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.

Effects of tip structure on the generation of metal clusters by an STM tip: a way to control the orientation of nanocrystallites?

The role of the crystalline orientation of the STM tip in the generation of metal clusters is studied by atom dynamics simulations. When a (111) facet is facing the surface, the process is accompanied by a perturbation of the surface stronger than that observed for more open tip structures. This implies a technological application: the possibility of orienting a nanocrystallite deposited on a tip according to the changes observed in the force on the tip.

Differential effects of magnetic pulses on the orientation of naturally migrating birds

In migratory passerine birds, strong magnetic pulses are thought to be diagnostic of the remagnetization of iron minerals in a putative sensory system contained in the beak. Previous evidence suggests that while such a magnetic pulse affects the orientation of migratory birds in orientation cages, no effect was present when pulse-treated birds were tested in natural migration. Here we show that two migrating passerine birds treated with a strong magnetic pulse, designed to alter the magnetic sense, migrated in a direction that differed significantly from that of controls when tested in natural conditions. The orientation of treated birds was different depending on the alignment of the pulse with respect to the magnetic field. These results can aid in advancing understanding of how the putative iron-mineral-based receptors found in birds' beaks may be used to detect and signal the intensity and/or direction of the Earth's magnetic field.

Re-imaging the Periphery: The Reproduction of Space in Cairo

This chapter examines Cairo’s path towards reassembling a modern spatial order in one of its oldest quarters, Bulaq Abul Ela, and the implications of this on the spatial experience of its inhabitants. The ambitions of space reproduction in Cairo are revealed during the attempt to engender a debate as to how this vision affected Bulaq’s riverfront zone as its periphery; how it was spatialised and to what extent the planners’ conception of urban space actually responded to the people’s needs when creating a new spatial reality. It uncovers the peripheral/central position that residents assume with regards to their living spaces to reveal new meanings, images, stories and places to replace the increasingly undesirable authentic fabric of Bulaq.

Norberg-Schulz’ Elements of Space in Dark City

Alex Proyas' science fiction film Dark City (1998) puts forth questions about the building process of a city. The aliens in the film constantly alter each street, building and room to create the right environment for humans to dwell. The ‘strangers’ believe that they need to study humans in their spaces to understand human nature. They use bits and pieces of people's memories to reconstruct the city.

Christian Norberg-Schulz identifies four elements of space: physical, perceptual, existential and conceptual. Physical space is physical existence as it is. Perceptual space is the temporary space the user perceives. Existential space, for instance, the meaning of the concept of home, is abstract and permanent; it does not change with changing conditions. Finally, conceptual space, in his spatial philosophy, is the space concept of specialists like architects, economists and mathematicians.

This article analyses the future noir environment of Dark City from a spatial perspective. The notion of building is studied as to physical, perceptual, existential and conceptual spaces of Norberg-Schulz through concepts of home, identity, belonging, and alienation with reference to the architecture of the city.