Sound Localities Compilation released!

Downloaded the compilation online for free here: Sound Localities Compilation 2011

Sound Localities is a project that explores sound in the city through field recordings and exchanges from artists in 7 cities in the local, regional and international space around Mons, Belgium. From Ghent, Brussels, London, Madrid, Hong Kong and Seoul, the project seeks to produce a dialogue amongst disparate places and individuals through their localised experiences to explore possibilities of imagining a wider global space.

The process: Individuals from selected art organisations working with sound were interviewed about their work with sound and their relationship as a cultural organisation in their city. The organisations were asked to select artists working with sound in the city to contribute field recordings to share something about the place. The sounds were contributed to an archive that were collected and shared online with all other participants in the project. 

The participating artists were then invited back to create a mix from the collection of sounds from the  cities. The result is a compilation of their mixes – reflecting a crossing of cities and experiences, and perspectives on the World that are reinterpreted and then shared back to each other. The compilation is a the result of a project called Resonant Cities (2010) that connects individuals in different spaces and times in a complex and globalising space of contemporary urban existence. 

Includes mixes by: Julien Poidevin (FR), Will Montgomery (UK), Jiyeon Kim (KR),Sébastien Biset (BE), Edwin Lo (HK), Pauwel De Buck (BE), Yiorgis Sakellariou (GR), Sinyu Tsang (HK), and Martin Clarke (UK). 

Sound Localities is a project initiated by Ashley Wong an artist, curator and researcher based in London, UK during a 3-month residency at Transcultures in Mons, Begium supported by Pépinières européennes pour jeune artistes and partners.   

Response, London 2004 

Response London 2004

Duncan Whitley

"This unedited stereo field recording was made in the summer of 2004, from the window of my East London flat. It documents the moments following a serious altercation on the estate on which I was living, in which a young man was shot. I hid myself from view in order to make the recording, so I was able to hear but not see the unfolding of events.

The recording was made as an instinctive response to document my environment but in the process of recording I began to ask myself questions about the purpose and ethics of what I was doing. These unanswered questions henceforth came to underpin my work with field recordings and my criteria and rationale for pressing the record button consequently shifted.

Six years later, this is the first time that this field recording has been publicly released or presented.”

Duncan Whitley has trained variously in popular music, electronic music production, sound and ethnographic research. Working over a typical timescale of two to five years, Duncan produces project-specific phonographic studies that become the research basis and material for new works. His work with field recording examines the fabric of acoustic communication within specific social contexts. His recent project, ‘Saeta’, explores the performance contexts of the ‘saeta flamenco’ in Seville, hunting elusive moments of perfection in Seville’s Holy Week rituals. A collection of his field recordings from Seville’s Semana Santa processions is permanently held at the British Library. Duncan is dedicated to a serious critical dialogue around sound in the arts and across disciplines. He remains nonetheless committed to producing intuitive, accessible work for diverse audiences.

http://www.shotgunsounds.com/

London Sound Survey

The London Sound Survey is a growing collection of Creative Commons-licensed sound recordings of places, events and wildlife in the capital. The London Sound Survey collects the sounds of everyday public life throughout London and compiles past accounts to show how the sound environment has changed. The London Sound Survey isn’t funded and has no artistic goals. It’s a hobby, and no more and no less than that.

City Rings

Paris, 19 of April 2010

Sound and Music, Sons de Barcelona and Aifoon came together to get to know each other better. After a “coq au vin” and a glass of  “vin rouge” we found out that we have two things in common:

  • sound (no words, no music) as a communicative and poetic medium of expression
  • using sounds to map the environment in a subjective way

This was the starting point for the project The City Rings.

Four organisations:

  • Sons de Barcelona (E): Ariadna Alsina, Jaume Ferrete, Serafín Álvarez
  • Sound and Music (UK): Becca Laurence, Jana Phillips, Pippa Murphy
  • Sonic postcards (DK): Stephen Schwartz, Anne-Marie Schæffer
  • Aifoon (B): Stijn Dickel, Bram Bosteels and Jürgen De Blonde

Four schools:

CityMixer:

With the online citymixer application you create your own fictitious city or environment.

The sounds in the citymixer come from the different locations that were involved in this project. This way,
you can visit Portlethen, Barcelona, Elsinore and Gent all at the same time!

http://thecityrings.org/city-mixer/ 

Gasfire

gasfire

Martin Clarke

"This is a recording of the gas fire in my flat. At the moment, this is the coldest November on record; this sound is a constant in my London life. For a long time I’ve been interested in refocusing real-world sounds by recording them in extreme close up. This was recorded close to the base of the unit, a perspective that’s not usually heard. That said, the central heating in the flat was broken when I made the recording so the sound of the gas fire was more frequent than usual."

Martin Clarke is a UK based sound artist, recordist and filmmaker. His work makes extensive use of environmental sound and video material to create layered, abstract, formal spaces which are often representational in appearance and have been screened, performed, installed and broadcast internationally in concert, at festivals and on radio.

Martin studied composition with Robert Dow at the University of Edinburgh, and completed his PhD with Jonty Harrison at the University of Birmingham in 2008. He currently lives in London.

http://www.rockscottage.net

Albert Embankment, London

Albert Embankment 1

Albert Embankment 2

Albert Embankment 3

Will Montgomery

"I have been making occasional hydrophone recordings of the Thames in London for a couple of years now. (An example is here.) I am interested in the harsh, urban qualities of the river. Although it is much cleaner than it used to be, it is still a murky, dirty body of water. All kinds of detritus float on its surface and are washed up on its shores. It always looks dull and opaque, and it is visibly animated by strong currents. My recent recordings were made on the south bank of the river, very close to the MI5 building (the home of Britain’s national security intelligence agency). By chance I came upon a spot that’s close to some sort of underwater outlet in the embankment wall. I was struck by the fact that helicopter surveillance of the river could be picked up by my hydrophone (the House of Commons is just across the river, a few hundred yards to the east). Other sounds on my recording include the amphibious pleasure boats that are the main river traffic on this stretch of the Thames."

Will Montgomery makes electronic music, sound art and field recordings. His musical pieces explore aural texture and narrative. He also constructs compositions from sequences of treated or untreated field recordings. He is interested in the acoustics of the built environment, particularly London. He has released three full-length CDs: Water Blinks (Selvageflame, 2005); non-collaboration [with Heribert Friedl] (nonvisualobjects, 2008); and Legend [with Brian Marley] (Entr’Acte, 2009). A piece assembled from recordings made on the Heygate estate in south London is released on vinyl by Winds Measure in early 2011 and his realisation of a score by Manfred Werder is out on Cathnor. He teaches contemporary poetry at Royal Holloway, University of London.

http://selvageflame.com

Investiture of the Brown Scapula



Adam Asnan

This recording offers an excerpt of a service given at St. Anselm & St. Cecilia R.C Church, London on 20th June 2010. An investiture of the ‘Brown Scapula of our lady of Mount Carmel’ was given and the hymn ‘Immaculate Mary’ was sung, however, this part relays a sequence of salutations to the Blessed Virgin Mary, including an act of consecration and accompanying environmental activity.

The recording was one of many made for research purposes during a ‘martyrs walk’, visiting historical Roman Catholic places of worship within central London, and will be used in a forthcoming artist-documentary about the Tyburn ‘Tree’ - a notorious and uniquely designed gallows, used for centuries as the primary location of the execution of London criminals during the 1500s-1800s (being produced by James Holcombe).

What especially fascinates me about this recording, despite the technical issues and typically muddy wooden resonance, was the interplay of textures throughout: be it the communal sibilances of the worshippers, the creeks of the floor and street noise, the mother and child with buggy situated on the left, and the overdriven distortion of the public address system, rendering the speaker’s voice almost undecipherable.

Adam Asnan (b. 1983) is a London based composer-performer of electronic and acousmatic music, acquiring an MA under the supervision of Denis Smalley in 2009. Adam’s work attempts to promote the aesthetics of fixed (recorded) and amplified sound, maintaining a range of technical and compositional principles that advocate notions of acousmatic listening and the ‘sound-object’. His compositions, live performances and audio-visual collaborations have been presented and staged across Europe and has recordings published by Entr’acte (www.entracte.co.uk)

http://adamasnan.blogspot.com

30th
November

1 note

UK Sound Map

The UK SoundMap is a new community-led survey in sound of the acoustic landscape (‘soundscape’) of Britain.

You can help answer these questions:

What does the UK sound like today?

What impact do these sounds have on our lives?

The SoundMap is a partnership project of the British Library and the Noise Futures Network. It uses widely available mobile technology in a novel way to capture and aggregate research-quality audio samples. 

SoundFjord

SoundFjord is a gallery and research unit dedicated to the Sonic Arts in London, UK. 

The gallery was founded to readdress the current lack of exhibiting space exclusively for works of sound art and focuses on the exhibition and documentation of art works, the development of artists within their creative and research practices, and ultimately, the promotion of sound art and its related interests to a wider audience

This creative venture – a partnership between a fine artist and sound designer – is a centre for experimentation and collaboration, with sound being central to all works researched or exhibited: as inspiration, conduit for artistic expression, or simply, the resulting work.

South Kensington tunnel, London

 

Helen Frosi, Sound Fjord Gallery

"I enjoy walking under there as it’s probably one of the only underpasses in London that people enjoy using. It’s bright, wide and tall and as a cultural conduit to find out ‘what’s on in London’ 

it’s pasted with advertisements for theatre, gallery exhibition, new film releases and other spectacles of creativity. Children run and exercise their voices, delighted by the strange acoustics in 

there; many different kinds of footsteps can be heard - some soft, some clip-clopping, some fast, some lolloping. And many languages too. Sometimes students from the Royal College of Music

perform close to the station itself, enjoying the way their music resonates with the architecture, and travels down towards the people as they walk to and rom the station. 

On the occasion of this recording, an elderly gentleman sitting bolt upright played a classical guitar, whilst teenage boys made hissing sounds somewhere behind me, families chattered and young 

couples sauntered with plastic bags full of [Christmas] present, children giggles and an old man with a dodgy gait made the coppers in his pocket chink and chime. A woman with a red coat and 

black heels float by me out of the V& A museum, clicking here heels as she walks and I rustle as I walk, my skiing jacket being the culprit.

I see the underpass as a portal for many of London’s finest establishments of education as well as to access grand museums housing fine treasures, the key to our history, to science and innovation, 

and much more. South Kensington underpass allows swift access to: the V&A Museum, The Science Museum, The Natural History Museum, Imperial College, The Royal College of Music and the Serpentine gallery and many international cultural institutions. 

As well as it’s original use - to get people safely and efficiently from point A to point B - the tunnel has been re-appropriated as: a subterranean place of play: children run, hoot and clap; a place for 

observation: watching the many people that walk by going about their day-to-day; a place for reflection - the walk is lengthy and a good time to lose oneself in though; and as a platform for creativity: buskers and classical music students perform whilst the walls are pasted with Art Below posters designed by artists and designers.”