology
How did phenomenology inspire anthropology to re-evaluate its principal method: participant observation? This question is answered by exploring how phenomenology has contributed to the anthropological study of religion. The focus in this field is not only on the way people perceive but also how they experience the world. This allows for a view that does not treat experience of the world separately from cognition of the world. Religion can thus be studied as it is lived and acted in concrete situations. By seeing the scholar as part of the life-world of the people in whose lives she participates, phenomenology in anthropology goes against the tendency to privilege ‘scientific’ knowledge over other kinds of knowledge. This has some important theoretical ramifications, most notably the refusal to transcend lived experience through theory. This discussion will be illustrated from authors’ fieldwork. The influence of phenomenology in anthropology also raises some important doubts. At the end of this article, these doubts will be addressed.
Bodies and worlds alive: an outline of phenomenology in anthropology
The article begins with a short introduction to phenomenology with an emphasis on the work of Maurice Merleau-Ponty, whose ideas have had a great impact on cultural anthropology since the 1980s, especially through notions like ‘embodiment’ and ‘radical empiricism’. The article will proceed to outline main trends in phenomenological anthropology as well as its precursors. It then dedicates itself to some of the most prominent issues in anthropology in which phenomenology is particularly involved such as:‘bracketing’, ‘betweenness’, ‘mindbody dualism’ and ‘embodiment’. Alongside a summary of phenomenology’s contribution to anthropology, the conclusions will address some of the critiques that are often directed at phenomenology.
ETHNOMUSICOLOGY
Questions concerning the social significance of music have a long history within the interdisciplinary field of ethnomusicology. The emergence of comparative musicology in Europe in the early twentieth century and ethnomusicology subsequently in North America generated topical distinctions between Western classical music and the music of “others,” with attendant distinctions between epistemological and scholarly approaches to the object of study. Such an epistemic distinction articulated a central paradox of the field: through a history and politics of global expansion, musical difference was recognized and explicated; yet that same expansion sought to transform or eradicate the subjects of difference through domination. Throughout its history the field has sought to understand the materiality of distinctive musical and sonic practices while simultaneously exploring the ways in which those practices articulate the social in the midst of the inequalities of the global order. If in Europe and North America the distinction between “the West and the rest” was institutionalized as a distinction between musicology and ethnomusicology, in other parts of the world this divide proved more difficult to institutionalize. First, in many such places, a desire to understand local musics was consolidated through the cultural politics of nationalism. Second, the disciplinary formation of studies of traditional and popular musics was embedded in the developments of other disciplines and practices such as literature, folkloristics, composition, performance or anthropology. Consequently, in many countries that were former colonies the term “musicology” has been used as a unitary term for the study of local musics, no matter the place of origin or local hierarchies distinguishing the value of those musics such as is found in the divide between “classical,” “folk,” and “popular” in the United States. The problematics of this culturally and historically specific network of value distinctions is evident in the recent institutionalization of the term ethnomusicology internationally, which results from the rising dominance of the American academy. Now including the study of any music, ethnomusicology is less topically defined than it has been historically. Rather, it is characterized by its approach to music as a social phenomenon, investigated primarily through the interpretive science and art of ethnography. Ethnomusicologists render their work in writing, recording, and performing and invest their curatorial interests in sound archiving. The field’s pedagogical and media intersections are managed through the idea of "world music". Contemporary researchers take up the challenge of theorizing three social themes and the various relationships among them: the embodied practices of music making, the politics of music circulation, and the culturally-inflected acoustic dimensions of sound. In addition to these social theoretical concerns, ethnomusicology’s interest in celebrating and documenting the diverse world of musical expression endures. Studying aesthetic values and musical experience for themselves as well as for their social scientific potential are therefore dual goals of researchers in the field.
EXISTENTIAL ETHNOMUSICOLOGY
In this course, we will consider music and, more broadly, sound as fundamental to the human condition, across multiple scales of space and time and in a variety of social and cultural contexts. Building on the insights of existentialism, post-‐structuralism, and phenomenology, we will explore the emergent and irreducible tensions – of freedom and necessity, publicity and privacy, individuality and collectivity, ethics and morality, mimesis and alterity, etc. – through which human being-‐in-‐the-‐world unfolds and, with an ear toward aurality, resounds. Intended to both deepen and expand the field of ethnomusicology, we will examine theoretical texts infrequently employed in the anthropology of music (from Sartre, De Beauvoir, Arendt, Lefebvre, Bourdieu, Kittler, among others) as well as new conceptual orientations from within the discipline itself (in the recent work of Berger, Feld, Fox, Pilzer, and Hahn).
Food and the Senses
This review makes the case for anthropological reflection on the in- tersection of food and the senses. Given that a focus on food and the senses allows us to explore some of the most basic boundaries of inside and outside, private and public, individual and collective, this topic of- fers an excellent window onto that elusive notion of everyday life that anthropologists wish to understand theoretically and examine ethno- graphically. At the same time, food is a key component of ritual, which has typically been understood as heightening or stimulating sensory experience to instill social or cosmological values. Food and the senses overlap in notions of taste as distinction and in an increasing recognition of the culturally cultivated phenomenon of synesthesia. Furthermore, in making food and the senses central to understanding wider social issues, this review argues for the productivity of a concept of “gustemology” in opening up new realms of ethnographic and theoretical inquiry.
Resoundings: Innovative Approaches of Voice between Anthropology and Art
Starting with a presentation of my ethnographic study of animal bells and their sounding in a Greek island village and ending with a discussion of the phenomenology of sound perception beyond hearing among deaf artists, this series will cover a wide array of topics, ranging from the anthropology of voice, sound and the senses, multimedia and multisensory ethnography, reflexive and experimental work in anthropology beyond text, to doing art-fieldwork in collaborative projects with artists and anthropologists on voice, listening and alternative forms of sound perception, as well as arts-based ethnography. The emphasis will be given on experimental research in the porous boundaries of anthropology and art, in my collaborative work with visual artists and fellow anthropologists over the last decade.
Hypocognition, a “Sense of the Uncanny,’’ and the Anthropology of Ambiguity: Reflections on Robert I. Levy’s Contribution to Theories of Experience in Anthropology
This article examines how Levy’s pioneering work in Tahitians on hypocognition, feeling, and sensation can contribute to recent attempts in anthropological theorizing to address the problematic relationship between “culture” and “experience.” Informed by the phenomenologically oriented works of the likes of Dilthey, Husserl, Schutz, and Merleau-Ponty, this growing body of literature in anthropology has become increasingly concerned with clarifying the relationships between culture and “objective” and “pre-objective” modes of “lived experience.” This article suggests that in many ways Levy can be understood as one of the first anthropologists to systematically investigate this relationship ethnographically with his focused attention on the role that culture plays in differentially articulating patterns of conceptualization and sensation in the structuring of experience cross-culturally.
Music as Atmosphere
This book explores the atmospheric dimensions of music and sound. With multidisciplinary insights from music studies, sound studies, philosophy and media studies, chapters investigate music and sound as shared environmental feelings.
Phenomenology’s Methodological Invitation
What is phenomenology? And why should anthropologists, as well as students of history, psychology, education, or political economy be interested in it? Within philosophy, phenomenology is as diverse as its practitioners. Indeed, Moran (2000: 3) in an introduction to philosophical traditions of phenomenology finds it important to warn readers not to overstate the degree to which phenomenology “coheres into an agreed method, or accepts one theoretical outlook, or one set of philosophical theses about consciousness, knowledge, and the world.” Some of this diversity continues to be a feature of anthropological uses of phenomenology, as we show here. Yet we also argue for a heuristic narrowing of the range of its meanings. We do so in order to widen its potential applicability, making it more instructive to anthropology as well as to aligned disciplines. What might appear to be a paradox—restricting meaning in order to expand its use—is in fact in keeping with phenomenology’s own teachings, and we argue for this in some detail in this introduction. For preliminary purposes, we offer a serviceable definition of phenomenology: phenomenology is an investigation of how humans perceive, experience, and comprehend the sociable, materially assembled world that they inherit at infancy and in which they dwell.
keywords in sound
Sound is vibration that is perceived and becomes known through its materiality. Meta phors for sound construct perceptual conditions of hearing and shape the territories and boundaries of sound in social life. Sound resides in this feedback loop of materiality and meta phor, infusing words with a diverse spectrum of meanings and interpretations. To engage sound as the interrelation of materiality and meta phor is to show how deeply the apparently separate fi elds of perception and discourse are entwined in everyday experiences and understandings of sound, and how far they extend across physical, philosophical, and cultural contexts.
Learning to listen: auscultation and the transmission of auditory knowledge
As part of their training, medical students in the United Kingdom are obliged to develop a degree of familiarity with the technique of stethoscopic listening, also known as auscultation. They must learn to handle and apply the stethoscope, and over time become adept at identifying and interpreting a range of sounds emitted by the body. The channelling and focusing of auditory attention demanded by auscultation is unfamiliar to students, and teaching doctors must bring awareness to sensory processes that otherwise operate at an unconscious level, or that resist verbal articulation. In this paper I provide a detailed account of the making of sensory knowledge in an attempt to move closer to what Cohen terms the ‘micromechanisms’ of ‘embodied knowledge’ (this volume). I do so by drawing attention to the sensory specificities of stethoscopic listening, the challenges posed by this form of auditory engagement, and the strategies employed by teaching doctors to overcome them. With the example of one student who is self-described as ‘hearing-impaired’, I also demonstrate how the assumption of a bodily homogeneity, implicit in many studies of embodied knowledge, obscures the complexity and specificity of individual circumstances that affect perceptual skill acquisition. In conclusion, I introduce the idea that stethoscopic listening is a ‘dying art’ and suggest that the inherent difficulties experienced in teaching and learning the technique might be a factor contributing to its demise. While the human capacity to teach and learn is impressive, pedagogic systems may struggle to meet the challenges that certain kinds of skill acquisition present. A failure to overcome the complexities of knowledge transmission decisively may have consequences for the perseverance of particular communities of practice.
“Listening”
The OED defines listening as “the action of the verb ‘to listen’, meaning ‘to hear attentively; to give ear to; to pay attention to (a person speaking or what is said).” Unlike hearing, then, listening is understood to involve a deliberate channelling of attention towards a sound. It is not so much that listening is somehow separate from or opposed to hearing; indeed, the distinction between listening and hearing is often unclear and the two are frequently equated or conflated. Listening is generally considered to involve “making an effort to hear something” (to invoke obsolete terms, “hearkening” or “giving ear”), while hearing is generally considered a more passive mode of auditory perception (Truax 2001: 18). Hearing may also be regarded as a kind of sensory substrate in which listening is grounded: “listening requires hearing but is not simply reducible to hearing” (Sterne 2003: 19).
Listening in to water routes: Soundscapes as cultural systems
In this article I draw upon ethnographic research in Govindpuri slums in Delhi, capital city of India, to explore the everyday through the politics of sound. Here I highlight the negotiations across space, gender and communities through the listenings of the water routes to suggest that soundscapes can be considered as cultural systems. This, I argue, could open ways into the processes of listening(s), its politics and practices – to ‘make sense’ of a place, its culture, and its communities. And through these listenings I emphasize the complexity of experience and everyday life in the Govindpuri slums.
Listening to/against soundscapes together: methodological considerations on conducting research with soundwalking publics.
The aim of this paper is to present the research activities I have participated in and organised at the University of Edinburgh during the second semester of the academic year 2015/2016. The following examples can be understood and studied in the logic of the “para-sites” or “third spaces” as has been suggested by Marcus. (Marcus 2012), which I use in order to investigate how it is to listen together and the concept of soundscape in relation to my own PhD research.
Listening to dissonance: Invoking a reflexive listening practice in researching musical experience
The recent “sonic turn” in the human sciences has introduced new sets of questions and methodologies, foregrounding sound, hearing and listening and critiquing conventional ways of understanding them. In this article I examine theories of listening and trace the history of analytical listening practices, which aim to produce objective knowledge. I compare these with receptive listening practices, which aim for subjective understanding. I then examine seminal musical ethnographies in which encounters with dissonant sounds, social interactions and listening practices led to transformations in understanding musical experience. I conclude that a reflexive and open listening practice in fieldwork would precede, but not replace, analytical listening.
Site-Specific Soundscape Designs for the Emergence of Sonic Architectures
Does a building contain its own voice? And if so, can that voice be discerned, transformed and enhanced by soundscape design? Barry Blesser discusses the reverberation and more specifically the eigentones of a space, resonant frequencies with extended lifetimes that provide architectural spaces with a characteristic acoustic quality related to its dimensions and materiality. But the sonic qualities of an architectural space extend beyond a consideration of acoustic characteristics. What of a space’s poetic properties, its own unique personality? Can soundscape design uncover such qualities of architectural spaces, and if so, can sonic architectures emerge through the recomposition and augmentation of existing sonic infrastructures? This paper describes two soundscape designs, Revoicing the Striated Soundscape and Subterranean Voices, that transformed existing sonic infrastructures for the realization of a building’s Voice through the recomposition of on-site sounds.
Sonic Ethnography in Theory and Practice
As its name suggests, sonic ethnography sits at the intersection of studies of sound and ethnographic methodologies. This methodological category can be applied to interpretive studies of sound, ethnographic studies that foreground sound theoretically and metaphorically, and studies that utilize sound practices similar to those found in forms of audio recording and sound art, for example. Just as using ocular metaphors or video practices does not make an ethnographic study any more truthful, the use of sonic metaphors or audio recording practices still requires the painstaking, ethical, reflexivity, time, thought, analysis, and care that are hallmarks for strong ethnographies across academic fields and disciplines. Similarly, the purpose of sonic ethnography is not to suggest that sound is any more real or important than other sensuous understandings but is instead to underscore the power and potential of the sonic for qualitative researchers within and outside of education. A move to the sonic is theoretically, methodologically, and practically significant for a variety of reasons, not least of which are (a) its ability to interrupt ocular pathways for conceptualizing and conducting qualitative research; (b) for providing a mode for more actively listening to local educational ecologies and the wide variety of things, processes, and understandings of which they are comprised; (c) ethical and more transparent means for expressing findings; and (d) a complex and deep tool for gathering, analyzing, and expressing ethnographic information. In sum, sonic ethnography opens a world of sound possibilities for educational researchers that at once deepen and provide alternate pathways for understanding everyday educational interactions and the sociocultural contexts that help render those ways of being, doing, and knowing sensible.
Sonic Thinking: Epistemological Modellings of the Sonic in Audio Papers and Beyond
How is culture constituted sonically? In what ways are perception, thinking and epistemic practices as such predisposed by the sonic? These questions are being tackled in Sound Studies research but can also be experimentally elaborated in the form of organised sound itself. To (re)present and negotiate concepts and argumentations sonically is a yet rather marginal and unconventionalised form that bears a high potential for future research in Sound Studies and beyond – thereby following the recent impetus of a design turn within the humanities.
We developed this approach further at the Fluid Sounds conference in Copenhagen (2015) where we produced the audio paper Transducing the Bosavi Rainforest. Sonic Modes of Processing Culture on constitutive sonic structures in Berlin and Amager (Copenhagen) inspired by Steven Feld’s work on the Kaluli people. This article discusses sonic epistemology and thinking as theoretical background of this approach of writing through sound and describes a concept of the audio paper format alongside the example produced in Copenhagen.
SOUNDSCAPE(S): THE TURNING OF THE WORD
The use of “soundscape” is so prevalent at this point in writings on sound and music, literature, art, history, media, identity, the environment, engineering, commerce, and travel—Jonathan Sterne calls it “the most enduring spatial figure in sound studies”—that it seems odd to pause to reflect on it (Sterne 2012: 91). Newbies to the field (you know who you are) likely have come across “soundscape” and perhaps even adopted it in their work, thinking its meaning was self-evident and stable and its connotations unremarkable. The purpose of this chapter is not entirely to disabuse anyone of these notions, since it is inevitable, as well as democratic, that niche vocabulary migrates from its local origins to more common parlance, and the progression of “soundscape” certainly follows that path. Rather, I intend to show that there is a longer history of soundscape than we might realize and to recount some of the ways soundscape has both evolved and stirred debate. For it is a term that, surprisingly to casual and even seasoned students of sound, has a habit of finding its way into new contexts and provoking strong responses. After reading this chapter, should you draw upon some version or variation of “soundscape” in your own writing or conversation about sonic matters, you should be able to do so better informed of its origins, development, and implications, and better prepared to engage with them if you so choose.
Soundscapes: Toward a Sounded Anthropology
A generation of scholars in multiple disciplines has investigated sound in ways that are productive for anthropologists.We introduce the concept of soundscape as a modality for integrating this work into an anthropological approach.We trace its history as a response to the technological mediations and listening practices emergent in modernity and note its absence in the anthropological literature. We then trace the history of technology that gave rise to anthropological recording practices, film sound techniques, and experimental sound art, noting productive interweavings of these threads. After considering ethnographies that explore relationships between sound, personhood, aesthetics, history, and ideology, we question sound’s supposed ephemerality as a reason for the discipline’s inattention. We conclude with a call for an anthropology that more seriously engages with its own history as a sounded discipline and moves forward in ways that incorporate the social and cultural sounded world more fully.
Keywords in sound: space
Sound and space— however one defines these terms— are phenomenologically and ontologically intertwined. Sounds, after all, are always in motion; they emanate, radiate, reflect, canalize, get blocked, leak out, and so on. This intimate link between sound and space holds true whether one conceives of sound as inextricably linked to the perceptual faculty of hearing or as a “vibration of a certain frequency in a material medium” (Friedner and Helmreich 2012: 77–78).1 From a hearing- centered standpoint, sound is inherently spatial because the pro cess of audition attaches a spatial “narrative” to each sound (Altman 1992: 19); from a vibrationcentered standpoint, sound does not exist without its propagation in space (Henriques 2010).
GRAPHICAL SOUND - FROM INCEPTION UP TO THE MASTERPIECES
Technology of sound synthesis from a light is a combination of hundreds of years of research in mathematics, optics, electronics, art theory, psychology and communications. Many significant European culture leaders associated image and sound theoretically while artists have tried to link the image and sound in practice. Various tools and technologies were used to connect or translate images to sounds. In twentieth century, graphical sounds were explored in radio, film, video and tele-vision almost in the Soviet Union, Germany, France, United Kingdom and the United States of America. In twenty-first century, tools and technologies for synthesizing sound from light comprise a set of software solutions for different operational systems including applications for mobile devices. They are still in use in traditional media, new media art and industry and in masterpieces as well. Software solutions are simple and enable even beginners reach original and valuable results.
Ethics Documentation
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