Home Australian Sound Design Project
Biographical entry

Home | Browse | Search | Previous | Next

Neumark, Norie

Related Entries
Artist, Sound Designer and Academic
URL: The home page for this entity is located at http://www.out-of-sync.com
My sound design work includes radiophonic essays, CD-Roms, net.art and installations. I work in collaboration, mainly with a visual artist, Maria Miranda, as out-of-sync (www.out-of-sync.com). Out-of-sync describes both our approach to the relation between sound and image and our process. We develop concepts together, work with our own mediums, and then bring them together. This works in a similar way to artistic accident, producing unexpected dis/connections.

The out-of-sync process also fits with our concern to play with the tensions and potentialities between sound and image in new media art. We want to make work which rubs the senses of seeing and hearing against each other to dislodge people from their accustomed habits. Dislocating the listening position, even at a moment of immersion, is central to my approach to sound in installation work. Sound has the capacity to move people – emotionally and physically – and that is what I try to play with. I am interested in the tension between immersive sound, which is emotionally powerful, and dispersive sound, which can draw people out of a fixed position and into and around a space.

In installations as well as my other sound work, I work with the viscerality, performativity and intimacy of sound. I work with the “grain of the voice” (Roland Barthes), which for me embodies cultural differences in its color and timbre and rhythm. In new media, I try to address the still underdeveloped potential of sound -- to trouble the hegemony of image and the usually peripheral use of sound as ambient or mood enhancing.

With my CD-Rom Shock in the Ear (1998), I began to explore innovative ways to engage new media art users through my use of sound for interactivity and navigation. Shock in the Ear created the opportunity for an interactive live mix experience. It also worked with the way sound plays into the very body of the listener. With Maria Miranda, I also explored the coming together of visceral sound with haptic image and touch during the gestural moment of desktop interaction -- a moment of intimate intensity.

The project of Shock in the Ear was to engage the user at a sensual level with shock as a bodily experience -- to evoke shock not at the crashing sensational moment of impact but its sensual aftermath. The work aimed to disrupt perceptions as the user explores the moment after the event -- a dislocated time/space of shifted perceptions and senses.

In terms of my working method, for Shock in the Ear and a number of other projects, I used sound from my previous radiophonic essays – voice (interviews and performances of my texts), sounds, and location recordings. I reworked the sound and also produced new performances of the ‘same’ interview material to suggest that memory of (shock) experience is not fixed. This re-working of sound, to respond to image, performance, conceptual and theoretical concerns, and, of course, space has continued to be an important part of my process in new media art.

Related Entries for Neumark, Norie



Top of Page

Structure based on ISAAR(CPF) - click here for an explanation of the fields.Prepared by: Iain Mott
Created: 15 December 2003
Modified: 20 May 2004

Published by The University of Melbourne
Comments, questions, corrections and additions: i.mott@unimelb.edu.au
Prepared by: Acknowledgements
Updated: 18 January 2007

[ Top of page | Australian Sound Design Project Home | Browse | Search ]