I’ll give a talk about “Sounding Underground” in the following event:
SOUND ECOLOGIES: LISTENING IN THE CITY
10am-4pm, Wednesday 18th November 2009
Department of Music, City University London, Northampton Square,
London EC1V 0HB
A day of presentations, participatory workshops and informal performance
around themes of urban sound, networked sound, locative media and
acoustic ecology – the relationship between living beings and their
environment, as mediated by sound. Featuring Furtherfield (Ruth Catlow
and Marc Garrett), and guest speakers Stanza, Peter Cusack, Ximena
Alarcón and Pedro Rebelo.
The event is free, and open to anyone interested, including musicians,
artists, curators, technologists; ecologically inclined thinkers, makers
and doers of all kinds.
For further information please visit
NB: BOOKING IS ESSENTIAL
Space is limited. To reserve your place at Sound Ecologies please visit
SOUND ECOLOGIES: LISTENING IN THE CITY is a partnership event funded by
convened by Katharine Norman, Department of Music, City University
London and Furtherfield.org
A talk about the project “Linking Urban Soundscapes via commuters’ memories” and an improvisation activity – resembling the one in México, took place in the CMMAS in Morelia-Michoacán, México. My colleague Ron Herrema, offered a concert with works of composers from the MTIRC, a partner from the IOCT, at DMU.
People were very enthusiastic with the activities. Sounds from the soundscape of Mexico City metro are not something completely detached from their experience, and they were immersed with it, voicing and playing with musical instruments. These interventions were an additional element for an improvisation planned for the use of the voice in the process of remembering (with Mexican commuters). This process becomes abstract and it enters in the recreation of a soundscape in a sort of Jazz ensemble. For these trained musicians the communication and the atmosphere was great. The interactive system was attractive and innovative for them. The soundscape, in many ocassions went to the background of our attention. The balance needed between listening and remembering is completely different when the remembering is done with musical instruments. The system then is flexible, the soundscape inspiring and provocative, and the intention of remembering probably needs to be agreed with participants, finding balance beetween musical instruments and the role of the voice. A great opportunity to learn. Muchas gracias a todos los participantes!!!!
Both events were covered by the press and the Television in Morelia. Here a link to a short article published by Cambio de Michoacan
I just discovered this post by Anne Beaulieu as regards my visit to VKS Virtual Knowledge Studio, in Amsterdam, in November 5th, 2007. I am very grateful for her words, support and invitation and the way that she is perceiving my work. Thanks to all the VKS team for inviting me for a second time to share research findings.
I highlight here some of her words, (but is worth to read the whole post and the comments), which help me to reflect again on my work:
“Personally, I was again quite intrigued by the Ximena’s approach to fieldwork and to her installation (she had presented a small part of her project at the VE workshop last year). Her project to understand and represent experience are not based on brute force (obtaining thousands of sound samples) nor on appeals to authenticity of her observation as the all-knowing fieldworker. Rather, her way of working is highly iterative: gathering material in the company of respondents, talking to them at length, going back to them with the material gathered, reworking it, gathering once again the respondent’s reactions to the transformed material, making it part of her installation. All this work constructs a very rich version of experience that requires a lasting, growing research relationship, and one that draws beautifully on the reflexive potential of respondents. “
I gave a talk about my research on the 11th of March for a Research Group of “Graphic User Interfaces and Computer Mediated Communication” at the Queen Mary, University of London. One question was about synesthesia and how I have involved this fact in my research. My response related the relation sound-smell mentioned by some commuters. One PhD researcher pointed me to explore the tags that people use in the FreeSound Project, as a way of making more dynamic the creation of categories within the ISE. Interesting thought which is nourishing this aspect and another aspects about narratives. Thanks to all researchers who attended, and to Dr. Nick Bryan-Kinns for inviting me.
The ISE project was shown in the Symposium “Auditory Environments” organised by Dr. James Mooney from the “Culture Lab” at Newcastle University. A variety of projects and research focused on sound and space, and I found interesting conexions with ideas developed in projects such as iPoi by Dr Jennifer G. Sheridan from www.bigdoginteractive.com, such as the difference between participant and performer in interactive artistic projects that involve audience. Same path with the project presented by Atau Tanaka D20, an Icosahedron, an object that difusse different channels of sound in each side of the object. Recording voice was my suggestion as to complete the interactive process. 0 Comments