Apr 05 | Acoustic Ecology & Activism
Read Before Class
- “An Intro. to Acoustic Ecology” from Soundscape journal vol 1, Kendall Wrightson
- A Beginner’s Guide to Field Recording (FACT Mag)
- Interview with Hildegard Westerkamp from “In The Field” anthology
- Interview with Steven Feld from “In The Field” anthology
- “Humphrey:The Rescue” chapter from “Notes from the Wild”, Bernie Krause
- “The Niche Hypothesis: How Animals Taught Us To Dance and Sing”, Bernie Krause
- “Sabine After Symphony Hall” from The Soundscape of Modernity by Emily Thompson (p. 62-69)
- Spanish field recordist Francisco Lopez: “The move away from the representational and documentative does not essentially depend on transformation of sounds but fundamentally on the listening mode we carry out,” Listen to La Selva.
- Leah Barclay’s River Listening project involves immersive community engagement through interactive listening labs, field recording, sound maps, performances and installations to experiment with digital technologies and creativity in understanding river health and aquatic biodiversity. Here are some example sounds from a GPS soundwalk that took place in Brisbane, Australia.
- Jana Winderen’s compositions using underwater recordings and ultrasound
- David Dunn’s “The Sound of Light in Trees” (recordings of bark beetles)
- Listening to Disaster: Our Relationship to Sound in Danger, a wonderful blog post from Maile Colbert –full of field interviews with artists and acoustic ecologists such as Marc Behrens, Andrea Polli, Bernie Krause, and Peter Cusack–as well as a podcast produced by Eric Leonardson, Director of the World Listening Project. I’m particularly impressed by the Bernie Krause before/after recordings.
- Chris Watson – TV interview (10min) & tracks from “Outside the Circle of Fire” CD. (raw recordings presented as-is)
- Steven Feld recordings from “Voices of the Rainforest” CD (layered recordings edited “dialogically” with participants)
- Hildegard Westerkamp’s “Kits Beach Soundwalk” (raw recordings are brought into studio, processed, recontextualized)
- IM Rawes has recorded an enormous catalog of the sounds of London. The London Sound Survey includes sound maps, archives, and historical data.
- Framework Radio: Weekly sound art and field recording radio show (+ podcast) This one is a good example of the breadth of field-recording based composition (ie not just the sounds of animals.)
- Ultra-Red is a collective dedicated to audio art and political engagement. They produce Militant Sound Investigations where listening and recording become tools for social struggle:
Despite the longing for technology to provide a disinterested position, the microphone does not stand apart from the struggle and represent it dispassionately. Rather, it and the listening it organizes is a part of the production of the conditions of struggle. Listening is a site for the organization of politics. To help conceptualize this process, the formulation can be written: sound field + organizing = soundscape.
- Christopher DeLaurenti: Towards Activist Sound (The Wire magazine) includes audio clips
- If we have time: Loss of context: How did Hugo Zemp’s Solomon Islands recordings become a hit for Deep Forest and later for Jan Garbarek?
- On the subject of the mysteries of the deep: An array of underwater research microphones (AKA “hydrophones”) have detected several unexplained deep-ocean sounds over the years. “Bloops” have been recorded several times since 1997 and were eventually classified as the disintegration of icebergs. Maybe it’s a sea monster from pre-history? H.P. Lovecraft fans think it’s the stirrings of the ancient alien overlord R’lyeh and skeptics dismiss it as one of many unknown sounds in the deep ocean.
NOTE: The NOAA hydrophone array that detected the “bloop” is a leftover Cold War surveillance system formerly called SOSUS. It was designed to detect and classify the sounds of Soviet submarines across the world’s oceans.
- Radical Listening and the People’s Microphony: A Conversation with Elana Mann : An extensive interview with Audile Receptives LA, a group that utilized the listening strategies developed by the composer Pauline Oliveros as a jumping off point to create new visual and performance art.
- Jana Winderen in a conversation with Steven Conner (whose essays we have read) and Garret Keizer on BBC radio’s The Forum in 2015, discussing noise in society, personal psychology, and art.
- Research & Resources
- Jan 18 | Intro to Listening
- … Exercise : “Reduced Listening”
- Jan 25 | Recordering & Mics | Listening Due
- … Exercise: “Recording 101”
- Feb 01 | Contact Mics & Installations | Recordings Due
- … Performance & Project 1 Prompt
- Feb 08 | Light, Radio, Synesthesia | Editing
- Feb 15 | Circuit-Bending & Electronics
- Feb 22 | Class Performance | More Editing
- Mar 01 | Noise & Music | Analog Media
- Mar 08 | CRIT Project 1
- … Project 2 Prompt
- ! Mar 15 | No Class This Week
- Mar 22 | Soundwalks & Interventions
- Mar 29 | The Voice | Proposals Due
- Apr 05 | Acoustic Ecology & Activism
- Apr 12 | Guest Artist | Interactivity & Process
- Apr 19 | CRIT Project 2 (week 1)
- Apr 26 | CRIT Project 2 (week 2)
- May 03 | Dream House (field-trip)
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