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SENSESONIC SESSION 2 :: DAVID TOOP
<david-list@futuresonic.com>
In hosting Session 2 of the SenseSonic digest, David Toop will investigate
further the relationship between sound and space and the implications of
new media for environment design. Here he sets out some opening thoughts
and questions to guide the discussion. David Needs little introduction for
either his music or his writing. In addition to Rap Attack and Ocean Of
Sound, he has recently turned a new page in writing on sound with Exotica,
a journey through sonic hinterlands real and imagined. His recent sound
work includes a CD in Caipirinha's Architettura series, inspired by Itsuko
Hasegawa's building, the Museum Of Fruit. He has recently been work on the
curation of a major show of sound art for The Hayward Gallery in London.
For SenseSonic, David will bring this experience to bear on the specific
question of how an emphasis on space deconstructs standard musical formats
and opens exciting possibilities for producing and listening to sound.
Send comments and questions, observations and ideas for David and Other
subscribers to the SenseSonic list to david-list@futuresonic.com
Please keep comments relevant to the theme.
**************************************************************
Musical space has collapsed and expanded, all at once. Even the biggest
musical venue is too small for the massively condensed (and so
referentially and imaginatively vast) soundscapes that can now be created
in the virtual space of the recording studio. Many different genres of
music are affected by this technological shift - hip-hop, techno, dance,
electronica, sound art, installation art, pop music. The roots of the
dilemma can be traced back through musical history to technological and
creative innovations in disco and electro-acoustic music, yet they also
mirror a broader social sense of collapsing space, in which the imaginative
scope and global reach of the individual in virtuality may bear little
resemblance to the possibilities of physical and emotional life. How does
this contradiction affect our sense of music as a spatial phenomenon?
Equally, how does the immersive quality of current music affect our sense
of physical and psychological space or our ideas of the structure of
musical space?
David Toop
biography
David Toop is a musician, composer, writer and sound curator. He has
published three books: Rap Attack (third edition - Rap Attack 3 due
summer 1999 ), Ocean of Sound , and Exotica. He has also released five solo
albums - Screen Ceremonies, Pink Noir, Spirit World, Museum of Fruit
(inspired by the Yamanashi Fruit Museum designed by architect Itsuko
Hasegawa, released by Caipirinha in the USA) and Hot Pants Idol, a spoken
word and music CD of extracts from Exotica, featuring specially recorded
tracks by Bill Laswell, Jon Hassell, John Oswald, Scanner, Talvin Singh,
Paul Sch=FCtze and others, released by Barooni. He has curated five CD
compilations for Virgin Records - Ocean of Sound, Crooning On Venus, Sugar
& Poison, Booming On Pluto and Guitars On Mars.
In 1998 he composed the soundtrack for Acqua Matrix, the outdoor
spectacular that closed every night of Lisbon Expo '98 from May until
September. He has recorded shamanistic ceremonies in Amazonas, written
interactive database material on shamanism and trance for The Shamen and
worked with musicians including Brian Eno, John Zorn, Prince Far I, Jon
Hassell, Derek Bailey, Talvin Singh, Evan Parker, Max Eastley, Scanner,
Ivor Cutler and Witchman. As a critic he has written for many publications,
including The Wire, The Face, The Times, The Sunday Times, The Observer,
Arena, Vogue, Spin, GQ, Bookforum, Pulse and The Village Voice.
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