When it came to creating demos, the portable Yamaha QY20 sequencer was Björk’s favourite tool in the mid-1990s. Let’s take a look at some of the interesting studio tools and instruments she used along the way: Her first two albums were comprised of songs she had written up until this point, reimagined in a new electronic style that caught on quickly.īy her third album Homogenic ( 1997) her creative process had evolved, always embracing new technology while simultaneously becoming more adventurous as an artist. However, the Björk known by most of us began to form her own identity as an artist shortly after moving to London in 1992. In the early-1980s she made an impact as a punk rock singer with bands like Tappi Tíkarrass and The Sugarcubes, the latter of which gained international recognition with their debut album Life’s Too Good ( 1988). Against this backdrop, the present article is a working paper on ‘aurally induced mental imagery’ that covers a literature overview of the neuropsychology of the human imagination and discusses an eclectic corpus of sound work, which we query for the above-mentioned factors.The musical journey of Björk Guðmundsdóttir began when she recorded an album as a child aged only 11 after a broadcast of a school recital generated interest from a local label. We found these early explora- tions to be fruitful and decided to further our understanding of the aesthetic, fictional and medial factors being at work when aural environments trig- ger the human imagination. While such strategies are usually predominantly visual, we suggested in our earlier research and practice (‘The Institute of Sonic Epistemologies’) that aural techniques might be equally suited to stim- ulate the human imagination, since such approaches leave the visual senses open for mental imagery in the human mind. The various forma- tions of ‘speculative’ strategies within art and design can be seen as a recent extension to this tendency. This situation motivated the emergence of imagination tech- niques of which we discuss several briefly in this paper. The human imagination received a discursive gain regarding its societal and economic importance as a cognitive resource in the course of the 20th and 21st century. My aim is to explore the environmental dimension of this sound enigma. The concept of narrative enigma is the characterizing feature of the so-called 'complex TV' of which Lost is a work of foundation: unlike the narrative statements, the narrative enigmas raise 'uncertainty as to what precisely happened, who was involved'(Mittell 2015). These sounds, which the so-called 'forensic fandom' (Mittell 2015) attributes to the 'smoke monster', have much in common with the acousmatic sound of the origins, if we think that 'les monstres' is the fourth scene of the opera Orphee 53 by Pierre Schaeffer and Pierre Henry (1953), and represents the descent into hell with acousmatic sounds. A paradigmatic and complex case of acousmatic soundscape is provided by Lost (2004-2010), which since the pilot episode sets up a sound enigma: the survivors of a plane crash live on an island that seems to emit threatening sounds. A very simple example is provided by the character of Charlie Townsend in Charlie's Angels (1976-1981), which for six seasons is never seen full-face. In the narrative extension of the TV series, the pay off can be postponed much longer over time and extended into space, as they are supersize stories (Bandirali, Terrone 2017). Mabuse matches in the end with a body, that of the guilty Professor Baum. The voice of the invisible leader in Fritz Lang's Das Testament des Dr. In a film, the source of a sound is usually revealed at the latest by the end. In narrative terms, the acousmatic sound generates a set-up and pay-off mechanism: if we listen to a sound, sooner or later we will discover its source. According to Michel Chion (1997), an acousmatic film sound 'poses enigmas and demand to be de-acousmatized'. The acousmatic island: notes on Lost’s soundscape Luca Bandirali (Friday 22 march, 9:30 AM) In the field of sound studies, we say that a sound is acousmatic when the source is not seen.

Virtual midi piano keyboard point blank