For the web residency »Algorithmic Poetry.« artist and musician Bola Chinelo explores the sounds (and sound makers) that are silenced by predictive analysis software. »In what ways can sonic resistance combat the tone policing echo chamber we live within?,« Chinelo asks. The web residency project Sound is the [REDACTED] of the World questions how concepts such as »poor« audio quality are built upon sonic elitism and anti-primitivism and explores how sound editing can be centered in a decolonial practice that allows little to no distinction between music and noise.
Bola Chinelo, Los Angeles/USA — Jul 13, 2023
Within musical spaces it is customary for first takes (and sound made with low-budget materials) to often be rendered demos, lo-fi or »works in progress« in the ongoing pursuit for a more polished sound. These classist notions of sound quality and the need for constant categorization penalize those who are genre-defying and not up to industry standards. The war against raw sound renders the sound maker a hostage entrapped in a constant strive for impeccable mixing and mastering in order to abide by technical understandings of clarity and polished form.
The project Sound is the [REDACTED] of the World will explore how sound editing can be centered in a decolonial practice that allows little to no distinction between music and noise. As a matter of fact, many genres (such as jazz, hip-hop etc.) were once deemed noise before their inevitable commodification. With this in mind, the project asks: How can sound that is not absent from bioacoustics, background noise, distortion, or vocal »flaws« retrain the sonic palette of a generation of listeners who grew up on pitch correction, overproduction, and (now) AI-generated music? How can algorithmic compositions be hacked into promoting »unpolished« and raw creations? Furthermore, in what ways can sonic resistance combat the tone policing echo chamber we live within?
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