[rohrpost] Do, 7. Juni, Musical Print and EM-Sniffing

[Shintaro Miyazaki]

Ich lade ein zur 16ten Session der Berliner Vortragsreihe "Sonic Theories
and Practices" am Donnerstag den 7. Juni um 20:00 an der Schönhauser Allee
167c in Berlin.

Beste Grüße
Shintaro Miyazaki

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*No. 16*
*date*: 7th of June 2012, Thur. 8pm
*title*: *Musical Print and EM-Sniffing*
*with*: Mara Mills, Victor Mazón Gardoqui and Mario de Vega* *
*place*: General Public, Schönhauser Allee 167c,
Berlin<http://maps.google.com/maps?f=q&source=s_q&hl=de&geocode=&q=Sch%C3%B6nhauser+Allee+167,+10435+Berlin,+Deutschland&sll=37.0625,-95.677068&sspn=52.020054,124.716797&ie=UTF8&hq=&hnear=Sch%C3%B6nhauser+Allee+167,+Berlin+10435+Berlin,+Deutschland&z=16>

More: http://sonictheory.com/

*Musical Print*

Along with more familiar experiments in electrical scanning, such as
wirephoto and television, “reading machines” for blind users emerged in the
first decades of the twentieth century. Beginning in 1913 with Edmund
Fournier d’Albe’s Optophone, these devices converted text into tones,
vibrations, and—after the addition of optical character recognition—speech.
This talk will survey the category of text-to-tone or “musical print”
reading machines in the United States. While Braille had already expanded
reading to the tactile sense, these translators defined reading in auditory
terms. Compared to phonographic “talking books,” musical print required an
extra layer of symbolic decoding. OCR would eventually delegate more of the
reading process to machines than to the ear.

Mara Mills <http://steinhardt.nyu.edu/faculty_bios/view/Mara_Mills> is a
historian of science who works at the intersection of disability studies
and media studies. Her research and teaching interests include
communication history, telephone and mobile media studies, science and
technology studies, and disability theory. Her current book project traces
the historical associations between deafness and communication engineering
in the telephone system. Other projects include: a history of talking
books, reading machines, and print disability; a collaborative study of the
history and politics of "miniaturization" in the electronics industry.
Mills has lectured widely, including recent talks at National Tsing Hua
University (Taiwan); the Insitute of Media Archaeology at Kulturfabrik
Hainburg (Austria); CNRS/Université Paris Diderot; and the Stanford Seminar
on Science, Technology, Society. She comes to NYU after two yea rs as a
Mellon Postdoctoral Fellow at the University of Pennsylvania.
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*SNUFF* is an electronic device designed by http://r-aw.cc to de-codify
electromagnetic pollution produced by wireless networks. An analog and
battery-operated receiver able to amplify and de-modulate frequency ranges
between 0.1 GHz to 2.5 GHz produced by wireless based networks.
*SNUFF *amplifies electromagnetic activity into audible ranges, exposing
high frequency ranges produced by wireless devices overused in contemporary
societies.
This electromagnetic pollution is used by http://r-aw.cc as an impulse to
modify the acoustic space with audio visual performances, printed matter,
lathe cut vinyl in different formats, objects, publications and pedagogic
strategies. Through the process, several experiments have been produced
ranging from the amplification of electromagnetic activity produced by
wireless devices  to the amplification of microwaves, computer based
applications to visualize data traffic and public performances.
*SNUFF* its also a theoretic-praxis seminar about traffic & wireless
telecommunications where participants construct an analog and portable
device able to amplify into audible ranges electromagnetic activity
produced by Bluetooth data transfer, WLAN, mobile phones, GPS, wireless
phones, microwaves and several other electronic devices. During the
workshop topics related with non-regulated traffic, vulnerability, data
transfer interruption, obstruction and sniffing are presented/discussed.

http://r-aw.cc/-/
http://r-aw.cc/snuff/
http://r-aw.cc/data/

*Víctor Mazón* Graduate degree from the University of Basque
Country in Lithography and Engraving, 2008. His artistic practice is
defined between experimentation and materialization of concepts as physical
objects confronted to its native environment, (un)stable arrangements and
systems that proves frailness or inability to withstand the effects of
formulated environments into human beings, through site-specific
manifestations. Has been involved since 1999 into experimental tactics and
techniques of media agitation/intercession trough performances and seminars
in museums, universities, cultural buildings, public spaces and mass media
interventions through the use of sound, light and custom electronics. His
works has been perform or exhibited on museums, galleries, public TV/radio
stations, bilboards and urban screens across Europe, Africa, Rusia, North
America and Mexico.

*Mario de Vega* Through accidents and its outcomes, actions, processes and
objects that conceptually connect with acoustic activity, his work research
the value of vulnerability exploring causes and effects that determine the
construction of realities. He has performed live and exhibited his work
throughout various platforms, which include Festivals, Galleries and
Museums in Europe, Mexico, United States, Canada, Russia, Korea and Japan,
investigating aesthetic and social realms through a multiplicity of mediums
as site-specific interventions, photography, performance, design, video,
sculpture, and sound installation.