When I visited Ameland this summer I was surprised by the sounds I heard on the beach. Wind was blowing hard and played the ropes of the sailboats’ masts. I love to encounter those sounds, it’s like the elements are playing rhythms too complex for me to understand.
But you can also help the wind a little by building some instruments. That’s what Pierre Sauvageot did with his Harmonic Fields sound installation. Wouldn’t it be magical to suddenly hear these wonderful sounds while walking in the dunes?
– from Everyday Listening
Stephen Vitiello’’s new multi-channel sound installation A Bell For Every Minute is a site-specific work commissioned for the High Line. The piece will fill the 14th Street Passage, a semi-enclosed tunnel between West 13th and West 14th Streets, with sound recordings of bells taken from all over New York City and beyond. Sounds range from the iconic rings of the New York Stock Exchange bell, the historic Dreamland bell days after it was discovered in the water off Coney Island, the United Nation’s Peace Bell, and more everyday and personal sounds of bike bells, diner bells, and neighborhood church bells. Bells are used in our culture to mark the passing of time, act as warnings and alerts, mark celebrations, and memorialize those lost. While there are numerous conditions under which bells are heard in our city, they are universal sounds that all of us can appreciate as part of the auditory landscape of our lives.
More on the Creative Time website.
This ‘boat-movie’ follows Stephen Vitiello, internationally celebrated ‘sound artist’ from the US, as he embarks on a 300km odyssey around the rugged Kimberley coast capturing unique sounds. Vitiello’s latest challenge, to capture the sound of Australia, is at the behest of art patron John Kaldor and is to create an ‘installation’ to be exhibited in the old kilns at Sydney Park’s brickworks buildings.
- from ABC Arts
Jaap Blonk (born 1953 in Woerden, Holland) is a self-taught composer, performer and poet. He went to university for mathematics and musicology but did not finish those studies. In the late 1970s he took up saxophone and started to compose music. A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure. He performed in many European countries, as well as in the U.S. and Canada, Indonesia, Japan, South Africa and Latin America. With the use of live electronics the scope and range of his concerts has acquired a considerable extension.
- From Jaap Blonk’s website
And have a look at this!
The BQEar is an enormous trumpet-like horn perched atop the fence of the outdoor sculpture venue The Art Lot in Red Hook, Brooklyn. It was a project of mine included as part of a group exhibition called Media Mixed X4 in September 2010.
With A Balloon for… a Water Tower Davide Tidoni shows us the amazing effect the sound of a popping balloon creates in front of the water tower of Santarcangelo. The project invites the average passers-by to listen a bit more careful to the world around them. Watch the movie and listen to the effect:
Security (from Five Electrical Walks)
Christina Kubisch Walks through Sound Waves
Christina Kubisch’s “Electrical Walks” project employs specially-built headphones that receive electromagnetic signals from the environment and convert them into sound. Kubisch maps a given territory, noting “hot spots” (ATM machines, security systems, electronic cash registers, subway systems, etc.) where the signals are particularly strong or interesting. She has also lent out headphones to the public, allowing participants to undertake their own “Electrical Walks.” Whether walking through the Centre Pompidou in Paris or a religious service in Switzerland, Kubisch has found that “nothing looks the way it sounds. And nothing sounds the way it looks.”
Helen Thorington – 9-11 scapes (excerpt)
a collaboration with Jo-Anne Green
<a href=”http://radioartnet.bandcamp.com/track/91101-scapes” _mce_href=”http://radioartnet.bandcamp.com/track/91101-scapes”>9.11.01 Scapes by radioartnet</a>
9.11.01 Scapes was composed to accompany a series of collaged images created by Jo-Anne Green the day New York’s World Trade Center was attacked. Green’s palette consisted of NASA images of earth and photographs of diatoms and ground Zero. Each Scape consists of multiple layers. Thorington used the layers’ titles, and the texts that accompanied the NASA images to weave her multilayered narrative for the Notes; and much as Green used found ‘pigments’, Thorington used found sounds to create the soundscore for the series. 9:11:01 Scapes was the winner of an Honorable Recognition, Prix Bohemia Radio Festival, Czechoslovakia, 2003; and the Winner, Aether Festival, KUNM-FM, Albuquerque, New Mexico, 2003.
Helen Thorington is a writer, sound composer, and media artist. Her radio documentary, dramatic work, and sound/music compositions have been aired nationally and internationally for the past twenty years. She has also created compositions for film and installation that have been premiered at the Berlin Film Festival, the Whitney Biennial, and the Whitney Museum’s annual Performance series.
Walking through Tokyo at the Turn of the Century
Shinjuku Station (south entrance) – Ticket vending machines, telephone, wicket beeps, train arrival/departure music.
More a documentary than a composition, Sarah Peebles’ release is nevertheless perfectly capturing the soul of a city that’s world famous for its messy life. But what’s incredible listening to “108″ is the fact that the very characters of noise, confusion and – not to exaggerate – stress one usually gets in metropolitan environment become – little by little – appreciated companions in any of their particular inflexions: the fast-food girl’s almost carillon-like voice accompanied by company jingles, a preacher, commercial music from Japanese radio, and so on… The only moment of relief comes with the wonderful tolling of a temple’s bell preceding the New Year. Here you have the total meeting: the body has time to settle down, the mind can work in spans at last. Contrarily to similar projects that just draw a blank, Sarah’s soundscape needs to be listened with polished ears.
— Massimo Ricci, Touching Extremes
Soundbridge Köln/San Francisco»
In 1987 the first satellite bridge in the history of radio was produced with two sound sculptures: Soundbridge Köln – San Francisco. The «orchestra» consisted of 18 sound sources in the city of Cologne and 18 in San Francisco. Simultaneous events in the two cities, parallel but completely independent of one another, were brougtht together and mixed into a collage by Bill fontana from a mixing board at the WDR, producing the live composition, Satellite Soundbridge Köln – San Francisco. For an hour the listeners entered into the sound world of two widely separated cities though the medium of Fontana´s sound composition. Many listerners have mentioned that this work had a soothing effect which was almost therapeutic in nature.
(Source: ZKM Audio collection)
On the morning of November 30 1999, armed with a portable DAT (digital audio tape) deck and two microphones, I ventured into the streets of Seattle to record the heady and harrowing protest against the World Trade Organization. Spattered by pepper spray, enshrouded in tear gas and pelted with rubber bullets, I was engulfed in maelstrom of drums, slogans, chants, screaming and violence. Immersing the listener in the polyphony of the protest, N30 is an aggressively edited orthophonic “you are there” recording. Propelled by the audible drama of the unfolding protest, N30 has no narration, objective reportage or interviews. Recorded on the front lines, the vibrant and violent pageant of sound speaks and sings for itself.
- From ubuweb