Posts tagged Soundscapes
Ideologies and Ethics in the Uses and Abuses of Sound
Oct 10th 2009
Koli, Finland June 16-19, 2010
The 2010 WFAE conference will be held at Koli in Eastern Finland. Koli is a plausible site for reflecting upon ideologies, ethics and soundscapes, since it was amongst the key places of the national romantic artist pilgrims in the late 19th century Finland. The Finnish Society for Acoustic Ecology (FSAE) invites researchers and artists from all disciplines to join this forum of discussion.
Proposals are invited for papers, workshops, roundtable, or artistic contributions relating to, but not limited to the following topics:
Nations, nationalism and soundscape
There has been an abundance of research on the topic of nationalism and music. What about nationalism and soundscape? Within sound of religious movements Martin Stokes mentioned recently that in order to understand certain Islamic movements today it would be crucial to understand their soundscapes. Collective listening or giving ‘voices’ to subjects and their religious experiences, are some examples.
Constructing past and progress in the uses and abuses of sound
Both past and progress can be used and abused as part of many ideologies. Have past soundscapes been used as a resource as part of these negotiations? The ideology of progress, then, is intimately related to the acceptance of noise as an inevitable phenomenon.
Ethical challenges of working with the sounds
How do soundscape researchers and artists answer to the ethical challenges of working with the sounds of other people – and of themselves. How do we understand cultural convergences, differences and sameness? Or would it just be more important to learn to tolerate the other? Should the researcher or artist make an intervention — or would it be best just to observe the uses and abuses of sounds from outside?
The commodification of aural space, sound and silence
How does silence, its commodification and tourism fit under the same sky? What kind of strategies can the citizens and planners develop in different localities in order to guarantee the soundscape comfort, tourism as a means of livelihood and the touristic search of silence all at the same time? What about the urban environment with its ubiquitous transphonic phenomena? Who has the right to fill the urban space with music, and how is it currently happening?
Please send ABSTRACTS (max. 400 words) to FSAE by October 12, 2009 to the e-mail address koli@akueko.com.
The abstracts are being dealt with in early November, and the people whose papers and sonic art works are chosen to be presented will be notified on November 10.
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
Futura 2010 Call for works
Oct 9th 2009
For its 2010 edition, the Futura festival is looking for fixed media works (acousmatic music, musique concrète, video art, hörspiel, etc.) around the ‘travel diary’ thematic.
The sent works may be ‘real’ diaries, elaborated with sound takes and/or recognizable images, but these diaries may also be ‘abstract’, without any identifiable sounds, concentrating only on remaining traces, impressions. The works evolving between these two poles are also, indeed, welcome.
It is all about drawing a large and original view of the ‘travel diary’, which is not only a journey in a geographical space, but rather the expression of an experience or a view on the surrounding world. As such, it is not absolutely necessary to have crossed back and forth the whole planet to submit a proposal, obviously travels are also metaphoric. It can be expressed through very diverse aesthetics and forms.
Nonetheless, we are not looking for ‘raw’, ‘objective’ soundscapes or field-recordings. To the contrary, we would like to program subjective works, and place at the centre of this thematic the perception of the traveller-composer-artist.
The submissions:
- The limited number of submissions is 2 works by composer, excepting works with video which amount is not limited.
- Only sonic works on tape medium should be submitted (acousmatic/concrète, radiophonic art…).
Please do not send proposals for live electronics or performances.
- Preference is given to stereophonic music (multiphonic works may be accepted, but always if a stereo mix is provided for the selection process).
- Works including video are also encouraged.
-Deadline for the reception of works on CD Audio only (no cd-r or DVD-Audio) or DVD (for videos) is fixed before January 31 2010 (post-marked).
At the following address: Futura, 62, avenue de Flandre F-75019 Paris, France.
- Fill necessarily the form you’ll find as an attachment and send it by email: info@festivalfutura.fr
- Also send by email a program note about the submitted work (20 lines max), a short biography and a picture (.tiff or .jpg) to info@festivalfutura.fr
Formulaire Futura 2010 / Form Futura 2010
??
Nom/Last Name:
Prénom/First Name:
Date de naissance/Date of birth:
Nationalité/Nationality :
?Adresse/Address:
Téléphone/Phone number:
Email/Email:
Site Internet/Web site:
Biographie (10 – 20 lignes)/Biography (10 – 20 lines):
Titre de l’oeuvre/Title of work:
Durée/Duration:
?
Studio et année de composition/Studio and year of composition:
Lieu et date de la création /Place and date of the creation:
Notice (10 – 20 lignes)/Program Notes (10-12 Lines):
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
DKFRF with Xesus Valle, “Eindringlinge” and “No Go home”
Oct 8th 2009
Xesús Valle will perform”Galicia”, soundscapes and audio performances of all kind, recorded in Galicia, his hometown, a creation of sound spaces from the same place in different seasons.
Sami Ala-eddin and Martin Reimann will present “eindringlinge (41°südwest)” It will be the Berlin premiere of this fiel recordings film. It will last 25:23 min. The soundtrack consists of 4 mixes, totalling up to 21:19 min. The film, a kind of intrusion in the past of the city of Berlin, waking up, buyt also discovering images and sound that were not visible/audible before.
Rinus van Alebeek ( that’s me) will welcome the audience with the performance of NO Go Home, an extended version of the track that will appear on the Framework250 compilation.
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
Call for papers – Ideologies and Ethics in the Uses and abuses of sound
Sep 19th 2009
IDEOLOGIES AND ETHICS IN THE USES AND ABUSES OF SOUND
Koli, Finland, June 16-19, 2010
CALL FOR PAPERS (reminder: abstracts by October 12)
The 2010 WFAE conference will be held at Koli in Eastern Finland. Koli is a plausible site for reflecting uponideologies, ethics and soundscapes, since it was amongst the key places of the national romantic artist pilgrims in the late 19th century Finland. The main organisers, Department of Finnish Language and Cultural Research at the University of Joensuu, Finland and The Finnish Society for Acoustic Ecology (FSAE) invite researchers and artists from all disciplines to join this forum of discussion.
Confirmed invited and keynote speakers are (in alphabetical order): Steven Feld, Charles Hirschkind, Bruce Johnson, Anahid Kassabian, Andra McCartney, R. Murray Schafer, Barry Truax and Hildegard Westerkamp.
Proposals are invited for papers, workshops, roundtable, or artistic contributions relating to, but not limited to the following topics:
NATIONS, NATIONALISM AND SOUNDSCAPE
There has been an abundance of research on the topic of nationalism and music. What about nationalism and soundscape? Within sound of religious movements Martin Stokes mentioned recently that in order to understand certain Islamic movements today it would be crucial to understand their soundscapes. Collective listening or giving ?voices? to subjects and their religious experiences, are some examples.
CONSTRUCTING PAST AND PROGRESS IN THE USES AND ABUSES OF SOUND
Both past and progress can be used and abused as part of many ideologies. Have past soundscapes been used as a resource as part of these negotiations? The ideology of progress, then, is intimately related to the acceptance of noise as an inevitable phenomenon.
ETHICAL CHALLENGES OF WORKING WITH THE SOUNDS
How do soundscape researchers and artists answer to the ethical challenges of working with the sounds of other people ? and of themselves. How do we understand cultural convergences, differences and sameness? Or would it just be more important to learn to tolerate the other? Should the researcher or artist make an intervention — or would it be best just to observe the uses and abuses of sounds from outside?
THE COMMODIFICATION OF AURAL SPACE, SOUND AND SILENCE
How does silence, its commodification and tourism fit under the same sky? What kind of strategies can the citizens and planners develop in different localities in order to guarantee the soundscape comfort, tourism as a means of livelihood and the touristic search of silence all at the same time? What about the urban environment with its ubiquitous transphonic phenomena? Who has the right to fill the urban space with music, and how is it currently happening?
Please send ABSTRACTS (max. 400 words) by October 12, 2009 to the conference e-mail address koli@akueko.com. The abstracts are being dealt with in early November, and the people whose papers and sonic art works are chosen to be presented will be notified on November 10.
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
Call for contributions for edited collection on “Noise, Audition and Aurality: Histories of the Sonic World(s) of Europe”
Aug 20th 2009
Deadline: Mon, 30/11/2009
Contributions are invited for a proposed collection of essays exploring the soundscapes of Europe from c.1500 to 1945. The collection seeks to develop existing and open up new areas of interdisciplinary scholarship from a range of fields including (but not limited to) musicology, urban geography, history, the history of architecture, literary studies, cultural studies, psychoanalysis, psychology and anthropology, and will build on existing work in acoustic ecology, the sociology of noise and histories and historiographies of noise, audition and aurality. We will favour contributions that deal with historically-informed topics in the following areas (although this is by no means an exclusive list):
• The noise-sound-music nexus?• Urban/rural soundscapes?• Public/private soundscapes?• The acoustic ecology of communities?• Legal histories of noise?• Noise, music and the body?• Listening and the erotic?• Political economies of noise?• Noise, music and landscape?• Theories of hearing and listening?• Historical acousmetre?• Historiographies of noise, audition and aurality?• Technologies of sound reproduction and their histories
Prospective contributors should send a 250-word abstract and a short biography to Ian Biddle (i.d.biddle@ncl.ac.uk) by no later than November 30, 2009. If your contribution is chosen, we will require your finished chapter by April 19, 2010.
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
Applied Soundscapes Symposium – 17 September 2009
Aug 13th 2009
University of Salford
Innovation Forum, www.innovation-forum.co.uk
17 September 2009
The Positive Soundscapes Project is hosting a Symposium on Applied Soundscapes at the University of Salford on 17 September 2009. The day is a broad celebration of what’s been achieved by three EPSRC-funded initiatives that came out of a sand pit workshop three years ago: the Noise Futures network, Positive Soundscapes and ISRIE (Instrument for Soundscape Recognition, Identification and Evaluation).
The day will feature:
1. An audience of practitioners (planners, consultants, policy makers, etc.) as well as researchers
2. Invited presentations from the Network, Positive Soundscapes and ISRIE teams as well as from related research project teams
3. A discussion panel of senior practitioners and academics who will be invited to comment on the presentations and draw out themes
4. An opportunity for the best presentations to be converted into journal papers for inclusion in a special issue of Applied Acoustics
5. The seminar will be free to attend, but places are limited so early booking is recommended
If you would like to attend please contact the Positive Soundscapes project manager, Joanne Leach, on 07785 792 187 or joanne@joanneleach.co.uk
Please click here to download an invitation to the event. You are welcome to circulate this invitation to anyone you think would be interested in attending.
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
02.08.09 framework
Aug 2nd 2009
originally aired on 28.11.03
a couple of new releases from bernhard guenter’s trente oiseaux label this week, and a return visit from several of our favorites of recent history: quiet american, rob mullender and janek schaefer. we also featured material from two fellow resonance fm program makers, viv corringham and john wynne, and polish artist pawel grabowski, who impressed us last week with his live set at the red rose club.
now hopefully none of you will be tuning in to our next show – or none of you here in london , at least – as it is on the same night as advent-garde, resonance fm’s free holiday benefit concert at conway hall. framework will air as normal, but it will be a prerecorded edition (it will be recorded that morning), as i, along with all good londoners, will be at the event. i have been asked to provide ‘interval soundscapes,’ which will be untreated field recording collages, regularly throughout the evening, so if you like your phonography come down and show your support! further details at the end of this mail.
framework intro / bronwyn ximm
recorded during a festival in oaxaca (“say: wuh-hawk-uh”), mexico - the ear must run in the family!
olivia block / - / pure gaze / sedimental
mixture of concrete composition and instrumental, the meticulous meditative composition here mixed with…
pawel grabowski / - / 2 improvisations / -
…the sharp chaotic phonographic improvisations of this polish artist now resident in dublin , which also contrasted to…
http://www.pawelgrabowski.prv.pl
viv corringham / a walk in minneapolis sculpture park / - / -
…an untreated vocal and environmentally interactive improvisation from this resonance regular
john wynne / upcountry / - / -
sonic portrait composed from the voice and local environment of the subject, william ingosi mwoshi, of the luhyia community, kenya
http://www.soundtravels.ca/wynne.html
tomas phillips / - / on dit / trente oiseaux
very minimal, sharp and careful compositions on this first of two new trente oiseaux releases…
keith berry / - / the golden boat / trente oiseaux
…provided a curiously compatible contrast in a mix with its rounder, warmer labelmate
quiet american / oil drum collecting rainwater, bhaktapur, kathmandu valley, nepal
/ water-powered bamboo pipe-fed rice pounder, outside sa pa, vietnam
/ capitol villas pond drainage pipe, outside madikeri, india / plumbing and irrigation of southasia / and-oar
three short tracks of untreated water-related sound that follow on from the piece we played last edition
http://www.quietamerican.org, http://www.and-oar.org
rob mullender / london / metro magnetics / staalplaat
another track of magnetic field recordings, this time from our very own london underground
janek schaefer / rink [edit] / rink / staalplaat
composed using the material and location recordings from an installation – originally released as a 3″ cd accompanying the lp ’skate’
http://www.audiOh.com, http://www.staalplaat.com
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
live in Seattle – the Seattle Phonographers Union Thurs July 23
Jul 20th 2009
Earshot Jazz presents The Seattle Phonographers Union
Thursday July 23
7:30 pm
$7-$15 sliding scale
Chapel Performance Space
4649 Sunnyside Ave. N, 4th floor, Seattle, WA (corner of 50th St. in
Wallingford)
The Seattle Phonographers Union is a collective of Seattle sound artists who
improvise with unprocessed field recordings from around the world. we strive
to create compelling juxtapositions of everyday and esoteric sounds to
arrive at surreal soundscapes.
Presented by Earshot Jazz, “The Second Century” series presents groups whose
members appear to have their fingers on the pulse of change in the art form.
The goal of the Second Century series is not to grant greater credence to
any particular way of creating jazz, nor to rule out any way of deploying
its previous stylistic turns. But moving ahead, through whatever combination
of mining the past and making use of new ideas, is the key: The series aims
to detect some of the directions jazz and jazz-related musicians are taking
to enliven their playing and our listening.
The members of the group are Steve Barsotti, Pete Comley, Christopher DeLaurenti, Doug Haire, Susie Kozawa, Dale Lloyd, Perri Lynch, Robert Millis, Toby Paddock, Steve Peters, and Jonathan Way. Barsotti explains the group’s relation to jazz: “While the SPU may sonically sound distant from the traditional jazz intrumentarium, our unusual approach honors the core of jazz and all improvised music: listening.” They proceed without a predetermined format, scores, charts, or even cues. “Collectively, we wait and listen,” says Barsotti. “Without conferring, we trust our ears to listen to ourselves and each other, fashioning immediate juxtapositions, gradual contrasts, and subtle layers.”
The uncanny results are strangely provocative. And, as Barsotti says, “some members do not believe what we make is music; others within the SPU stoutly do.”
www.seapho.org
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
framework – 12.07.09
Jul 14th 2009
this edition of /*framework:afield*/ has been produced in the uk by
*martin clarke*. for more info see martin’s website at
http://www.rockscottage.net. a brief description from martin:
The programme is a series of short soundscapes from different parts
of the world (Lebanon, Ukraine, Poland, Portugal) but that structure
kind of dissolves towards the end and it goes: Beirut, Kiev,
Biebrza (Poland), Nodar/Parada (Portugal) and Mlynik (Poland).
and once again, *a blatant monetary plea*: as i announced last week, i
have now added clear paypal donation buttons to the framework website.
producing framework takes a lot of my time, and i /need/ your help to be
able to continue. everything helps – if a handful of you were to choose
to donate just 1 euro per month via the subscription button, it would
make things a lot easier. everything about framework is free and
without sponsorship or advertising, and i want to keep it that way, so
if you value the show, and particularly if you listen via the free
podcast, */please /donate*, either as a one-off, or with a regular
monthly subscription. and of course 25% of your donation will be passed
on to the equally-deserving resonancefm. so come on folks! show us you
care!
one more note for podcast subscribers: you may have experienced some
problems downloading last week’s edition – these have now been resolved
and the file is still available, so you should be able to refresh and
relaunch the download now…
again, we are always looking for material for the show, whether raw
field recordings, field recording based composition, or introduction
submissions. we are also now accepting proposals for full editions of
our guest curated series. send proposals or material, released or not,
on any format, to the address below. if you have any questions, please
don’t hesitate to get in touch!
framework
354 rue de l’andelle
27910 perruel
france
info@frameworkradio.net
———————————————————-
framework intro submissions:
1) take yourself and an audio recorder to a location of your choice
2) record for /AT LEAST/ one minute before you -
3) read aloud the following text:
*welcome to framework.
framework is a show consecrated to field recording, and its use in
composition. field recording, phonography, the art of sound hunting;
open your ears and listen!*
*/[3b) please also feel free to translate this text into your native
tongue!] /*
4) continue your recording for /AT LEAST/ two minutes after you have
finished speaking
5) post the recording to us on any format, or send us an mp3
thanks!
If you enjoyed this post, make sure you subscribe to the RSS feed!
Related posts
FINAL WEEK OF MIXOLOGY FESTIVAL AT ROULETTE!
May 27th 2009
20 Greene St (between Canal and Grand St)
Admission $15 Students/Seniors/Under 30s $10 MEMBERS FREE
TICKETS/RSVP: 212.219.8242
http://www.roulette.org/
Check out our NEW BLOG www.roulettenyc.wordpress.com for interviews of upcoming performers, sound clips, pictures and more!
BERANGERE MAXIMIN plays ‘Stuck In a Nasty Little Film’
Tue May 26 – 8:30 PM
French composer/performer Berangere Maximin presents ‘Stuck in a Nasty Little Film’, a new piece for laptop, spoken word, and various objects with video by Anton Yakutovych. Performing first as a singer, Maximin later studied electroacoustic music with the composer Denis Dufour at the Perpignan Conservatoire. Interested in preserving the spirit of live music in the studio, she works out of her own Home Sweet Home Studio, shooting sounds in a dark silent room, recording soundscapes and acoustic sounds, using sampling, digital effects, and performing on a variety of objects.
JARRYD LOWDER & JULIE FOTHERINGHAM: “Stress Positions”
Wed May 27 – 8:30 PM
“Stress Positions”, the newest of a series of short performances by the duo of Julie Fotheringham (dance/movement) and Jarryd Lowder (video/music/sound) evokes, conflates and confuses motifs of torture for the purpose of extracting information (as in the CIA’s “enhanced interrogation techniques”) and torture for the purpose of extracting pleasure/pain (a la BDSM). Jarryd Lowder is an artist working with electronic audiovisual media and is an instructor at the School of Visual Arts in New York City. Julie Fotheringham performed as a dancer/acrobat in Cirque du Soleil before coming to New York to make her own work in contemporary dance/performance art.
o.blaat (Keiko Uenishi): “A Large Gap at the Level of My Head”
Thu May 28 – 8:30 PM
“A Large Gap at the Level of My Head” is an experiment in composing with a series of specific cues to attendants. The original sound event won’t yield, nor aim at a single common experience, but rather impose an unique auditory event to each listener. The piece is also a study of listening: not about the source of the sound, but about phenomena of perceived. o.blaat (Keiko Uenishi) is a Brooklyn based sound artist, social composer, and a core member of SHARE (http://share.dj) known for her works formed through experiments in restructuring and analyzing one’s relationship with sounds in sociological, cultural, and/or psychological environments.
AARON SIEGEL ENSEMBLE
Fri May 29 – 8:30 PM
The Aaron Siegel Ensemble will be premiering two movements of a work for percussion and pianos entitled, “Preparing the Past.” Drawing on tangled narratives of memory and anticipation, “Preparing the Past,” juxtaposes the moment of observation with the trail of its reflections. Also on the program will be selections from Siegel’s “Book of Notions,” for piano and vibraphone. Aaron Siegel writes experimental music that lies at the intersection of abstraction and intuition. His work ranges from solo compositions and chamber music to improvised ensembles and collaborative theater pieces. He has been hailed as an “evocative composer,” with “meditative ease and grace” working at the “frontiers of sound research. The premiere recording by the Aaron Siegel Ensemble, “Every Morning, A History (2007, Peacock Recordings)” was praised by Signal to Noise as being representative of the flowering DIY chamber music scene in Brooklyn.
Sat May 30 – 8:30 PM
Sound and Light I is an integration of sound and light: live music and recorded video, with the video image manipulated in real time, particularly in relation to color and saturation, and in turn acting as a score element for the musicians, David Rosenbloom, guitar; David Hofstra, bass; and Stephen Moses, drums. David Rosenbloom has been active as a musician, composer, and painter in New York since the late 70’s no wave period. His projects have included the Electric Chorus & Orchestra, Chinese Puzzle, The Experimental Chorus, and the Outlanders; he performed, toured and recorded with Glenn Branca, and was a member of Rhys Chatham’s early band Meltdown. His work tends to focus on sonic and structural experimentation with an emphasis on dense, melodic textures.
Roulette’s annual spring festival focusing on new and unusual uses of technology in music. Presenting work that builds upon the interactivity of sound and image made possible through such programs as MAX, JITTER, and LISA, and goes beyond the prescribed frameworks of the software to explore the possibilities of technical and artistic improvisation. Sound activates and morphs image; image transubstantiates sound; they manipulate, describe, and metaphorize each other.
If you enjoyed this post, make sure you subscribe to the RSS feed!