Evocative Listening : Mediated Practices in Everyday Life

The history of sonic arts is charged with transgressive practices that seek to expose the social, aural and cultural thresholds across various listening experiences, posing new questions in terms of the dialogue between listener and place. Recent work in sonic art exposes the need for an experiential understanding of listening that foregrounds the use of new personal technologies, environmental philosophy and the subject–object relationship. This paper aims to create a vocabulary that better contextualises recent installations and performances produced within the context of everyday life, by researchers and artists at the Sonic Arts Research Centre at Queen's University Belfast.

Sounds of the City

“Sounds of the City” is a large-scale community project and exhibition commissioned by the Metropolitan Arts Centre (MAC) and led by artists from the Sonic Arts Research Centre (SARC), Queen’s University Belfast. Over a four-month period, the artists worked together with two intergenerational groups in Belfast with the aim of addressing specific sound qualities of places, events and stories. Themes that surfaced from this process constitute the basis for the exhibition which promotes listening as a form of intersecting daily life, identity and memory. Five installations address aural contexts ranging from Belfast’s industrial heritage to the local family home. These are shaped by present and past experiences of workshop participants at Dee Street Community Centre in East Belfast and Tar Isteach in North Belfast. The themes and contents of these installations center upon the relationship between sound and memory, sound and place, and the documentation of everyday personal auditory experience.
All materials exhibited have emerged through workshops, interviews and field-recording sessions. Workshops acted as a basis from which to inform each group about the project’s aims, methods of listening, methods of documenting sound and the wider areas of soundscape studies and acoustic ecology. They also provided a central point allowing participants to organize outside activities and share material for exhibition.
“Sounds of the City” explores the relationship between sound and community through everyday life and presents a dynamic and ever-changing soundscape that shapes Belfast’s identity.

Sounds of the City has been exhibited at the MAC, Belfast 2012 and at Espaço Ecco, Brasilia 2013.

So Great Is Their Love

A soundscape composition intended for installation in a sound art exhibition. This short project is a contribution to practice-led research that questions that nature of authorial identity, and the composer's responsibility for the sounds produced. First made public in The Braid, Ballymena, 25 September 2013

Soundspace: A Manifesto

The manifesto is a long-standing and powerful tool for challenge within architecture, deployed by those as diverse as Vitruvius and Frank Lloyd Wright (who proposed a Walt Whitman-inspired “Work Song” of 1896) to those publishing in blogs across the designing planet today. Manifestos are locations for dreaming, for the banging of shoes, for passion in words about the environment we invent. Our manifesto follows in that tradition of poetry and critical optimism in calling for a new architecture of soundspace.

Here we wish to act as Markus Miessen’s “uninvited outsider” (Miessen 2010), a transgressive voice that disturbs the status quo beyond comfortable familiarity and brings together different types of thinkers and various modes of critique.[1] In this article we seek to probe “fundamental questions about how and for whom the built environment is produced and … conventional frameworks or oldestablished rules and regulations” through the interdisciplinarity that sound studies demands.[2] The ear to transgression is open.[3]

Soundspace: A Manifesto (Illustrated Version)

With graphic artist Ryan O'Reilly, we have published an illustrated version of our article 'Soundspace: A Manifesto,' originally published in 2014 in the peer-reviewed journal Architecture and Culture. The set of cards, which feature one manifesto tenet per card with illustrations by O'Reilly, is aimed a wide audience outside academia.

Sounding Voices

40 minute sound art piece for the AHRC funded project Listening to Voices

MESAS

MESAS is an urban intervention that promotes the relationship with everyday sound through indispensable pieces of furniture for the domestic, the professional and the playful in our lives – the table. Different uses and contexts determine the many variations in form; from dinning, to coffee tables, kitchen, garden, meeting, bar, side or game tables. The MESAS project, by artists Pedro Rebelo and Ricardo Jacinto was conceived for Rua Direita in Viseu and consists of a sequence of tables suspended throughout the street, which reveal experiences and memories through sound. The materiality, context and utility of each table articulate sonorities that include the manipulation of objects on their tops or the conversations happening around them, as well their impact on the soundscapes of the places in which they are situated. The project makes audible these particular experiences through a set of sound installations associated with places such as the jewellery, the school, or the tailor’s.

Som da Maré: Um Projeto Participativo de Arte Sonora

In May 2014, the participative Project Som da Maré brings together the creative energy of a group of inhabitants from a cluster of favelas in Maré (Rio de Janeiro)* through the sonic arts. The work recalls everyday experiences, memories, stories and places. These memories elicit narratives that leave traces in space while contributing to the workings of local cultural.

The result of four months of workshops and fieldwork forms the basis of two cultural interventions: an exhibition in Museu da Maré** and guided soundwalks in the city of Rio de Janeiro. These interventions present realities, histories and ambitions of everyday life in the Maré favelas through immersive sound installation, documentary photography, text and objects.

Som da Maré brings together various groups of participants who together have developed themes, materials and strategies for the articulation of elements of everyday life in Maré. Participants include secondary level students under the Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro (FAPERJ) “Young Talent” scholarships and their families, post-graduate students at the Universidade Federal do Rio de Janeiro (UFRJ), PhD students from the Sonic Arts Research Centre (Queen’s University Belfast) and members of the Cia Marginal, a theatre company based in Maré. The project also counts with the participation of academics from music, ethnomusicology, visual art and architecture at the UFRJ and a partnership with the Museu da Maré. Over thirty people have come together to make this project possible.

The Local and the Distributed in the Sonic Arts

This paper addresses the relationship between local and distributed strategies with reference to two recent participatory sound art projects in Belfast and Rio de Janeiro. The local concern for site and place is discussed and juxtaposed with distributed practices, which,by definition question and extend the very notion of site or locale. I refer to examples from ethnomusicology, anthropology and education in which participative horizontal research methodologies lead to a dynamic articulation of local conditions and allow for a reflection on how technology impacts on social interaction and relationships with place. The works of Samuel Araújo, Georgina Born and Brazilian pedagogue Paulo Freire provide a framework of reference in this context.

Museum City - Improvisation and the narratives of space

This paper provides four viewpoints on the narratives of space, allowing us to think about possible relations between sites and sounds, reflecting on how places might tell stories, or how practitioners embed themselves in a place in order to shape cultural, social and/or political narratives through the use of sound. I propose four viewpoints that investigate the relationship between sites and sounds, where narratives are shaped and made through the exploration of specific sonic activities. These are:
- sonic activism
- sonic preservation
- sonic participatory action
- sonic narrative of space

I examine each of these ideas in turn before focusing in more detail on the final viewpoint, which provides the context for discussing and analysing a recent site-specific music improvisation project, entitled ‘Museum City’, a work that aligns closely with my proposal for a ‘sonic narrative of space’.
The work ‘Museum City’ by Pedro Rebelo, Franziska Schroeder, Ricardo Jacinto and André Cepeda specifically enables me to reflect on how derelict and/or transitional spaces might be re-examined through the use of sound, particularly through means of live music improvisation. The spaces examined as part ‘Museum City’ constitute either deserted sites or sites about to undergo changes in their architectural layout, their use and sonic make-up. The practice in ‘Museum City’ was born out of a performative engagement with[in] those sites, but specifically out of an intimate listening relationship by three improvisers situated within those spaces.
The theoretical grounding for this paper is situated within a wider context of practising and cognising musical spatiality, as proposed by Georgina Born (2013), particularly her proposition for three distinct lineages that provide an understanding of space in/and music. Born’s third lineage, which links more closely with practices of sound art and challenges a Euclidean orientation of pitch and timbre space, makes way for a heightened consideration of listening and ‘the place’ of sound. This lineage is particularly crucial for my discussion, since it positions music in relation to social experiences and the everyday, which the work ‘Museum City’ endeavoured to embrace.

Sonic Places: In Conversation with Peter Cusack

In this interview, Recomposing the City co-directors Sarah Lappin and Gascia Ouzounian talk with Peter Cusack about his recent work, reflecting in particular on relationships between sound, sound art, planning processes and urban communities. Cusack, a field recordist and sound artist, has been a leading figure in acoustic ecology and soundscape studies for more than two decades

Contemporary Radio Art and Spatial Politics: The Critical Radio Utopias of Anna Friz

The article explores the work of the Canadian sound artist Anna Friz over the last decade. Her work deals explicitly with issues of technology and the relative absence of women's voices on radio. Exploring her work as a composer, installation artist, instrumentalist, performance artist and storyteller, and contextualising these practices within feminist critiques and radio conventions, the article explores Friz's ‘self-reflexive radio’. Ideas of ‘supermodernity’, ‘displacement’ and ‘critical utopia’ are deployed to discuss specific pieces of Friz's work in relation to identity and space. The article argues that Friz reconfigures the radio as a site of resistance to dominant constructions of contemporary globalised space and cultures, the politics of informational capitalism and the uneven flows that these cultures and politics engender.

Belfast Soundwalks: Experiences in Sound and Place through Locative Media

This article outlines the ongoing development of a locative smartphone app for iPhone and Android phones entitled The Belfast Soundwalks Project. Drawing upon a method known as soundwalking, the aim of this app is to engage the public in sonic art through the creation of up to ten soundwalks within the city of Belfast. This paper discusses the use of GPS enabled mobile devices in the creation of soundwalks in other cities. The authors identify various strategies for articulating an experience of listening in place as mediated by mobile technologies. The project aims to provide a platform for multiple artists to develop site-specific sound works which highlight the relationship between sound, place and community. The development of the app and the app interface are discussed, as are the methods employed to test and evaluate the project.