includes following artists—>
Mauro Arrighi (Italy)
Michael Beijer (Netherlands)
Catherine Clover (UK)
Scott F. Hall (USA)
Juan Kasari (Finland)
Sean O’Neill (UK)
Dawn Salvia USA)
(Koji Kawai, Rui Ogawa, and Kenya Kawaguchi) (Japan)
Duncan Whitley (USA)
Simon Whetham (UK)
1. Sensible Buildings, 3:37
Memory can be considered also in terms of perception of time. We tend to think about the feelings that living beings manifest. I try to imagine what kind of emotional states the other objects that surround us could experience. Are houses sensitive? Are buildings watching us? Maybe they can remember many things and thus feel empathy for us. In addition: how can buildings communicate with each other? If we accept that humans use their physical form to do so, then I would suggest that edifices could use their structures instead.
The entire building becomes a projective surface, on which images flow on the walls.
2. movie payback, 3:05
This work deals with daily activities that occur within every apartment such as cooking, washing, listening to music and so on. All these moments are fragments of individual identities. These pieces are not only the memories of the subject in question, but are also those of the potential viewer.
Since the behaviors occur in different places and at different times they cannot be perceived by the human viewer simultaneously, but a computer can see, record and represent all these circumstances together.
With the consent of the inhabitants of different flats, I will record them going about their daily household activities at moments when they are unaware of being recorded. Those recorded moments will then be divided into smaller pieces and elaborated during the performance. There will be as many movies projected simultaneously during the performance as there are people recorded. This is fundamental in giving the spectator a sense of contemporaneousness.
Each movie will be sliced, looped and time-manipulated in real time to create the soundtrack. The music will be the result of the combination of fragments of spoken words, ambient noise and background music. Basically, this music is made of identities and memories.
The work is site-specific: the live recording will be made in places that in someway related, in space and time, to the event.
NNN, INRI2INRI & 0029 all form part of a series called Error, which investigates error as a guiding principle in human memory and identity. The online text In Said City may be seen as a running commentary to the Error series.
This sound work is a piece based on the lift shaft and stairwell of the Melbourne Town Hall, the centre of civic power for the city of Melbourne. The particular site of the stairs and lift were chosen specifically for their transitional and apparently peripheral nature. Little time is spent here yet it is a vital link within the building and is constantly in use. The work engages with ideas surrounding transition, change, and flux.
1. Ear Shark
Ear Shark (Statement for this work): A very odd bunch of sounds indeed carefully coaxed in one take out of an ordinary four-string electric bass, pedal effects, and a 1 mm thick pick.
Flyover (Statement for this work): Subsonic rumblings in stereo captured in one take. I created this piece using an ordinary four-string electric bass, pedal effects, and a 1 mm thick pick.
3. Electric Tromba Marina
Electric Tromba Marina (Statement for this work): This work was created by me in one take using a four-string electric bass unusually tuned to the usual low E and E one octave higher. I concentrated on one of the two low E strings with a violin bow played near the top nut while my left index finger sought out harmonics on the same string. Occasionally, I drew the bow across all four strings, but often the unplayed 2nd, 3rd, and 4th strings rang out merely via sympathetic vibration.
Both songs are improvised works, analog effects, 2 guitars, live drums.
These songs included: 80juan80 (guitar, effects, computer), Lari Koppinen (drums) Ville Koppinen (Guitar
2006 – 3:08
This piece attempts to reminisce upon the sonic movements of Bangkok Thailand, a city consumed with a rich, swirling soundscape, a mixture of both modern and ancient. My impressions of the city, its people and culture, are preserved in small part through the binaural recordings I took during my three month stay. I used excerpts of these recordings, the voices/street noises/ambience, to recreate the sense of motion experienced while surrounded by Bangkok’s endless pace. The sounds were processed with extreme transposition and layered to produce evolving patterns.
made from my voice saying ‘There is nothing you can do’
2. BURN AS MANY OF THEM AS YOU CAN
recorded from electrical devices then cut copy and filtered beyond recognition.
(Koji Kawai, Rui Ogawa, and Kenya Kawaguchi)
Deep Ecological Music
(2006), 4’30” (3,6M)
Deep Ecological Music is expressing Japanese traditional soundscape. And It consists of three elements, Such as White Noise, Shamisen sound (a Japanese traditional instrument like guiter),
and Sisiodosi sound (a Japanese traditional sound object like metronome). Shamisen sound protects man from white noise as nature wonder. Sisiodosi exists in the boundary of white noise as the exterior and Shamisen sound as an inside, and comes and goes between them . When sonic energy reaches the climax, natural contingency and man’s vitality are synthesis and are generated in the world. That is, Deep Ecological Music shows the symbiosis of man and nature.
Excerpts from “My Only City – The Sounds of the West Terrace”
1. CovLeic01, 2min06
2. CovLeic03, 2min15
3. CovLeic04, 2min27
4. CovLeic11, 2min07
My Only City – The Sounds of the West Terrace is a sound and new media project in development, which focuses on the supporters of Coventry City Football Club (CCFC) during the final 10 matches at their Highfield Road stadium. Highfield Road closed its doors in 2005, having been ‘home’ to City supporters for 106 years.
The project aims towards a searchable audio archive, comprising some 500 minutes of binaural audio recorded at matches from within the stadiums much loved ‘West Terrace’. The My Only City archive documents a roller-coaster final season at Highfield Road, in which CCFC avoided relegation to the First Division on the eve of the move to a multi-million pound new arena.
My Only City combines elements of phonography, oral history, new media, and sound as a spatial art form, in a public artwork with a strong documentary bias. The project focuses not on the football club or on the stadium itself, but rather on the supporters and how they articulate their relationships to this place.
The archive subtly explores a semiotics of football crowd sound and its collective vocalisations (often referred to, dismissively, as “noise”). By examining and deconstructing the soundscapes of football stadia, the archive reveals the complexities of the language of football crowd sound, and illuminates some of the meanings conveyed by it.
The audio clips submitted for SoundLab IV were recorded at a match against local rivals Leicester City, on 16 October 2004.
_01. jokulsarlon_introduction (4:22)
water drips from a huge iceberg into the lake at jokulsarlon, making musical sounds – the water runs from the lake – the glacier creaks and breaks
_02. reyjavik_gangplank2 (0:22)
the sound of a cello followed by a train, caused by the gangplank in track 08
_03. route1_engine (2:00) – unfortunately, to get to the remote spots we visited, you need transport – the 4×4 was invaluable, and part of the team