[in situ] : re-thinking the role of musical improvisation performance in the context of the ecological and cultural crisis
(2024)
author(s): Barbierato Leonardo
published in: RUUKKU - Studies in Artistic Research
If there is one thing that complexity theory has taught us, it is to consider phenomena not as isolated events with properties of their own, but to observe them from a different perspective: as relations in a vast network of interdependent systems. In this light, the role of contemporary music performance has changed, and will continue to change, precisely because the context in which it is created and takes place is constantly evolving. Artistic research can provide the tools to be aware of these changes and to actively re-act in this changing context, not by simply transposing the context or its elements into a representational or aesthetic framework, as happened with the avant-gardes of the 20th century, but by breaking cultural boundaries through transpositions into distant fields with isomorphic functional principles. It is precisely because of this characteristic, which reveals the intrinsic interdisciplinarity in artistic research, that it is possible to revolutionize the traditional conception of music performance and not confine it to an aesthetic regime, but rather expand it to include the context. However, since relationships are not unambiguous, it is not just a matter of revising the concept of performance, but also of reviewing the way we experience and live in the context, as artists, as human beings, and as elements of a circuit of which we are only a small part. In this paper, I will first examine how environmental and social changes have been reflected in performative changes and the ways in which the context of the ecological crisis and contemporary performance are interrelated. Then, I will focus on my research project, “[in situ]”, highlighting its site/situation-specificity, flexibility, immersivity, and interactivity, and explaining how it aligns with and differs from other contemporary music performance practices.
Epiphanies of an Invisible weave
(2024)
author(s): Jenny Sunesson
published in: Stockholm University of the Arts (SKH)
Epiphanies of an Invisible weave
essay
by Jenny Sunesson, 2022
edited in 2023
Translated by Steven Cuzner
Preface (2023)
Epiphanies of an Invisible weave is an essay written during the processes of two different, yet overlapping, projects; the research project FACT stage one, and the solar driven, sound art project UNDER.
The essay explores the specific capacities and possibilities of sound and listening through the specific mode of field recording, which is the sonic modality that I have exploring for more than 20 years.
The essay aims to shed some light on the site-related, political, and hidden potentials of sound as it examines the possibilities of (re)-learning through listening in relation to both human and more-than-human explorations and possible “epiphanies”, imagining openings beyond stereotypical knowing.
/Jenny Sunesson
Image copyright: Ida Lindgren
Exploring North Nordic Landscapes in a ‘Hyper-constructive’ Fashion
(2022)
author(s): Marinos Koutsomichalis
published in: RUUKKU - Studies in Artistic Research
This exposition details an experimental art/research endeavour pivoting on an improvised exploration of the broader North Nordic region. It accounts for a hybrid, maximalist, and materialist performance practice that draws on an unconditionally eclectic exploration of a particular geographic region and of certain (non)human related activities and mobilities encountered therein. The endeavour is contextualised with respect to trains of thought and empirical research methods in experimental arts, object oriented ontology, non-representational theory, techno-scientific culture, post-humanism, and improvised ethnography. It is shown to concern, inter alia, on-location audio/video recording, DIY making, (found) physical artefacts, interviews, data displays, prose, cooking, knitting, and landscape cinematography/photography. The particular methods at play are detailed and theoretical ramifications are outlined. It is accordingly claimed that a structural, procedural, and sensory hybridity of sorts may bring forth original and genuinely exploratory artistic manifestations that contribute (non quantifiable, nor discursive) ways of knowing the North Nordic region under scrutiny; ones that lie at the crux wherein poetic, enactive, epistemic and speculative tactics meet, mingle, and intertwine. This exposition also features an extensive pool of audiovisual material to aid detail the method and to support this claim.
Sound of Time - Tuning into the Norwegian Landscape and the Post-Industrial Soundscape
(2022)
author(s): Alexander Rishaug
published in: Research Catalogue
This exposition is a non-linear, web based, poetic, personal, diary-like, essayistic, semi-fictional, experimental and reality-based approach to immerse into the reflection-mode and mind boggling universe of the project Sound of time - Tuning into the Norwegian Landscape and the Post-Industrial Soundscape, that took place in the time frame 2018 - 2022 at Academy of Arts, UiT Arctic University of Norway.
Through his field work Rishaug's been tuning in (and out), listening, recording and investigating a wide range of sites and places, their presence, their history, stories, acoustic qualities and psychoacoustic state. This resulted in site specific installations, various collaborations, a solo exhibition, an artist book and a field recording album.
With a growing toolkit of listening strategies, methods, techniques and technology Rishaug's been able to pick up, and record a variety of audible qualities of the Norwegian landscape such as vibration, resonance and electromagnetic waves. This not only highlights the physical presence of current sounds, but points towards the contemporary state of global economy and geo-politics and how this transforms the landscape.
Acoustemological Investigation: Sound Diary #Tehran
(2022)
author(s): Ali Mousavi
published in: Journal for Artistic Research
Acoustemological Investigation: Sound Diary #Tehran is a research-based project that is being developed as part of my ongoing Ph.D. research. This is accomplished by employing sensory methodology as a research tool for observing and analysing architecture and urban design. Art and architecture have always seemed to me to have the potential for social change and the improvement of the existing social order. They can be emancipatory, assisting in self-development, promoting social justice, and even, in small ways, changing the world we live in. As a result, artists and architects engage in activities of innovation and creativity in the hope of articulating their dreams and building a better future for the benefit of their communities. The living environment and places where people spend their time tell a story about who they are and their vision of the future. Art and architecture are social practices that are inextricably linked to the rest of social life. In this regard, this exposition is an attempt to observe, study, and analyse the process of urbanisation in Iran, specifically the housing construction in the Pardis Phase 11 suburbs of Tehran.
The interest in the sensory dimension of Pardis Phase 11 serves as the starting point for this artistic practice-led research project. The project employs sensorial methodologies such as acoustemology to investigate the area and urban transformations caused by concepts such as ‘modernisation’, ‘development’, ‘progress’, and ‘globalisation’. The work evolves through a large collection of media content in the form of field recordings made at the Phase 11 site. The project’s goal is to create a discursive sensory environment in order to generate a contemplative and in-depth reflection of a barren land transformed into an urban setting.
At Home in Montreal’s Quartier des Spectacles Festival Neighborhood
(2021)
author(s): Edda Bild, Daniel Steele, and Catherine Guastavino
published in: Journal of Sonic Studies
Urban festivals have traditionally been considered incompatible with residential areas because of their contrasting sonic characters, where the sounds of festivals are treated as a nuisance for residents. However, the neighborhood dedicated to housing festivals in downtown Montreal is also the home of diverse groups of residents and workers. Based on a diary and interview study with residents of the Quartier des spectacles festival neighborhood, and building upon research on touristification, festivals as third places, and soundscape, we explored what it meant to be at home in a festival neighborhood, focusing on the sonic experiences of locals. Findings provided a more nuanced portrayal of everyday life in a dense, lively urban environment transformed through touristification. Residents do not consider the sounds of festivals as a primary source of annoyance; on the contrary, these sounds inspire them to engage with their neighborhood, suggesting a more porous living experience between indoor and outdoor spaces. Drawing on the characterization of other imagined residents by our participants, we conclude by introducing the idea of soundscape personas as a practical method in participatory decision-making for the future of the neighborhood.
Peripheral frequencies
(2021)
author(s): Mika Kiviniemi
published in: Research Catalogue
This exposition explores the backround noise as aesthetic periphery. My attempt is to define my subjective experience about what I consider as peripheral frequencies and how do they affect the formation of aesthetic experiences.
Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening
(2021)
author(s): Jacek Smolicki
published in: VIS - Nordic Journal for Artistic Research
This exploratory essay introduces selected sound recordings along with notes and observations from Minuting – a practice of sonic journaling I have performed daily since July 2010 in numerous locations and settings. I weave these observations together in a way that resonates closely with the idea of repetition, in multiple forms: protest, automation, cycle, and ritual, as well as the repetition inherent to my acts of recording. While introducing sounds from the archive of Minuting, I reflect on how this constrained and systematically enacted form of listening, recording, and re-listening leads to a transversal type of sonic reflexivity. It is a form of alertness to sound that stretches beyond the immediate resonance of the 'now' – towards spatially and temporarily distant, yet to some extent intertwined, objects, subjects, events, and environments. The text evolves across three interrelated layers: annotated recordings from the project's archive, a set of thoughts and associations triggered by re-listening to the material, and a discursive analysis that opens up the project to a dialogue with other thematically resonant debates and practices. Drawing on perspectives from media studies, the philosophy of technology, sound studies and durational art, I discuss Minuting as an art work, a creative constraint and a transversal listening practice. Lastly, I propose it as an existential media technique for composing critical and reflective positions towards one's surrounding space, experience of time, and use of sound technologies.
Being There: Evocation of the Site in Contemporary Indian Cinema
(2020)
author(s): Budhaditya Chattopadhyay
published in: Journal of Sonic Studies
Contemporary Indian films, in their essentially digitalized realms, incorporate techniques such as the location-based multitrack “sync” recording, and surround sound design that reorder the organization of cinematic sound. These practices contrast with the earlier mono- or stereo formats by reconfiguring the linear construct of a soundtrack to produce a spatially evocative sonic environment that offers the listener a more life-like auditory experience of the fictional site. Using significant examples from post-2000 Indian films, this article shows how earlier practices are being replaced by “sync” sound elements and surround sound mixing with a richly spatial arrangement of site-specific ambience. The article argues that these layers of ambient sounds lead to audiences establishing their embodied experience of presence with the fictional site via auditory spatial cognition and immersion in a cinematic soundscape. By situating contemporary sound production practices within the various trajectories of Indian cinema, this article contributes to the broader field of research examining the key developments and emergent aesthetics in constructing spatial environments for cinema.
From culture to nature and back. A personal journey through the soundscapes of Colombia
(2020)
author(s): Lamberto Coccioli
published in: Journal of Sonic Studies, Birmingham City University: Faculty of Arts, Design and Media
The purpose of this essay is twofold: to celebrate the astonishing richness and diversity of Colombia’s natural and human soundscapes, and to reconstruct the process through which my direct experience of those soundscapes has influenced my own creative work as a composer. Reflecting on a long personal and intellectual journey of discovery that plays out on many levels – musical, anthropological, aesthetical – helps bring to the fore important questions on music composition as the locus of cultural appropriation and reinterpretation. How far can the belief system of a distant culture travel before it loses its meaning? From a post-colonial perspective, can a European composer justify the use and repurposing of ideas, sounds and songs from marginalised indigenous communities? In trying to give an answer to these questions through the lens of my own experience I keep unravelling layer upon layer of complexity, in a fascinating game of mirrors where my own identity as a "Western" composer starts crumbling away.
Site Awareness in Music – recontextualizing a sensation of another place
(2020)
author(s): Knut Olaf Sunde
published in: Norwegian Academy of Music
The project argues that a sensation of another place is vital to the recognition of unfamiliar perspectives.
Space and sound are inextricably connected. The surroundings and context are central to how we perceive external stimuli, such as images, events, history, ideas or music. The brain interprets and make choices by association, based on what the body perceives and based on previous knowledge and experience. How humans listen, hear, see, perceive, interpret and react to our surroundings are based on our cognitive structures.
An unformatting of society is needed.
A risk makes the body and brain aware and alert. Adrenalin is released to the blood, enabling the organism to sudden and severe effort. Risk implies something unestablished, uncertain, a danger, something unknown. Risk implies the possibility of failure and ultimately death. Risk increase anxiety and excitement, enabling the alertness needed to maneuver away from or solve problems. When something is at stake, interest is set into play. The unknown is by its very nature beyond the body’s experience.
The project is about increasing the awareness of the situational and contextual implications of music. This is enquired through three works. For each site or situation I work with, I analyze its characteristics, such as acoustical conditions, the relations of the place to its surroundings, the shape of the landscape and historical or political context.
I try to create immersive, audiovisual projects that are connected to a certain place.
I aim to involve qualities and characteristics from the place, shaping a conversation, putting something at stake.
I conceive a music activating the place, making created situations.
I do this because there is a close link between memory, comprehension and place.
The sense of place and ability to navigate is essential to our memory and bodily existence in the world.
Main supervisor: Ole Lützow-Holm
Second supervisor: Marianne Heier
Listening in/to Exile: Migration and Media Arts
(2019)
author(s): Budhaditya Chattopadhyay
published in: VIS - Nordic Journal for Artistic Research
This exposition responds to the current flux of migration and the resulting condition of estrangement. The projects – an augmented book project and a corresponding media artwork – respond to mass migration, hyper-mobility, placeless-ness and nomadism, which are blurring the boundaries between the local and the global, the corporeal and the digital, the private and the public. Through an exploration of the poetic and critical capacities embedded in everyday listening the two projects attempt to shed light on the aesthetics of addressing the notion of exile, alienation and estrangement. The exposition let the viewer/reader engage with the artistic matter; namely, the field recordings and on-site writings - artistic acts of poetic contemplation grounded in a personal experience of the urban alienation, with the aim of movement towards self-understanding and emancipation.
Sonoqualia 2.0
(2019)
author(s): Concha García
published in: Research Catalogue
Sonoqualia is a project aimed at people with visual impairment, whose main objective is the creation of sound artistic experiences linked to pictorial works housed in museums of the city of Madrid. The name (Sono-qualia) refers to the subjective qualities of the sounds we feel and perceive each one of us, so its intention is far from objective criteria translators of visual material in sound material. Pictorial works are the frames of reference from which the spaces and sound experiences are created. The audio-descriptions offered by museums, understood as descriptive narratives of the elements put in relation in the pictures, are the starting point of the project, conceived as a 5-week workshop in which the participants work in groups, assisted by technicians who facilitate them the access to sound-composition software. Sonoqualia focuses on the construction, enrichment and communication of the mental images of the participants, generated from these descriptive narratives, understood as internal representations shaped from our multimodal experiences, in which all the senses intervene. Various elements are used for this purpose, such as symbolic values and emotional meanings of the sounds daily used in our interpersonal and environmental relationships; the sound imagination, which has the capacity of development, sophistication and complexity; previous sound experiences or "sonorous culture", variable in each participant, but enriched when shared and put together; sound material chosen simply by "as it sounds", i.e. by aesthetic criteria... The result is the creation of sound pieces with a duration around 2 minutes. This project has been the beneficiary of an aid for the artistic creation of the city Council of Madrid 2017 and so far, two editions of it have been made.
The Lost and Found project: Imagineering Fragmedialities
(2019)
author(s): Jenny Sunesson
published in: VIS - Nordic Journal for Artistic Research
The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture.
I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do.
To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method.
By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites.
I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).
“City Noise”: Sound (Art) and Disaster
(2017)
author(s): Frans Ari Prasetyo
published in: Journal of Sonic Studies
My sonic work “City Noise” proposes both an artistic and a theoretical approach to the city-sound relationship. The default assumption about this relationship is that sounds reflect a one-to-one relationship between soundscape and landscape, both drawing upon and revealing the physical and social landscapes from which they originate. However, the question can be posed regarding whether there actually is a direct relationship between sound and place in our increasingly globalized world. Due to this globalization, the relation between the local and the global has become more fluid, and the relation between sounds and scapes has begun to blur.
Silencing Urban Exhalations: a case study of student-led soundscape design
(2017)
author(s): Jordan Lacey
published in: Journal of Sonic Studies
This paper describes a practice-led soundscape studies project in which students created sound interventions to transform the “voice of the city.” A loud exhaust fan outlet dominated the site, and students were asked to create a soundscape intervention in response to an imaginative-artistic question: the exhaust outlet is the voice of the city, speaking; can this voice be deciphered, transformed, augmented? Students responded with live sound-art, musical and electroacoustic performances played through loudspeakers placed adjacent to the exhaust outlet, and physical changes to the environment with interactive sound-making artifacts. The intervention was informed by the acoustic ecology movement’s maxim that acoustic design and the “retrieval of a significant aural culture” is a “task for everyone” (Schafer 1977: 206); thus, students were encouraged to listen and creatively respond to the dominant sound. Students were introduced to a mixture of acoustic ecology listening exercises and structural approaches derived from the Research Centre on Sonic Space and the Urban Environment (CRESSON). The project aimed to demonstrate that with the assistance of educational resources, city dwellers, given the opportunity to creatively interact with city sounds, might revitalize their own city-relationship through participatory soundscape design.
SOUNDMEMORIES OF ASIA
(2016)
author(s): Max Haberl
published in: Journal of Sonic Studies
The project is about the process of auditory memories related to initial impressions.
It is also an experiment of how we are experiencing different soundscapes of different cultures.
Which words can describe sounds, which we are not used to?
Can we listen to the past? Which memories are still in mind?
Collecting different material (recordings, diary, photos) allowed me to create a multimedia homepage.
What do the urban soundscapes of a city represent? Case studies in Bangkok and Hong Kong ／ 都市聲音有何個性？ 考察曼谷和香港之城市聲景
(2016)
author(s): KA HO CHEUNG, Marcel Cobussen
published in: Journal of Sonic Studies
Urban soundscapes convey the cultural codes, history and collective memory of a society. Bangkok and Hong Kong are two open societies in Southeast Asia, within which local and imported auditory cultures co-exist, correlating to the demographics, cultural heritage, and recent geopolitical, economic and social transformations. Nevertheless, studies of their distinctive sonic phenomena are underrepresented in the field of sound studies. Encompassing street music, ritual activities, boxing matches, fresh produce markets, shopping arcades, commuting systems and various public spaces in Bangkok and Hong Kong, this article introduces case studies and contextualizes some distinct urban soundscapes, employing first-hand audio footage, as an initial pathway for building an auditory acquaintance with the region.
城市聲景蘊含社會的文化符號，歷史與集體回憶。曼谷和香港乃東南亞之開放城市，其本土與外來的聽覺文化並存，繫於族群分佈，文化傳承，地緣正治，社會經濟的演變。然而，聲音研究暫未對此題目有廣泛涉獵。有鑑於此，本文收納兩城市之街頭音樂，祭祀活動，鮮活市場，運輸系統，商場，拳賽，運輸系統，公共空間，就其聲景設案考察，為充實東南亞之聽覺智識引路。
Editorial: Recomposing the City: New Directions in Urban Sound Art
(2016)
author(s): Gascia Ouzounian, Sarah Lappin
published in: Journal of Sonic Studies
In the first year of Recomposing the City we hosted over a dozen public seminars, concerts, exhibitions, and an International Symposium in Belfast. The papers collected in this volume of the Journal of Sonic Studies (JSS) stem from the Recomposing the City International Symposium in 2014, a lively gathering that was followed with an equally stimulating Postgraduate Student Symposium in 2015. However, the papers published in this present volume represent only a small part of the dialogue that Recomposing the City has facilitated. Thus, in this editorial we will reflect on our group’s larger concerns as well as on the insights of those artists and scholars who have generously contributed to this ongoing dialogue.
Sonic Places: In Conversation with Peter Cusack
(2016)
author(s): Sarah Lappin, Gascia Ouzounian
published in: Journal of Sonic Studies
In this interview, Recomposing the City co-directors Sarah Lappin and Gascia Ouzounian talk with Peter Cusack about his recent work, reflecting in particular on relationships between sound, sound art, planning processes, and urban communities. Cusack, a field recordist and sound artist, has been a leading figure in acoustic ecology and soundscape studies for more than two decades. Cusack created one of the earliest collaborative sound mapping projects, Favourite Sounds (1998-), in which he invited people to record, share, and describe positive aspects of their everyday sound environments. Among other things, Favourite Sounds has been influential in inspiring the recent proliferation of online sound maps, establishing a framework for producing collective ideas of soundscape, and suggesting approaches to urban sound that extend beyond noise pollution.
Composing for the Memory Dealer: New Paradigms for the Immersive Soundtrack
(2015)
author(s): Alex Kolassa
published in: Journal of Sonic Studies
The task of producing a score for new experiential types of media and transmedia presents a number of exciting possibilities for the composer. Indeed, the musical experience is a profoundly personal one; deeply held and ideologically informed expectations could risk limiting the role of music in exploratory new pervasive drama pieces to a pseudo-filmic Muzak. Just as the traditional modes of story-telling are rethought and exploded across a new and emergent diegetic plane, the role of music should likewise be radically rethought so as to rewrite its immersive potential.
Drawing upon my experience as composer for The Memory Dealer, this article will give critical insight into the collaborative process of both composing and realizing the soundtrack for new emergent, adaptive, and pervasive theatre works. It offers a discussion of my own creative processes and aesthetic concerns as well as an in-depth account of the technological and collaborative realities of this particular project.
Soundscape Project TUB
(last edited: 2024)
author(s): Ilias Mavromatis (Ili Os), Jonas Henning, Mariana Carvalho, Daniel Dilger
This exposition is in progress and its share status is: visible to all.
The Soundscape TUB is a self organized “Projektwerkstatt” that explores the concepts of acoustic ecology, the relationship between people and their environment mediated by sound. With students from different faculties of TUB, UdK and other universities, the project stands in the intersection of science, arts and humanities, dealing with topics such as social ecology, technology, data collection, group dynamics and creative practice. Soundscape TUB works with the potential of sound and listening as a socio-political tool and science communication.
Co-sounding: Towards a Sonorous Land
(last edited: 2023)
author(s): Budhaditya Chattopadhyay
This exposition is in progress and its share status is: visible to all.
Co-sounding: Towards a Sonorous Land is an artistic research that delves into an Acoustemological unpacking of the landscape, focussing on the site of Amstelpark. The project intends to inculcate a dialogic context within which an intersubjective approach to the perception of land as an equitable habitat of human and non-human lifeforms is developed. This mode of reciprocity and intersubjectivity helps to counteract the nature-culture binary with an ambient and environmental aesthetics in sound arts.
Project partners:
Zone2Source, international platform for art, nature and technology
Educational partners:
Honours Lab, ArtEZ University of the Arts
Project assistants:
Tobias Lintl (Academy of Fine Arts Vienna) - design and production support
Christoph Kummerer - coding support
Bidisha Das (KHM Cologne) - system and engineering support
Yann Patrick Martins (IXDM Basel) - coding support
POWER AMBISONICS
(last edited: 2023)
author(s): Giuseppe Pisano
This exposition is in progress and its share status is: visible to all.
This page has the purpose of collecting in one place all the educational material about ambisonics and spatial audio that I have gathered through the years, and to demonstrate specific personal workflow solutions that I have developed in my artistic practice.
It was started as an educational tool for my workshop in ambisonics at EMS - Stockholm and is constantly updated.
Hands caring with mortars: soundscape regarding caring activities (nourishment) of Extremadura’s rurality from a gender perspective. Ajoblanco Quartett
(last edited: 2022)
author(s): Carmen García-Gil Simancas
This exposition is in progress and its share status is: visible to all.
This research studies daily experiences of caring activities (nourishment) through sound. The aim is to reclaim their value and place within academic studies and epistemology, as well as to document those customs that are slowly fading away. Specifically, it has been chosen the elaboration of ajoblanco (typical south-Spanish food), as it is traditionally prepared with a wood mortar. This object is also used as a musical instrument in Extremadura’s traditional music, which reveals the curiosity around its sound. Furthermore, this research considers spaces and the way of thinking of them from a sound point of view. In conclusion, rural women’s individuality and subjectivity is studied through different ways of making ajoblanco and its soundcape.
Keywords: soundscape, subjectivity, caring activities, spaces
El paisaje sonoro de la memoria como forma de resiliencia. El caso de la violencia en Colombia.
(last edited: 2022)
author(s): Estefanía Díaz Ramos
This exposition is in progress and its share status is: visible to all.
Conflict and violence in Colombia have been a recurrent problem for more than sixty years in the territory. This has not only affected the spheres that have historically disputed political power, but also more than 8 million ordinary people who, as a result of the invisibilisation and systematic silencing of their experiences, have seen their memories relegated to the spectrum of what we call noise here, as something uncomfortable that nobody wants to listen to.
This exhibition is the result of a research process that has sought to highlight different ways in which sound has become an artistic tool of empowerment for victims in processes that, in addition to promoting exercises in resilience, have managed to connect with "deaf ears" when it comes to breaking with the old, homogenous and silencing discourses of memory, through what could be called a de-sensitisation by means of sound art.
Starting from the study and characterisation of how subaltern everyday experience and its dissemination - through sonority as raw material for re-memory in scenarios of violence - allow us to reveal strategies of connection between memories, through collective and vernacular sound production; we have sought to determine some of the characteristics, both physical and conceptual, that make up what would be a soundscape of memory.
Finally, this research project aims not only to identify different aspects of these new narratives of resilient memory through sound art, but also to invite a conscious listening to the different ways of sounding that make room for silenced memories, and highlight the construction of this new soundscape, the product of a confrontation with the hegemonic discourse through sonority in Colombia.
//Unheard_Landscapes - listening | resonating | inhabiting 10th FKL/ENP/AAU_CRESSON International Symposium on Soundscape BLOIS | October 27 -30 | 2021
(last edited: 2021)
author(s): STEFANO ZORZANELLO, francesco michi, Daniele Pozzi
This exposition is in progress and its share status is: visible to all.
Unheard landscapes: this metaphor leaves space to imagination, to the un-thought, to the un-known, to past and future, as well as unexplored sound scenarios. It also reaches the field of auditory perception, the acoustic domain. Sound, through auditive qualities, acoustic phenomena, design practices, artistic creations, and listening experiences, offers an inspiring transversal entry onto landscapes and ambiances. Beyond the discussions on “soundscape”, approaching ordinary environments through sounds increases the awareness of our own capacities to feel, while we inhabit and move across different worlds. From an ecological perspective, resonance appears a key word, too. It puts sound and space together. It implies the idea of a plurality of bodies, things and living beings vibrating all together, sharing common contexts of time and space.
The act of listening bypasses the passive meaning it usually receives. It contains in itself a completely unexpressed potential, connoted with «project», «pro-action» and «active decision» by individuals. What will be the sounds of the future and the soundscapes in which we will live, or would like to? How can listening practices evolve, how will we listen or how differently could we listen to the world around us, tomorrow?
Inhabiting the world brings to us questions about how we want to manage our being in it. How do we want to inhabit the world sonically? How sound and listening do actually affect our way to inhabit it? Have we lost some of our abilities to resonate with the world? What remains to be heard? Where could the practices of listening and attuning take us to?
Ljudrum / Sound spaces Publik
(last edited: 2018)
author(s): Klas G Dykhoff
This exposition is in progress and its share status is: visible to all.
Sound is a powerful way of transforming a space. The relationship between perspective, story and space has always intrigued me.
This project aims at investigating different sonic spaces by recording them and replaying them elsewhere. This will enable the listeners to re-evaluate not only the space they're in, but also the reproduced space. By cutting from one sonic space to another the spectators perspective changes, and a narrative is created.
Epiphanies of an Invisible weave essay by Jenny Sunesson, 2022 edited in 2023 Translated by Steven Cuzner Preface (2023) Epiphanies of an Invisible weave is an essay written during the processes of two different, yet overlapping, projects; the research project FACT stage one, and the solar driven, sound art project UNDER. The essay explores the specific capacities and possibilities of sound and listening through the specific mode of field recording, which is the sonic modality that I have exploring for more than 20 years. The essay aims to shed some light on the site-related, political, and hidden potentials of sound as it examines the possibilities of (re)-learning through listening in relation to both human and more-than-human explorations and possible “epiphanies”, imagining openings beyond stereotypical knowing. /Jenny Sunesson Image copyright: Ida Lindgrenopen exposition comments (0)
This exposition explores the backround noise as aesthetic periphery. My attempt is to define my subjective experience about what I consider as peripheral frequencies and how do they affect the formation of aesthetic experiences.open exposition comments (0)
The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture. I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do. To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method. By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites. I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).open exposition comments (0)
The project is about the process of auditory memories related to initial impressions. It is also an experiment of how we are experiencing different soundscapes of different cultures. Which words can describe sounds, which we are not used to? Can we listen to the past? Which memories are still in mind? Collecting different material (recordings, diary, photos) allowed me to create a multimedia homepage.open exposition comments (0)
The Soundscape TUB is a self organized “Projektwerkstatt” that explores the concepts of acoustic ecology, the relationship between people and their environment mediated by sound. With students from different faculties of TUB, UdK and other universities, the project stands in the intersection of science, arts and humanities, dealing with topics such as social ecology, technology, data collection, group dynamics and creative practice. Soundscape TUB works with the potential of sound and listening as a socio-political tool and science communication.open exposition comments (0)
This page has the purpose of collecting in one place all the educational material about ambisonics and spatial audio that I have gathered through the years, and to demonstrate specific personal workflow solutions that I have developed in my artistic practice. It was started as an educational tool for my workshop in ambisonics at EMS - Stockholm and is constantly updated.open exposition comments (0)
Sound is a powerful way of transforming a space. The relationship between perspective, story and space has always intrigued me. This project aims at investigating different sonic spaces by recording them and replaying them elsewhere. This will enable the listeners to re-evaluate not only the space they're in, but also the reproduced space. By cutting from one sonic space to another the spectators perspective changes, and a narrative is created.open exposition comments (0)