stop all sounds

2 files changed, 8 insertions, 3 deletions

diff --git a/frontend/site/audio/audio.player.js b/frontend/site/audio/audio.player.js
index 17edeee..4f33d9d 100644
--- a/frontend/site/audio/audio.player.js
+++ b/frontend/site/audio/audio.player.js
@@ -31,9 +31,14 @@ export default class AudioPlayer {
   }
 
   playPage(page) {
-    const { background_audio_id, restart_audio } = page.settings
+    const { background_audio_id, restart_audio, stop_all_sounds } = page.settings
     // console.log('playPage', page)
-    if (
+    if (stop_all_sounds) {
+      Object.keys(this.players).forEach(id => {
+        this.players[id].type = "done"
+        this.players[id].stop(true)
+      })
+    } else if (
       this.current_background_id
       && this.current_background_id !== background_audio_id
       && this.current_background_id in this.players
diff --git a/frontend/site/projects/museum/views/essay.js b/frontend/site/projects/museum/views/essay.js
index 0d3bc3d..0320475 100644
--- a/frontend/site/projects/museum/views/essay.js
+++ b/frontend/site/projects/museum/views/essay.js
@@ -41,7 +41,7 @@ export default class Essay extends Component {
             Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout (Berlin’s C-base), ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a neutrino observatory in the Rocky Mountains, and more.
           </p>
           <p>
-            Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/">Jules LaPlace</a>, before being brought together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
+            Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
           </p>
           <p>
             Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually <i>grounding</i> planetary networks and other globe-spanning systems will be evident. Call it a <i>web-site-specific</i> project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that <i>The Last Museum</i>’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in <i>The Last Museum</i> is a kind of a vector that intersects with all of the stack’s layers.