Naut Humon: Transitions of the Spacial Station (Sonic Acts XIII, 2010)

Director of Recombinant Media Labs (RML) Naut Humon (USA) speaks on the formation, deployment and current activities of California’s Recombinant Labs and their West Coast affiliates. RML is an experimental mobile facility for the experiential engineering of surround cinema and immersive arts. Recombinant is a term derived from the field of genetics. Springing from this elastic media grid is a process which illustrates how an electronically strained ‘offspring’ comes to possess cultural characteristics not always present in either ‘parent’. As their operation has networked nomadically to different locales internationally, the focus on spatial media synthesis in fixed and locative dispositions has remained paramount. Stories of Sound Traffic Control towers in strange airports piloted by wild women with sonic space knives like Maryanne Amacher or earlier on projects with Diamanda Galas and her quadraphonic mic clusters are all inspirational to RML’s directives. The multi-channel thinking that transformed the analogue expeditions into the technological correlated RML CineChamber of the 2000s is also emphasized, where the embodiment of the digital image and subsequent panorama was grafted onto the exo-skeleton of RML’s auralized identity in the last 20 years. Now the stage is being framed for the next tens spatial springboard with fresh residencies and alliances with universities, foundations and festivals as RML delves further into the science of aural-optical phenomena. Naut Humon (US) is the founder of Recombinant Media Labs and was head of A&R for Asphodel Records. During the 1970s he resented a series of ‘destabilized’ media events designed to repurpose the visitor’s frame of reference. Later activities emphasized a strong musical foundation with tactile instrumentation and audio/video technologies that focus the perceptions of the viewer on the physicalization of form. This lecture was part of Sonic Acts XIII within a session called Exercises in Immersion. This session was about the following: surround cinema with spatial sound immerses the audience in a spectacle of sound and images. How is this done? What happens to the senses?

Naut Humon: Transitions of the Spacial Station (Sonic Acts XIII, 2010)


http://www.sonicacts.com/portal/index.php/naut-humon-transitions-of-the-spacial-station-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Director of Recombinant Media Labs (RML) Naut Humon (USA) speaks on the formation, deployment and current activities of California’s Recombinant Labs and their West Coast affiliates. RML is an experimental mobile facility for the experiential engineering of surround cinema and immersive arts. Recombinant is a term derived from the field of genetics. Springing from this elastic media grid is a process which illustrates how an electronically strained ‘offspring’ comes to possess cultural characteristics not always present in either ‘parent’. As their operation has networked nomadically to different locales internationally, the focus on spatial media synthesis in fixed and locative dispositions has remained paramount. Stories of Sound Traffic Control towers in strange airports piloted by wild women with sonic space knives like Maryanne Amacher or earlier on projects with Diamanda Galas and her quadraphonic mic clusters are all inspirational to RML’s directives. The multi-channel thinking that transformed the analogue expeditions into the technological correlated RML CineChamber of the 2000s is also emphasized, where the embodiment of the digital image and subsequent panorama was grafted onto the exo-skeleton of RML’s auralized identity in the last 20 years. Now the stage is being framed for the next tens spatial springboard with fresh residencies and alliances with universities, foundations and festivals as RML delves further into the science of aural-optical phenomena. Naut Humon (US) is the founder of Recombinant Media Labs and was head of A&R for Asphodel Records. During the 1970s he resented a series of ‘destabilized’ media events designed to repurpose the visitor’s frame of reference. Later activities emphasized a strong musical foundation with tactile instrumentation and audio/video technologies that focus the perceptions of the viewer on the physicalization of form. http://www.myspace.com/nauthumonmedia This lecture was part of Sonic Acts XIII within a session called Exercises in Immersion. This session was about the following: surround cinema with spatial sound immerses the audience in a spectacle of sound and images. How is this done? What happens to the senses?

Previous
This site uses cookies.