‘For the Birds’: A sound installation

2012 ◽  
Vol 17 (3) ◽  
pp. 211-215
Author(s):  
Ruth Hawkins
Keyword(s):  
Site Specific ◽  
Critical Part ◽  
Sound Installation ◽  
Specific Field ◽  
Field Recordings ◽  
Field Recording ◽  
Recorded Sound ◽  
The World ◽  
A Site ◽  
The Way

This paper describes the background and development of a sound installation which, over a period of time, brings together site-specific field recordings, and acoustic and amplified sounds in a complex of natural and technological sources. During the installation diverse genres of recording and territories of sound become potentially, transiently available as local birdsong, background noises and the sounds of recordings and audio technologies are realised through enculturated experiences of recordings and ambient modes of listening. The work has closely evolved out of an existing field recording practice and the version described here remains a proposal – at the time of writing – to be completed in spring 2011. The way in which the installation has contingently emerged has become a critical part of the work which – instead of being conceived of as a untransferable ‘new reality’ essentially related to a site – will be used to open and connect recorded sound to the prolific wider circulation of mediated sound and – across different milieux – to the world ‘itself’.

The Soundlapse Project: Exploring Spatiotemporal Features of Wetland Soundscapes

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Felipe Otondo ◽  
André Rabello-Mestre
Keyword(s):  
Time Lapse ◽  
Spatial Audio ◽  
Site Specific ◽  
Sound Installation ◽  
Field Recordings ◽  
Future Developments ◽  
Interdisciplinary Project ◽  
Temporal Features ◽  
Different Types ◽  
A Site

Abstract The article discusses an interdisciplinary project aimed at highlighting the acoustical heritage of wetlands, by means of field recordings and a novel time-lapse montage method. We discuss a site-specific sound installation that was designed using original wetlands field recordings, live processing, and spatial audio multi-channel reproduction. The discussion focuses on spatial and temporal features of different types of recorded wetlands soundscapes. Future developments of this project will consider the implementation of a standalone spatiotemporal application, to be used in the context of virtual reality applications, game audio, and interactive dance performance.

Carl Michael von Hausswolff

2008 ◽  
Vol 13 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Daniela Cascella
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Site Specific ◽  
Sound Installation ◽  
Avant Garde ◽  
Wide Range ◽  
The World ◽  
Art Photography ◽  
Conceptual Research ◽  
Audio Production

AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

2019 ◽  
Vol 24 (1) ◽  
pp. 30-40
Author(s):  
Iain Findlay-Walsh
Keyword(s):  
Virtual Environments ◽  
Auditory Perception ◽  
Sound Art ◽  
Practice Research ◽  
First Person ◽  
Art Practice ◽  
Auditory Space ◽  
Field Recordings ◽  
Field Recording ◽  
The World

This article explores recent theories of listening, perception and embodiment, including those by Mark Grimshaw and Tom Garner, Salomé Voegelin, and Eric Clarke, as well as consequences and possibilities arising from them in relation to field recording and soundscape art practice. These theories of listening propose auditory perception as an embodied process of engaging with and understanding lived environment. Such phenomenological listening is understood as a relational engagement with the world in motion, as movement and change, which grants access to the listener’s emerging presence, agency and place in the world. Such ideas on listening have developed concurrently with new approaches to making and presenting field recordings, with a focus on developing phonographic methods for capturing and presenting the recordist’s embodied auditory perspective. In the present study, ‘first-person’ field recording is defined as both method and culturally significant material whereby a single recordist carries, wears or remains present with a microphone, consciously and reflexively documenting their personal listening encounters. This article examines the practice of first-person field recording and considers its specific applications in a range of sound art and soundscape art examples, including work by Gabi Losoncy, Graham Lambkin, Christopher Delaurenti and Klaysstarr (the author). In the examination of these methods and works, first-person field recording is considered as a means of capturing the proximate auditory space of the recordist as a mediated ‘point of ear’, which may be embodied, inhabited, and listened through by a subsequent listener. The article concludes with a brief summary of the discussion before some closing thoughts on recording, listening and the field, on field recording as practice-research and on potential connections with other fields in which the production of virtual environments is a key focus.

scholarly journals Involving Experiences: Audiencing and Co-reception in Pleasure Garden

2020 ◽  
Vol 145 (1) ◽  
pp. 191-227
Author(s):  
JOSEPH BROWNING
Keyword(s):  
Art Music ◽  
Sound Art ◽  
Musical Experience ◽  
Late Capitalism ◽  
Cultural Experience ◽  
Site Specific ◽  
Sound Installation ◽  
Western Art ◽  
Western Art Music ◽  
A Site

AbstractThis article takes a site-specific, interactive sound installation called Pleasure Garden as a space for thinking about contemporary forms of musical experience. I develop a relational account of the ‘co-reception’ of Pleasure Garden, not centred on listening subjects, but distributed across audience members, artists, researchers and the more-than-human assemblage of the installation itself. I also discuss the effects of several overlapping cultures of ‘audiencing’ associated with Western art music, sound art and other forms of cultural experience – variously individualistic, distracted and participatory – characteristic of late capitalism. Tracing how Pleasure Garden both responded to and was interrupted by these wider forces, I take this case as suggestive of a deep ambivalence: that musical experience is at once powerfully conditioned and generatively uncertain. Throughout the article, problems of method, interpretation and representation intertwine, raising questions about how to study forms of musical experience that evade conventional ethnographic enquiry.

Umi no Utsuwa and Earth Vortex: Nobuho Nagasawa’s Interweaving of Oceanic and Island Imaginaries

2017 ◽  
Vol 3 (1-2) ◽  
pp. 130-154
Author(s):  
Midori Yoshimoto
Keyword(s):  
North America ◽  
Site Specific ◽  
The World ◽  
Self Actualization ◽  
Japanese Islands ◽  
The Way

By focusing on two recent site-specific sculptures created on Japanese islands – Umi no Utsuwa (Voyage Through the Void) and Earth Vortex, this article investigates the varying implications of the “island” embedded in the art of Nobuho Nagasawa. Having lived in Japan, Europe, and North America, and traveled extensively, Nagasawa has developed a nomadic sense of life which considers these passages as “islands.” The artist has us look within—using the insulating and introspective effects of islands, and without—to seek new connections and explore the world outside our individual islands of experience. This balance between self and the unknown is a recurring theme in her works. Building further on the concept of self, Nagasawa’s works are informed by the dynamics of community, family, and what it means to belong. In contrast, striking out on a nomadic journey represents freedom, creativity, and self-actualization, which can only be gained along the way.

Transcripts

2018 ◽  
Author(s):  
Drew Daniel
Keyword(s):  
Queer Theory ◽  
Recent Work ◽  
General Position ◽  
Sound Studies ◽  
Test Case ◽  
Field Recordings ◽  
Field Recording ◽  
Recorded Sound ◽  
Written Form ◽  
Queer Phenomenology

Building upon the queer phenomenology of Sarah Ahmed and recent work in sound studies, this chapter examines two related practices (field recording and the transcription of field recording) to argue for a general position: sound, as such, is queer. The author transcribes two field recordings, rendering their immanent flow of recorded sound and speech into written form, and comments upon moments of inadequate transcription that are said to demonstrate the queerness of sound. Focusing on moments in which an object or event fails to generate a legible sonic trace, the resistance of sound to transcription functions as a test case for the theoretical assertion, widely held at present in queer theory, that queerness denotes the nonnormative.

scholarly journals The Poet’s “Caressive Sight:” Denise Levertov’s Transactions with Nature

Text Matters ◽  
2011 ◽  
pp. 145-152
Author(s):  
Małgorzata Poks
Keyword(s):  
Nature Poetry ◽  
The Earth ◽  
The World ◽  
Holistic Perception ◽  
Human World ◽  
A Site ◽  
Sense Of Wonder ◽  
The Way ◽  
Denise Levertov

The scientific consciousness which broke with the holistic perception of life is credited with "unweaving the rainbow," or disenchanting the world. No longer perceived as sacred, the non-human world of plants and animals became a site of struggle for domination and mastery in implementing humankind's supposedly divine mandate to subdue the earth. The nature poetry of Denise Levertov is an attempt to reverse this trend, reaffirm the sense of wonder inherent in the world around us, and reclaim some "holy presence" for the modern sensibility. Her exploratory poetics witnesses to a sense of relationship existing between all creatures, both human and non-human. This article traces Levertov's "transactions with nature" and her evolving spirituality, inscribing her poetry within the space of alternative—or romantic—modernity, one that dismantles the separation paradigm. My intention throughout was to trace the way to a religiously defined faith of a person raised in the modernist climate of suspicion, but keenly attentive to spiritual implications of beauty and open to the epiphanies of everyday.

scholarly journals Elixir

2013 ◽  
Vol 12 (1) ◽  
pp. 116-117
Author(s):  
Janet Laurence
Keyword(s):  
Physical World ◽  
Rice Farming ◽  
Site Specific ◽  
Farming Community ◽  
The World ◽  
A Site ◽  
Traditional Rice

Elixir is a site-specific permanent artwork that forms part of the ‘necklace’ of art, architectural and landscape projects that are transforming a mountainous traditional rice-farming community in Echigo Tsumari, Nigata Prefecture, Japan. These works form an exploration of reflected and veiled environments in the physical world. They allow one to engage with a way of looking within the world rather than at the world.

Provincializing memory studies: The insistence of the ‘here-now’

2020 ◽  
Vol 13 (5) ◽  
pp. 848-860 ◽  
Author(s):  
Felicity Collins ◽  
Chris Healy ◽  
Susannah Radstone
Keyword(s):  
Case Studies ◽  
Linear Time ◽  
Memory Studies ◽  
Indigenous Culture ◽  
Site Specific ◽  
Time Line ◽  
The World ◽  
Central Australia ◽  
A Site ◽  
Different Parts

This essay responds to Astrid Erll’s question about what it might mean to do memory studies in different parts of the world. We offer a response from the perspective of three researchers based in Australia. Focused on a season-opening gala performance, a photographic series, a site-specific protest, and a film that takes a choir from Central Australia to Germany, the essay tracks the emergence, in culture, of something we term the ‘here-now’. The essay argues that this ‘here-now’ belongs neither to historical temporality’s linear time-line, nor to the cosmology of an unsullied Indigenous culture – and cannot easily be addressed in the language of memory studies. Taking our lead from four case studies, we try to find words for what it is that the ‘here-now’ makes present, as it emerges in the artworks and events we discuss. We find that the ‘here-now’s’ ordering of place/time insistently evokes a yet-to-be realized Australia, while prompting recognition of the hard truths that still stand in its way.

scholarly journals Niematerialny świat Dul-dul at. O procesie zanurzania w świat Innych, o relacjach, ludziach i innych bytach

2021 ◽  
Author(s):  
Sylwia Pietrowiak
Keyword(s):  
Field Work ◽  
Spiritual Practices ◽  
Material World ◽  
The World ◽  
Non Linear ◽  
Anthropological Field Work ◽  
A Site ◽  
Ritual Site ◽  
Rela Tions ◽  
The Way

This essay is a non-linear record of memories from the author’s anthropological field- work in southern Kyrgyzstan. The research concerns a place called Dul-dul at, a site of petroglyphs with a dominant motif of animals interpreted as a pair of horses. The area at the foot of the rock with petroglyphs is also a pilgrimage and ritual site for healing and spiritual practices. The narrative of memories shows the transformation not only of the place of research, but also of the researcher: between the first stay (in 2006) to the last (in 2019). Subsequent studies reveal the dependencies of people involved in social rela- tions on the material and non-material world of Dul-dul at. Consecutive memories reveal layers of knowledge and ignorance, and how the researcher penetrates the community of the Others and the way they perceive the world.

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