Cristina Pullano – voice/lyrics, guitar, laptop, field recording
Just found this article on Sounding Out and it’s a great overview of how artists have combined sound and the environment via various means to create sonic art (in its’ widest sense). Simple questions are answered by the artists focussing on what is Soundscape. Very interesting piece.
“It devolves on us now to invent a subject we might call acoustic design, an interdiscipline in which musicians, acousticians, psychologists, sociologists, and others would study the world soundscape together in order to make intelligent recommendations for its improvement.”
–R. Murray Schafer
The Soundscape, Our Sonic Environment and the Tuning of the World
With those words, and with that book, Canadian composer, writer, educator, and environmentalist R. Murray Schafer introduced the concept of the soundscape…a sound, or combination of sounds, that forms or arises from an immersive environment. What follows is an exploration of how several key field recordists define and explore the notion of soundscape.
1. What do you do?
I capture moments.
I explore environments & structures using conventional & extended field recording methods. I also use instruments & small objects. Sometimes I perform live intuitive compositions, sometimes I install work & often I compose photographic scores.
For…
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Sound and radio artist Magz Hall has joined YSP for a residency over summer 2015. Magz’s exploration of the artistic potential of radio, outside of conventional settings, has seen her turn ceramic pots, books and now trees in the YSP grounds into radio transmitters. Powered by solar energy, the trees create their own micro FM station, broadcasting a radio wave translation of biological processes and reactions to the environment.
http://www.ysp.co.uk/exhibitions/magz-hall
Join Magz for a guided tour of the tree radios and a talk about her practice. Sat 29th August at 13:45.
Following on from the review of Dzera in Yeah I Know it Sucks, I discovered this collection of ambient voice / fieldscapes from Yoko Higashi
I have clicked through and it looks as if this will be very interesting with focus on the Irish Sound Art Scene. Try to catch it online after the 28th. In the meantime, there is a list of links of artists, venues and sites that are related to the episode – Well worth checking out.
Courtesy to Claire Guerin and her blog for this post and don’t forget to check the soundboxes free download above.
‘Seamus and Paul from the Salon de Bruit in Berlin invited me to join them on their monthly podcast. They wanted to hear about sound art in Ireland from my experience to what I’ve grown up with and experienced with The Guesthouse. Follow the link to have a listen and to see the links to some of the work I suggested in the interview too. ‘ -Claire Guerin
This will be online from the 28th of July 2015.
Salon de Bruit <-Click here to listen
Here is the original piece which goes into detail about the theory and methodology behind the sound installations of Mendi and Keith Obadike.
SO! Amplifies: Mendi+Keith Obadike and Sounding Race in America.
Courtesy to SO! Amplifies for this article.
It’s Monday reblog time and here is a recent post from Sounding Out in celebration of World Listening Day 2015. I have been following the work of Mendi and Keith Obadike for some time as their art looks in detail at Race and Sound in America. I will repost the previous piece above from SO! Amplifies – recommended. Courtesy to Sounding Out for this post.
For World Listening Day 2015, Sounding Out! is honored to debut Mendi + Keith Obadike’s new documentary video about their recent large-scale urban installation at The New School’s University Center in New York City, “Blues Speaker [for James Baldwin]” (April 2015), dedicated to writer and public intellectual James Baldwin (1924-1987). –JS
As Mendi + Keith describe, “For Baldwin sound, music, and the blues in particular were sources of inspiration. The multichannel sound art work meditates on a politics of listening found at the intersection of Baldwinʼs language and the sound worlds invoked in his work. It uses the glass façade of The New School’s University Center as delivery system for the sound, turning the building itself into a speaker. The 12-hour piece is created using slow moving harmonies, melodicized language from Baldwinʼs writings, ambient recordings from the streets of Harlem, and an inventory of sounds contained in Baldwin’s story…
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