In their poetic experiments with electroacoustic technologies, Wayde Compton and Jason de Couto — known as The Contact Zone Crew — advance what Compton has called schizophonophilia: “the love of audio interplay, the pleasure of critical disruptions to natural audition, the counter-hegemonic affirmation that can be achieved through acoustic intervention.”[1] As an audio poetry project, Compton and de Couto realize schizophonophilia by using sampling and mixing as the core of their poetics. They work with sounds from instrumental hip hop, jazz, black spirituals, Japanese music, sound effects, and custom made dub plates (containing recorded readings by Compton. For Compton, the concept of schizophonophilia departs from the thinking of Canadian composer R. Murray Schafer’s similar term “schizophonia.” In "The Soundscape: Our Sonic Environment and the Tuning of the World," “schizophonia” describes “the split between an original sound and its electroacoustic reproduction” and is characterized as an “aberrational effect of the twentieth century.” The condition of schizophonia, for Schafer, arises in part from the increasing availability of audio recording technologies, which make it more possible for sound to travel away from its time and place of origin.
In their poetic experiments with electroacoustic technologies, Wayde Compton and Jason de Couto — known as The Contact Zone Crew — advance what Compton has called schizophonophilia: “the love of audio interplay, the pleasure of critical disruptions to natural audition, the counter-hegemonic affirmation that can be achieved through acoustic intervention.”[1] As an audio poetry project, Compton and de Couto realize schizophonophilia by using sampling and mixing as the core of their poetics.
'Schizophonophilia'
Wayde Compton and Jason de Couto, The Contact Zone Crew
In their poetic experiments with electroacoustic technologies, Wayde Compton and Jason de Couto — known as The Contact Zone Crew — advance what Compton has called schizophonophilia: “the love of audio interplay, the pleasure of critical disruptions to natural audition, the counter-hegemonic affirmation that can be achieved through acoustic intervention.”[1] As an audio poetry project, Compton and de Couto realize schizophonophilia by using sampling and mixing as the core of their poetics. They work with sounds from instrumental hip hop, jazz, black spirituals, Japanese music, sound effects, and custom made dub plates (containing recorded readings by Compton. For Compton, the concept of schizophonophilia departs from the thinking of Canadian composer R. Murray Schafer’s similar term “schizophonia.” In "The Soundscape: Our Sonic Environment and the Tuning of the World," “schizophonia” describes “the split between an original sound and its electroacoustic reproduction” and is characterized as an “aberrational effect of the twentieth century.” The condition of schizophonia, for Schafer, arises in part from the increasing availability of audio recording technologies, which make it more possible for sound to travel away from its time and place of origin.
In their poetic experiments with electroacoustic technologies, Wayde Compton and Jason de Couto — known as The Contact Zone Crew — advance what Compton has called schizophonophilia: “the love of audio interplay, the pleasure of critical disruptions to natural audition, the counter-hegemonic affirmation that can be achieved through acoustic intervention.”[1] As an audio poetry project, Compton and de Couto realize schizophonophilia by using sampling and mixing as the core of their poetics.