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A taxonomy for Listening and Performing ‘in-between’ migratory spaces using mobile
apps.
Ximena Alarcón
Wi: Journal of Mobile Media 2017 11: 01
The online version of this article can be found at:
http://wi.mobilities.ca/ a-taxonomy-for-listening-and-performing-in-between-
migratory-spaces-using-mobile-apps
Alarcón, Ximena. “A taxonomy for Listening and Performing ‘in-between’ migratory
spaces using mobile apps ” . Wi: Journal of Mobile Media. 11.01 (2017). Web.
Wi: Journal of Mobile Media
2017: Vol. 11 no. 01
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A taxonomy for Listening and Performing
‘in-between’ migratory spaces using mobile
apps
Ximena Alarcón
Abstract
After four years developing telematic sonic performances via the Internet, listening to
the ‘in-between’ space in the context of human migration (Alarcón, 2014; 2015; 2016), I
argue that questions derived from technical challenges and accessibility suggest the
exploration of mobile phones for such performances. I suggest key components to
develop an app turning around the concept of ‘in-betweeness’ (Ortega, 2008), which
finds resonances with the concept ‘net-locality’ (de Souza e Silva, 2013), emerging from
people’s interaction in a mobile space. Focusing on a qualitative review of apps, I
propose a taxonomy of listening and performing to facilitate and widen the exploration
of ‘in-betweeness’.
1. Telematic sonic performance challenges
Through the making of telematic sonic performances [1] (Fig. 1) in the project
Networked Migrations (Alarcón, 2014; 2015), I have previously explored questions
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regarding listening, performing and technology to approach ‘in-between’ spaces in the
context of migration. The ‘in-between’ space is understood as created out of the
negotiation between internal and external space (symbolic, cultural, historic) by a
person in exile (Ortega, 2008), to make sense of the new space that s/he has to inhabit.
By using Pauline Oliveros’ Deep Listening practice (Oliveros, 2005) combined with
Networked Listening (Schroeder, 2013), through telematics via the Internet, I have
invited people with migratory experiences (not acquainted with these listening
practices) to improvise using spoken word and pre-recorded sounds. Through Deep
Listening participants have expanded their perception of sound as it travels in time and
space, through sonic meditations, listening in dreams and listening to the body; through
Networked Listening, a concept developed by Franziska Schroeder (2013), they have
experienced the ‘essential unselfing’, becoming a fragile body performing through the
distance, reaching the other, locating the self in an ‘in-between state’ (224). I suggest
that while listening practice helps one to navigate the ‘in-between’ space (e.g.
negotiating the meaning and feelings produced between sounds from different locations,
and the making of alternative sonic spaces), performing between distant locations
stimulates the sensation of being in an ‘in-between’ state, which relates to the
multidimensional physical experience of the performer (Schroeder, 2013) when trying
to reach another person or location in the distance, during performance; these two
components – listening and performing – inform sonic ‘in-betweeness’.
In these performances, the diversity of languages and the interplay that participants
create invites us also to hear traces of what Janette El Haouli (2006) calls a “nomadic
voice”, wandering between native and second languages, a voice without fixed
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territories, “a bridge for the overcoming of pre-established values and inherited
questionings.” (106).
Figure 1. Migratory Dreams Telematic Sonic Performance (Bogotá - London 2012)
For connectivity, in the performances I have used bi-directional high quality audio
streaming software [2], developed by engineers and musicians (Cáceres & Chafe, 2010;
Carôt & Werner, 2007) to overcome concerns with delay, multiple participants,
interconnection with other sound software, audience, and quality of sound. In my
practice, demands for large capacity bandwidth to achieve high sonic quality bring
challenges for venues outside academic institutions. Equally in these venues many
pieces of equipment needed for the performers, such as microphones, audio units,
laptop computers, and loudspeakers, are not easily accessible. On the other hand,
firewall security on academic or large institutions can hinder the ease of connections.
When connections and equipment are in place, another challenge is the development of
simple screen-based interfaces to serve the performance.
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To tackle these issues, I wondered what social, cultural and technical opportunities
mobile technologies could offer to creatively access the sonic ‘in-betweeness’ in the
context of migration, by listening and performing in the distance.
2. Mobile technologies and human migration
In the last decade, new media has been transforming paradigms of migration, making a
radical shift from ‘nostalgic reclamation’ of belonging, to an identity that finds definition
‘through its mobility and interactivity with others’ (Papastergiadis, 2014). For instance,
mobile phones have been regarded as central to the maintenance of long-distance
relationships in transnational spaces (Madianau, 2014). Furthermore, musicians and
artists have regarded listening through this medium in a performative manner as an
intimate and introspective practice (Tanaka, 2014), yet often situated in a public space,
inviting connection with others. In turn, Adriana de Souza e Silva (2013) introduces the
term ‘net locaIity’ to refer to the state (not a space, not a place) where, for the mobile
user, ‘remote connections are still present, but become part of the space in which the
mobile user is, instead of removing users from it’ (118, 2013). This perspective of being
in a ‘state’ within a space resonates with the ‘in-betweeness’ experienced through Deep
and Networked listening in telematic performances that explore migratory feelings,
when negotiating distant and local acoustic and emotional spaces.
Envisioning the introduction of mobile technology in migration-based and dislocated
telematic sonic performances felt very relevant for expanding and enriching the
experience gathered using the Internet. I began to explore the potential of a hypothetical
mobile sound app for migratory spaces. Such an app might enable the exploration
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through listening and performing of “in-betweeness”, through immersive experiences.
For instance, it might support the exploration of multiplicity of languages and voices,
which are influenced by a diversity of sound environments and locations. The listening
experience might focus on headphones or small loudspeakers, creating interventions in
public and private spaces, and it might be widely accessible. For this imagined app to be
developed, I wanted to explore how mobile sound apps have been used in the practices
of listening and performing, and to investigate their current technological options and
limitations.
3. Comparative review
In 2014, with the support of the app developer Donal O’Brien, I engaged in a
comparative review of more than forty publicly available mobile apps that use streaming
sound, voice and other sources of sound for listening and performative purposes
(Alarcon; O’Brien, 2014). Originally intended as a heuristic evaluation, we looked at
previous heuristic analyses that could offer us elements to systematically explore the
apps. The closest study found was the one in ‘playability’ for mobile games (Korhonen
and Koivisto, 2006), as playing could be understood as performance. However, soon we
realised that listening and performative experience using mobile sound apps should
have its own territory of analysis. For that reason, an open qualitative exploration was
more suitable for this review.
To select the apps we looked at the technical characteristics that they might include for
the achievement of telematic sonic performances: Voice Transmission (VoIP apps),
recording (using voice), use of pre-recorded sound (including music production
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samplers), use of location (e.g. GPS, multiplayer games), multi-user connectivity (to
explore bi-directional relationship between sender and receiver, e.g. multiplayer games
and jamming sessions), and sound spatialisation (e.g. the use of multilayering, binaural
and 5.1, surround, and ambisonics).
To experience each app we decided to focus on qualitative parameters such as: 1.
listening experience (sound spaces perceived and types of sounds used that relate to
place); 2. expression and performativity (how the app invites the listener to engage in
actions that expand the perception of sound in space); 3. embodiment and gesture (how
the body is involved in the interaction with the app); and 4. social engagement (if the
app promotes collaboration or interconnection with others).
Each of us experienced the apps in our own time and shared a table where we compiled
our experiences and comments. O’Brien also focused on the technological aspects (e.g.
how the app was made).
4. Listening to apps
A selection of the reviewed apps is presented here, as the best representative examples
found to approach sonic ‘in-betweeness’. I have included our general perceptions of
space, thoughts and feelings that arose during our interactions with the apps. Special
attention is given to the apps that work with distant and local acoustic environments.
Acoustic environments from all over the world are used by apps that use GPS to stream
sound to or from the Internet. For instance, the LocusCast app (Figs. 2 and 3) part of
the Locustream project [3], streams sound in one direction in real time to a sound map
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on the Internet. When used as a resource for an installation such as the
REVEIL/SoundCamp [4] project led by Grant Smith, Locustream can present the user
with “the sound of daybreak streamed from microphone positions all over the world as a
continually changing soundscape over a 24hr period” (Papadomanolaki, 2014). The
perception of streaming in real-time strengthens the feeling of connectedness with
others in different locations in the world. In an interview by Maria Papadomanolaki,
Smith describes the experience:
… remote listening does seem to give a quite distinctive sense of location. Listeners
commonly report that, as they are listening to what is going on under the ice, they
often become much more closely aware of local sounds as well. The juxtaposition
of two live audio fields seems to be brought into relief, curiously, by the more or
less conscious effects of latency, which creates a disjuncture of a few seconds if you
listen to the same sound locally and via the network [18]…something like watching
and hearing a woodcutter in the distance. Except that here both channels are
audio. So the disjuncture works something like a conceptual stereophonic
effect.(2014: 11)
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Figure 2. LocusCast app
Figure 3. LocusMap
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Using streamed pre-recorded sounds from the Freesound project [5], the 43D App [6]
offers a virtual tour of planet earth via soundscapes. The user can explore the
soundscapes of particular areas by selecting locations on a map, and mixing them in two
modes: random and simple. The listening experience is similar to a radio station that
permanently broadcasts sound environments, and uses visual mapping techniques.
Although the mix is interesting, this approach seems to ‘fix’ the sound in time and space,
simplifying the representation of sound, a transient medium, on a map, and thus
possibly overlooking relationships that might be established (further than geographical
location) between the sounds.
Mixing pre-recorded and live sound can be experienced in the Sound Hailuoto app [7]
(Fig. 4), informed by a participatory project with children. The screen-based interface
shows a graphic piece of land representing the Finnish island Hailuoto, which acts as a
fascinating concrete element that contrasts with the previously mentioned sound
mapping interface. It mixes natural sounds from the island with any environment where
the user is located. The application uses a network feature via a server and offers the
possibility of recording the mix and sending it to the project. The mixture of these two
spaces is an interesting contrast between nature and built/urban environments. Also,
the listener is invited to locate herself in a different space created by the mix and to
adjust to a different perception of time (as might occur in a migratory experience).
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Figure 4. Sound Hailuoto app
Other approaches to listening to space and specifically to location are evident in apps
that allow the user to leave their sonic trace on a GPS locative point, such as Shoudio
and Woices. These apps invite the user to record with the built-in microphone, leave a
message, and then to search for other sounds that are in the user’s proximity. In
Shoudio [8], the sound is definitely enhanced by the association of location. Being able
to view where the sound comes from on a map and in relation to the user’s current
location creates a sense of exploration of the close locality. Furthermore, the app uses
information relating to the date and location of the recordings that, during listening,
create a dislocation of time and space, particularly for recordings made a long time ago.
The app enhances an urge to create something worth listening to; by making a recording
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the user is putting herself on the map, available to be heard by anyone anywhere. An
‘explore’ mode allows the user to browse sounds by proximity, popular sounds, and
recently added. There is also an option to leave the app running in the background and
allow it to play sounds that were recorded nearby as the user moves around.
Woices app [9] is intended as an audio guide to local areas, using voice as primary
resource. These recordings are played back according to the listener’s location,
triggering the closest guides. Using GPS systems, it invites one to overhear neighbours'
sound traces, and to perceive perhaps a sense of surveying the community. Although the
ethos of the app is local community engagement, and it is globally available, it suffers
from a lack of popularity.
In contrast, the app Arrivals (Figs. 5 and 6), created by the vocal artist Viv Corringham
[10], offers performative and documentary elements about her exploration of location
with residents in the city of Kingston, NY. The user can walk anywhere in the world and
the app will track a path according to the route that the artist took with the residents. An
interesting sense of dislocation is generated by the tracing of a foreign city within
another city. Furthermore, Viv Corringham’s embodied experience, expressed with her
voice, offers to the listener a very inspiring way to approach a path in any city. The
themes of the interviews are about location, home and histories; these invite us to link
these experiences of a distant place with the local one, while missing a reference of time.
The artist is the guide through the path, and this makes the multilayered experience
both beautiful and interesting in its documentary character.
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Figure 5. Arrivals app
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Figure 6. Arrivals app
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If an envisioned telematic performance app involves connecting live, bi-directional
audio streams, Voice over Internet Protocol (VoIP) apps offer the basic needed features
[11]. Skype, Google Hangouts and Viber are examples of apps with audiovisual
communication functionalities. For performance purposes, artists have used Skype, and
in fact, it has been useful for working with participants in the Networked Migrations
performances (Alarcón, 2014). When performing, it is noticeable that Skype uses a
sound compression that works for relatively normal conversation, but when the sound
goes above the dynamic level understood as normal (e.g. shouting, or singing loud), the
compressor or limiter reacts by muting one of the two sources of the conversation. It can
be argued that Skype and other commercial applications bring another aesthetic, and
that performances can take place with it. However, in the envisioned app, sound quality
is key to offering a listening experience that brings subtleties within mediated ‘in-
between’ space, with some degree of control over the sound parameters in the network.
5. Performing with apps
As noted previously, the use of voice and language in telematic sonic performances, as
well as the experience of listening to de-territorialised ‘nomadic voices’, has been
important. Also, performative aspects of ‘in-betweeness’ bring the body into play. Thus,
I have included a selection of apps that use voice and integrate the body as part of the
performance.
Either for voicing, speaking, or singing, the reviewed apps enable performance with
strategies known in the musical world, such as looping and layering. The Voice Jam app
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(Fig. 7) invites one to listen in anticipation for the sound that has been recorded and
visualised on the interface. Performing takes place while looking at the interface. It is an
engaging app that invites the user to improvise with up to six different loops. The
interface suggests the possibility of creating visual, animated scores [12]. In a similar
way, but more simplified in terms of interface, LoopyBeatbot app [13] (Fig. 8) involves
looping using a skeleton animation, creating playful and interesting links between voice
and body.
Figure 7. Voice Jam app
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Figure 8. LoopyBeatbot app
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The Overdub app [14] allows the user to determine a loop of arbitrary length. The user
can then overdub an unlimited number of times, each time specifying a new track for
the recording. This becomes very expressive, since the user can build up a ‘sound mesh’
utilising multiple layers of her/his own voice. In these apps, traces of nomadic voices
could be explored and recorded in a self-immersive manner.
With a more focused approach, and one addressed to children’s interaction with their
own voice, the iPad Voice Bubbles app (Fig. 9), by Yvon Bonenfant, uses different
sophisticated transformation parameters: echo, pitch variation, granulation and
filtering, inviting children to transform their voices, which leads to the creation of
imaginary characters. The recording becomes active with touch, allowing visual
exploration. The sequencing of the voice effects with colourful bubbles acts as visual
feedback, playing eventually individual and collective compositions made by children.
The iPad-only display invites many children to interact with it at once, stimulating
shared listening and play.
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Figure 9. Voice Bubbles app
In what Harmony Bench (2014) calls ‘gestural choreographies’, mobile app developers
have explored forms of interaction to extend the expression of the user, by using
features such as multi-touch (tapping and dragging) and screen capture through video
tracking, as well as the on-board accelerometer and gyroscope, which allow detection of
movement, position and bearing, and the built-in microphone.[15] [16]
The Ocarina app [17] (Figs. 10 and 11), by using the built-in microphone and physical
modeling of sounds, transforms the mobile phone into an instrument, which invites the
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user to perform by blowing. The reverb helps to create pauses for listening and playing
the mix of sounds (only four sounds), and it is possible to choose timbre and scale,
which makes the experience enchanting. The immediate response to touch is rewarding.
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Figure 10. Ocarina app
Figure 11. Ocarina app listening mode
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An engaging use of video tracking has been developed in the AirVox app [18] which
invites the user to wave their hands in the air. Taking inspiration from the Theremin,
the app makes use of the front-facing camera of the newer iPhone models to detect hand
movement in space. The user can use either one or two hands to engage, mapping one to
the pitch control and another to various parameters, including volume, vibrato and
filtering. The gesture of the hand with the body in stillness offers awareness of each
movement the body is making by changing the sound.
The iPad AUMI app (Fig. 12), by Deep Listening Institute, was designed to provide full
engagement with the body using camera tracking and motion. The wide variety of
sounds and instruments allows for expansion of the listening experience. The software
finds the 'intentional motion' of the user if all lighting settings and conditions are in
place. The sounds are high quality and beautiful. The app was designed for people with
“little to no voluntary mobility to participate in improvising music” (Oliveros et al, 2011;
180) and was based on a previous desktop version. In the practice of musical
improvisation, this interface has contributed to “an increase in control of physical
voluntary movements”, and to “positive developments in psychosocial aspects” of
students with physical impairments (179). If the facilitator of the session with the app
wants to record her/his activity, s/he can log in to AUMI. This allows collaborative
learning between the creators of the app and the users, which are mainly in educational
institutions that work with children with impaired movement. The app has options to
work via a local network, and has been created with improvisation in mind. This app
constitutes the closest approach to inclusive features that invite people to play with each
other, by using their body and sound, and listening and moving as paramount for
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interactivity.
Figure 12. AUMI App
The Music Ball app [19] uses a combination of onboard sensors and a game engine that
mimics gravity. Tilting the screen influences the direction in which the balls fall and
bounce, producing sound. In the Fourier Touch app [20], in addition to its multi-touch
interface, with the help of the embedded accelerometer, the user can control pitch and
volume by tilting the device on the x and y axis. By using screen touch (and dragging)
the Sonic Zoom app [21] creates precise sonic changes, and an immersion in many
layers of generative sound through the zoom feature, which is attractive and engaging. It
can take the user into an exploration of areas of pure electronic sound, with an engaging
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interface that is far from typical music production knobs [22]. However, in these apps
the interaction is being led by decisions based on visuals. This is also the case with other
visually engaging sound apps, such as Patapap [23], Bloom [24], Dropophone [25], and
Soundrop [26].
6. A taxonomy for Listening and Performing with sound apps
After experiencing all the reviewed apps and making the selection of the most
interesting approaches, I propose two taxonomies to locate the apps in terms of
listening and performing, knowing that the two practices are not separate, and that it
would be useful to have a categorization of the elements that play a role in reaching the
experience of in-betweeness. These taxonomies might serve as guides for understanding
possible parameters of ‘net locality’ that are specific to the mobile medium, and suggest
apps that creatively explore sonic ‘in-betweeness’ in contexts of human migration.
The first taxonomy (Fig. 13) is ‘Listening to in-betweeness’. The horizontal axis
represents the domain of ‘net locality’. On the extremes of the axis, I have placed local
and distant locations as references to indicate where sound is coming from. I suggest
that if the listening experience seems to be in the middle of the axis, we are approaching
the complexity of ‘in-betweeness’ regarding location, as is experienced in human
migration. In turn, this net locality axis is crossed by a vertical axis, which represents
the domain of the perceived ‘transmission time’ in the listening experience. In the upper
extreme, I have located ‘real time’, and on the lower extreme, ‘past time’; the latter
indicating mainly pre-recorded material. I suggest that if the listening experience seems
to be in the middle of this axis, we might approach a perception of timelessness. For
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instance, when you feel yourself to be simultaneously present in two different locations
(as in the Sound Hailuoto app or in the Arrivals app), the sense of time might be
challenged in terms of perception: no past and no present, but a sum of experiences of
time, as might occur in migratory experience [27]. Thus, when an experience with a
mobile sound app situates the listener in the middle of the two axes, the app is offering
rich and complex approaches to time and space, enabling the experience of ‘in-
betweeness’.
Figure 13. Taxonomy ‘Listening to in-betweeness’
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For instance, in the Sound Haiuloto app subtle differences in the perception of real time
are important, as the app highlights the timeless feeling created by the combination of a
pre-recorded distant context (e.g. rural), and a real-time local context (e.g.
urban/enclosed). In the Arrivals app, walking and its powerful forms of listening to
territory, when embodied by a voice, creates a perception of location, where although
the listener knows the sounds are from Kingston NY, s/he can experience the same
route in London, UK. It could be argued, and will require specific tests to determine,
that the feeling of timelessness might be created by the juxtaposition of acoustic external
space and space experienced with the headphones. Variations might include actions
such as the listener voicing memories of the local place (outside Kingston) where the
app is being experienced.
The second taxonomy (Fig. 14) is ‘performing in-betweeness’. This table presents the
categories ‘Performing Alone’ and ‘Performing with Others’. The axes include arrows,
indicating the movement that performers might establish between two options during
an improvisatory performance. Ideally movement between the two categories might
allow either ‘unselfing’, or a return to solo mode after performing with others. The table
is further divided into three rows, indicating the main sources of interaction used in
performance, such as ‘voice’, ‘body and devices’, and ‘visuals’.
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Figure 14. Taxonomy ‘Performing in-betweeness’
Performing alone in the reviewed mobile sound apps is a more developed feature. These
apps raise questions about voice and identity within a migratory context. The looping
feature in the Voice Jam, LoopyBeatbot and Overdub apps suggests that archiving a
voice and its immediate interaction with yet a new voice, with some delay, opens
possibilities for experimenting with traces of ‘nomadic voices’. When exploring identity
and place, it would be interesting to explore different forms in which the voice travels in
real time—e.g. bounced back to the listener, informed by the environment where the
listener is, or by other people’s voices.
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The body keeps memory of place, as has been evident during the work in Deep Listening
developed with migrants (Alarcón, 2015). Tracking movement of the body in space, as
demonstrated with AUMI app, is a feature worth exploring together with the perception
of physical space in local and distant locations. Using the precision that sensors offer to
bodily motion could be explored when performing; particularly slow movements can be
explored to expand awareness of sound in space/time. The mobile phone becomes an
instrument during the performance; the iPad specifically offers more space for tracking
both bodily motion and collective interaction, as is the case with AUMI and Voice
Bubbles.
If the user moves between sources of interaction, these might be combined; for instance,
with the use of voice and body, employing a subtle visual interface. On the other hand,
visual interfaces could leave sound to its role without falling into a functional
relationship, but establishing an interesting dialogue with sound, suggesting, for
instance, animated scores. Engagement with touch seems very relevant if the screen is
understood as a 'limit' between the two locations, which can be richly explored
aesthetically and technically. The possibility of playing with screen space is an
interesting metaphor for migration and ‘in-betweeness’ that could stimulate sonically
rewarding experiences in an improvisational context, as in a multiplayer space.
7. A reflection on Listening and Performing
Creating taxonomies based on a qualitative and technical review for the exploration of
the ‘in-between’ sonic space has been helpful for understanding the mobile as a medium
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that differs from Internet-based experiences, and that situates listening and performing
within the territory of ‘net locality’.
When combining the proposed taxonomies of listening and performing, it might also be
possible to envision an app where voice and body are the sources of interaction, and
might move between solo and collective performance. Using sound from the
environment in the experience could be based on creating archives of space and of a
voice in a particular location, creating also mobility between perception of time and
perception of the space (local or distant).
Envisioning hybrid spaces involving others is still undeveloped for apps using voice and
sounds of place. Perhaps the medium itself is not yet inviting us to listening and
performing as integrated activity using such sonic material. However, existing technical
options could offer different possibilities for the understanding of voice, body and
interfaces in mobile app based performance.
Using listening and performing taxonomies can help us to imagine apps for local and
distant interactions that follow the concept of ‘in-betweeness’ in migration, expanding
our senses of belonging and place.
Acknowledgements
This research has been supported by the research centre CRiSAP (Creative Research
into Sound Arts Practice). Collaboration from the app developer Donal O’Brien in the
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comparative review has been sponsored by the Staff Development Research Fund 2014,
at the London College of Communication, University of the Arts London.
Notes
1 Telematic Sonic Performances created until now, focusing on the migratory
experience are ‘Letters and Bridges’ (Mexico – Leicester, 2012), ‘Migratory
Dreams’ (Bogotá – London. 2012) , ‘Tasting Sound Listening to Taste’ (London –
Troy, 2013), Bangalore: Aural Transitions (Srishti Campuses Bangalore 2015),
‘Suelo Fértil’ [Fertile Soil] (London – Mexico – Austria, 2016).
2 SoundJack, Tube Plug and Jacktrip software. TubePlug is a VST plugin,
unfortunately no longer distributed and supported, created byJörg
Stelkness http://www.t-u-b-e.de/iplug.htm Accessed July 30, 2013
3 This project has been developed since 2005 by the research group Locus Sonus in
France. http://locusonus.org
4 REVEIL is ‘the first 24 hour radio broadcast of the sounds of daybreak around
the world’. It was transmitted in Soundcamp, a listening event over the first
weekend in May (2014). REVEIL used LocusCast app in conjunction with
LiveShout App, which is a mobile streaming app that allows for single or
simultaneous multiple user broadcast and works with Icecast streaming
technology. By the publication time of this paper, LiveShout App has been
updated including broadcasting and simultaneous listening of up to three
streams, as a form of bi-directionality. Supported by the AHRC (Arts and
Humanities Research Council) it has been led by Franziska Schroeder and Pedro
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Rebelo from SARC (Sound Arts Research Centre) in Belfast, in collaboration with
Peter Sinclair from Locus Sonus.
5 http://freesound.org
6 Developed by 43D.
7 Developed by Juan Carlos Duarte Regino, from Hai Art. http://www.haiart.net/
8 For iPhone made by RP Landegent
9 by Woices
10 With the technical production of Paul Cantrell
https://itunes.apple.com/gb/app/arrivals-kingston/id534582158?mt=8 (most
recent update 26/06/12)
11 Several popular VoIP apps exist today for both the iOS and Android platforms.
12 Examples of animated scores are the ones created by Ryan Ross Smith,
http://www.youtube.com/user/ryanrosssmith/videos Accessed 21/06/14 Other
scores have been created as apps themselves, such as Decibel ScorePlayer
developed in Australia by Lindsay Vickery. These used networked possibilities
too. https://itunes.apple.com/gb/app/decibel-scoreplayer/id622591851?mt=8
13 by RD Wong
14 by Kirill Edelman
15 The sensors available in Android phones are Motion sensors (including
accelerometers, gravity sensors, gyroscopes, and rotational vector sensors),
Environmental sensors (including barometers, photometers, and thermometers),
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position sensors (including orientation sensors and magnetometers)
http://developer.android.com/guide/topics/sensors/sensorsoverview.html
(Accessed on 17/09/14)
16 The sensors available in iOS devices are Proximity sensor (iPhone), motion
sensor/accelerometer (iPhone, iPad), Ambient light sensor (iPhone, iPod, iPad),
moisture sensor and gyroscope.
http://ipod.about.com/od/ipodiphonehardwareterms/qt/iphone-sensors.htm
(Accessed on 17/09/14)
17 By Ge Wang
18 By Yonac Inc
19 by Acoustic World
20 by KonakaLab
21 OS iPad App. PhD Project at Queen Mary University of London. By Robert Tubb.
Created on 05/08/2013
22 Currently there are knobs developed for iPad to control Touch OSC,
http://www.wired.co.uk/news/archive/2014-07/09/tuna-knobs (Accessed on
14/08/14)
23 by Jono Brandel
24 by Brian Eno and Peter Chilvers
25 by Yosuke Hayashi
26 by Develoe, LLC
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27 The migratory process brings moments of confusion for the migrant. León and
Rebeca Grinberg (1996), in their psychoanalytic study “Migration and Exile”,
state that the migrant experiences an overlapping of cultures, places, languages,
and memories, when trying to transform the unknown into the familiar. S/he is
transferring streets and people from the past to the new place, feeling s/he is
having a reencounter with known people in the faces of unknown passers by. I
suggest that in those moments not only spaces but the perception of the time
overlaps, bringing situations and places from the past as if happening in the
present time, creating a timelessness feeling for the migrant.
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About the Author
Ximena Alarcón, sound artist and Research Fellow at Creative Research into Sound Arts
Practice – CRiSAP, LCC, University of the Arts London.
X.Alarcon@lcc.arts.ac.uk
