This year, Sounding Out! plans to “cover” each of the five regional Experience Music Project conferences for our readership, particularly thinking through an issue we have been discussing in detail lately in our “Sonic Borders” forum with IASPM-US—where exactly is the rub between sound studies and popular music studies?
We are looking for one attendee at each EMP conference:
- Seattle (April 20th)
- Los Angeles (April 17th, 19th-20th)
- New York City (April 18-19th)
- Cleveland (April 19th-20th)
- New Orleans (April 18th-21st)
to attend the respective conference and as many of its attached events as possible and then provide a 500-700 word review of the conference no later than two weeks after the event. We are especially interested in reviews that consider the following questions:
- How has the rise of sound studies challenged, provoked, and factored into popular music study?
- Where is the crossover, the overlap—and, inevitably, the divergence?
- How does popular music study challenge and provoke sound studies in return?
- In what way does the regional nature of the new EMP format issue interesting challenges to both fields?
Our correspondents will be published together on a special “EMP Fandango” blog post that will reach a wide readership. It will also become a permanent part of our archive and a tool for future scholars in both fields.
To apply to be a correspondent for any of the regional conferences, please email Editor in Chief Jennifer Stoever-Ackerman at firstname.lastname@example.org by March 22nd with your CV (or resume) and a brief cover letter email conveying your interest in thinking through the “sonic border” between sound studies and popular music studies at EMP this year (250-300 words). Please place the EMP you would like to cover in the subject line of your email.
As our Editor-in-Chief Jennifer Stoever-Ackerman mentioned in her Society for Cinema and Media Studies (SCMS) Conference Round-Up post from this past Monday, this weekend will be action packed for those interested in media studies and popular music studies. This year is the first year the Experience Music Project Museum (EMP) POP Conference will take place on the East Coast—sponsored by New York University’s Clive Davis Institute of Recorded Music. In addition, the EMP POP Conference will be jointly held with the International Association for the Study of Popular Music (US) Conference (IASPM-US for short). With that in mind we have brought two conference round-up posts this week. (Speaking of blogging about conferences, don’t miss IASPM’s blog coverage of EMP POP Conference 2012, where they are previewing several papers that will be read at the conference.) Even though our editorial collective is still working on the technology to enable us to be in several places at once so we don’t miss out on these awesome opportunities, I will be Sounding Out’s eyes and ears at EMP POP Conference. I will also attempt to live-tweet the panels I am attending. You can find me at @literarychica, or you can follow the conference tweet stream at #PopCon
The EMP POP Conference has been bringing together academics and non-academics alike, musicians and non-musicians alike, music writers and non-music-writers to discuss the direction of popular culture–especially popular music. The theme of this year’s POP Conference is Sounds of the City, and what better location for these cross-disciplinary conversations than New York City? From the conference website:
Presenters will pay particular attention to what urban environments have meant for race, gender, and sexuality. Jazz, rock, indie, country, metal, electronic dance music, roots, disco, and Broadway music are but some of the sounds that will be the subject of entire panels.
The city becomes the place to explore how sound is constructed but also how the city helps construct sound—and its counterpart, noise. Detroit, Berlin, and New York City, among others, take certer stage in this year’s program. Many of the panel topics show an interest in thinking about how sound influences our notion of urban space, which brings to my mind the “cities of feeling” that Carlo Rotella talks about in his book October Cities: The Redevelopment of Urban Literature. If, according to Rotella, “literary writers are in the business of imagining cities,” here at the EMP POP Conference there is an impulse to consider how do sound and noise participate in that imagining, and how gender and race play a role (3). The conference offerings illustrate an attempt to think about the sounds of the city in a broader sense, not just limiting it to music. Although the EMP POP Conference stands out for its critical focus on everything related to popular music, this year’s panels are more sound-studies oriented.
Another indication of the sound studies influence at this year’s EMP POP Conference is a focus on listening. There seems to be a an inclination not just to think about the sounds within the city but how we listen to those sounds. Listening is an important factor in how sound is constructed; in other words, an analysis of sound is not limited to the sounds themselves, but how those who listen interpret those sounds, or how listeners themselves are perceived. From the Feminist Working Group‘s Friday panel titled Turn It Up! One: Listening to Difference to Gustavus Stadler’s “Aural Drag: Warhol as Pop Listener” to the Sunday panel Urban Ears, listening is part of the conversation taking place at NYU this weekend about sound and urban space.
Our regular readers will see several familiar names in the program. Gayle Wald is presenting on the Marvelettes Friday morning on the Afro Imaginaries panel. Gustavus Stadler is moderating the Lonely Subcultures panel on Friday and presenting on Andy Warhol in his paper “Aural Drag: Warhol as Pop Listener.” (Insider tip: keep an ear out for Eric Lott, who will be presenting on the same panel as Stadler; you can expect a blog post from Lott in the upcoming months.) Karen Tongson, who blogged for us on The Voice, will be presenting a paper titled “Drive and Sounds of the ‘80s Metropolis.” Scott Poulson-Bryant will be participating in the Saturday afternoon roundtable on Whitney Houston titled “Newark’s Finest: Reflections on Whitney Houston.” Last but not least, Regina Bradley, one of our regular writers, and myself will be presenting together on a roundtable on Sunday titled “I Pledge Allegiance to the Block: Cityscapes, Hegemonic Sound, and Blackness.”
The conference will take place at New York University’s Kimmel Center, and is free of charge. To find out more about the presenters or to read about all the other outstanding panels at the conference, please visit the conference website. So if you’re in the New York City area Thursday through Sunday (or if you’re considering hopping on a train from Boston to check out some panels–wink wink), the conference will be well worth your while!
Please comment to let SO! know what you think–both before and after EMP PopCon 2012. If I missed your panel in my round up, please drop me a line: email@example.com
Liana M. Silva is co-founder and Managing Editor of Sounding Out! She is also a PhD candidate at Binghamton University.
Back to menu
THURSDAY, March 22
Thursday, March 22, 2012
Thursday, March 22, 2012 7:00pm-8:30pm
Conference Opening Keynote: The Artist in the City: with Angélique Kidjo, Esperanza Spalding, Santigold, and Himanshu Suri (aka Heems)
Room: Eisner & Lubin Auditorium KC 401
Writing about how jazz in the mid-20th century reflected lived experience in New York city’s tenements, the scholar Shane Vogel quoted Duke Ellington’s description of his swing symphony, “Harlem Air Shaft”: “So much goes on in a Harlem air shaft…You hear fights, you smell dinner, you hear people maing love. You hear intimate gossip floating down. You hear the radio. An air shaft is one great big loudspeaker.” In the crowded city, the musician-composer becomes a living receiver, distilling a static field of sounds and sensations into an evocative whole.
This keynote event gathers together four prominent artists whose work reflects a cosmopolitan worldview, with each artist rooted in his or her particular urban home. Grammy winning Beninoise singer-songwriter Angélique Kidjo has truly had a global career, having recorded albums in a staggering array of languages, styles, genres and cities; her recently-released live album Spirit Rising is a career retrospective featuring diverse guests like Ezra Koenig, Josh Groban and the Kuumba Singers. Grammy winner Esperanza Spalding is about to release her third album, Radio Music Society, a border-crossing blend of jazz, soul, funk and pop that reflects the cities she loves: New York, Barcelona, and her birthplace of Portland, Oregon. Philadelphia-bred, Brooklyn-based Santigold (Santi White) is one of the brightest lights of the East Coast bohemian underground; her upcoming second album, Master of My Make Believe, takes her incendiary blend of hip hop, indie rock and dance music to a new level. On his recent mixtape Nehru Jackets, Himanshu Suri (Heems) of the Queens-identified hip hop group Das Racist drops wit and wisdom about the ups and downs of life in Gotham’s five boroughs. Discussing their new work and how they’ve formed their own sound and vision in relationship to the urban spaces where they thrive, these artists consider what’s changed and what remains consistent in the half-century plus since the Duke found heaven in the clanging multiplicity of the air shaft.
Moderator: Ann Powers
Back to menu
FRIDAY, March 23
Friday, March 23, 2012
Friday, March 23, 2012 9:00 am-11:00 am
Room: KC 804/5
Moderator: Banning Eyre
Gayle Wald, “‘Deliver De Letter': ‘Please Mr. Postman,’ the Marvelettes, and the Afro-Caribbean Imaginary”
Emily J. Lordi, “Moving Out: White Flight and Sly and the Family Stone’s ‘Stand!'”
Koushik Banerjea, “Cities of the Dead: Soundscaping Race, Memory and Desire in a Forgotten London”
Wills Glasspiegel & Martin Scherzinger, “Beyoncé’s Afro-Future: Power and Play in “Run the World (Girls)””
Repositioning Urban Pop
Room: KC 808
Moderator: Barbara Browning
Rustem Ertug Altinay, “‘In Konya she would marry a regular dude, but Serife from Konya is now a Lady': Power, Sexuality and Cities in Gungor Bayrak’s Autobiographic Songs”
Erin MacLeod, “‘Layers and layers of not-so-dope synths': Listening to the Music of Addis Ababa”
Mark Lomanno, “Surfaces and (archi)Textures in Canarian Jazz”
Room: KC 406
Moderator: John Melillo
Patrick Deer, “‘The Cassette Played Poptones': Punk’s Pop Embrace of the City in Ruins”
Jessica Schwartz, “Conform or Die: Composing the City as National Security Threat, 1945-1962″
John Melillo, “Revenant Frequencies: Destructive Sound from “The Waste Land” to NYC Ghosts and Flowers”
J. Martin Daughtry, “Evocative Objects and Provocative Actions on the Acoustic Territory of War”
Friday, March 23, 2012 11:15 am-12:45pm
Turn It Up! One: Listening to Difference
Room: KC 808
This panel is sponsored by the Feminist Working Group. Since 2008, we have organized panels, get-togethers and networking opportunities for all feminists who participate in EMP. For more information about our activities, and to get involved, please visit http://feministworkinggroup.blogspot.com
Moderator: Lucy O’Brien
Summer Kim Lee, “‘Singin’ Up On You': Queer Intimacies of the Sonorous Body In ‘The New Sound Karaoke'”
Daniel Sander, “Girl. Reverb. Notes on Queer Tactics of Sonorous Difference”
Kyessa L. Moore, “(Sub)Spacialized Urban Sound, Expressive Communion and Identificatory Dislocations”
Cairo and Athens Spring Up
Room: KC 405
Moderator: Katherine Meizel
Banning Eyre, “Cairo Soundscape: Revolution and Cultural Renaissance”
Maysan Haydar, “Wild in the (Arab) Streets: Songs for the Revolutions”
Hypatia Vourloumis, “Bad Athena: Crises, Syntheses and Sounds of a European Other”
Room: KC 406
Moderator: Gustavus Stadler
William Hutson, “Abrasive Nostalgia: A Noisescape of Deindustrialization”
Vivian L. Huang, “Not That Innocent: Britney Spears, Laurel Nakadate and Strangers”
Julia DeLeon, “Dance Through the Dark Night: Distance, Dissonance and Queer
Friday, March 23, 2012 2:15pm-3:45pm
Memory, Music, and the Metropolis
Room: KC 804/5
Moderator: Charles Kronengold
Tracy McMullen, “In the Beginning, You Are There: Cloning Genesis and the Return of the Urbane”
Tavia Nyong’o, “Shame and Scandal and Zombies”
Karen Tongson, “Drive and Sounds of the ’80s Metropolis
Room: KC 808
Moderator: Caroline Polk O’Meara
Raymond Knapp, “The Sound of Broadway’s Mean Streets”
Jacqueline Warwick, “‘Bigger than Big and Smaller than Small': Child Stars, Street Urchins, and Little Orphan Annie”
Elizabeth L. Wollman & Susan Tenneriello, “Spider-Man: Turn off the Dark and the Ambivalence of Spectacle
Turn It Up! Two: Making Community
Room: KC 405
Moderator: Elizabeth Keenan
Rachel Devitt, “I Love a (Pride) Parade: Queer Community-Building, Temporary Spaces and Politicized Kitsch among LGBT Marching Bands”
Evelyn McDonnell, “The Roads to Ruin”
Matthew Carrillo-Vincent, “Ears to the Streets, Peripheral Beats: The New Social Map of Backpack Rap”
Friday, March 23, 2012 4:00pm-6:00 pm
Roundtable: “Do You Want More?” The Time and Space of Alternative Sonic Blackness
Room: GC 95
The migration of sounds and ideas across time and place encourages synthesis; giving rise to avant garde, radical, and futurist voices. What (other) worlds open up and what (outer) spaces are formed? How do regional sites remix global flows? What factors/forces enable or prohibit certain voices from finding an audience in the national, global or cyber scene? How do we reconcile organicism of sound, as musicians produce out of particular worlds, with the reckless and restless ways music circulates?
Moderator: Jayna Brown, Daphne Brooks, Tavia Nyong’o
The work of Barry Jenkins
Location Location Location
Room: KC 802
Moderator: Fabian Holt
Keith Negus, “Making it in the Big City: Small Town Boys, Country Girls and Suburban Dreamers”
Jennifer C. Lena, “The Ground on which the Race was Run: Careers in Pop”
Carl Wilson, “We Hate It When Our Friends Become Successful: The Death and Life of Great North American Scenius”
Kembrew McLeod & Loren Glass, “Killer Apps Play the Sounds of the Cities”
Detroit: Foundation, Eclecticism, and Memory
Room: KC 808
Moderator: Marlon Bailey
Rebekah Farrugia & Kellie Hay, “‘The Foundation’ in Detroit: Challenging Conventional Ideologies about Sex and Gender in Hip Hop”
Denise Dalphond, “Eclecticism in Detroit: Diverse Dance Party Scenes in Electronic Music”
Carleton S. Gholz, “Remembering Rita: Sound, Sexuality, and Memory”
Back to menu SATURDAY, March 24
Saturday, March 24, 2012
Saturday, March 24, 2012 9:00 am to 11:00 am
Metal Studies Rising
Room: KC 808
Moderator: Jeremy Wallach
Esther Clinton, “The Gothic Menace, Then and Now: Gothic Literature, Heavy Metal Music, and Moral Panics”
Eric Smialek, “How Does Metal Mean? Ways that Musicology Can Contribute to Metal Studies”
Amber R. Clifford-Napoleone, “Hell Bent for Metal: A Study of Queer Fans of Heavy Metal”
Nelson Varas-Diaz & Eliut R. Rivera-Segarra, “Heavy Metal music in the Caribbean Setting: Social Practices and Meanings of Music at the Periphery”
Saturday, March 24, 2012 11:15am-12:45pm
Street Dreams: Blackness on the Move
Room: KC 802
Moderator: Alexandra T. Vazquez
Adrienne Brown, “Rehearing Hip-Hop Automotivity”
Sonya Posmentier, “City Streets, Country Roads: Zora Neale Hurston’s Moving Sound”
Francisco Robles, “‘This bitter earth may not be so bitter after all': Political Promise and Sonic Geography in Killer of Sheep and We Insist! Max Roach’s Freedom Now Suite”
Sexuality and the City
Room: KC 405
Moderator: Franklin Bruno
Philip Gentry, “The Erotics of Chance”
Emily Tartanella, “‘A Country Mile Behind the World': A Smithsian Sense of Place ”
Elias Krell, “Singing the Contours of the City: Transvocality and Affect in Lucas Silveira’s Toronto”
Room: KC 406
Moderator: Laura Lavernia
Matthew Hayes, “Preserving America’s Endangered Soundscapes: An Emerging Field in Historic Preservation”
Barrett Martin, “Preserving Musical Memory: Physical Space and Socio-Economic-Cultural Identity”
Devon Powers, “Writing Music (Into) History”
Saturday, March 24, 2012 2:15pm-3:45pm
Warhol’s New York
Room: KC 914
Moderator: Jonathan Flatley
Gustavus Stadler, “Aural Drag: Warhol as Pop Listener”
Eric Lott, “Andy’s Mick: Warhol Builds a Better Jagger”
Bryan Waterman, “‘It’s Too ‘Too Too’ to Put a Finger On': Tom Verlaine’s Lost Lisp and the Secret History of the New York Underground”
Losing It in the City
Room: KC 804/5
Moderator: Ken Wissoker
Carolina González, “DomiNegro turf: Whose Uptown?”
Keith M. Harris, “‘I don’t care anymore': Deep Soul, Doris Duke, and the Allegory of Migration”
Michael B. Gillespie, “We Almost Lost Detroit: Sonic Historiography, 9/11, and Theo Parrish”
Saturday, March 24, 2012 4:00pm-6:00pm
Roundtable: Feminist and Queer Studies of Race in Sound
Room KC 804/5
This roundtable convenes two fields of scholarly inquiry—critical race studies and feminist theory/queer studies—to explore the following interrelated questions: How does sound construct racialized and gendered meaning and/or prompt processes of racial subjection? How might various hermeneutics of sound enrich and/or expand current ethnic and gender studies approaches to the study of racial formation? And how might we collectively forge a feminist, queer analytic for the study of racialized sound and sonic processes of racialization?
Moderator: Kevin Fellezs
Saturday, March 24, 2012 6:15pm-7:30pm
IASPM-US General Membership Meeting
Room: Rosenthal Pavilion, 10th Floor
The general membership meeting of IASPM-US is the organization’s opportunity to gather together and discuss the accomplishments of the past year, any concerns or issues that have arisen, and plans for the coming year. All IASPM members are welcome. We would also like to invite any interested regular EMP participants who might be interested in joining IASPM. Beyond our normal business, the general meeting this year will feature the announcement of the first winner of the Charles Hamm Memorial Award in recognition of lifetime contribution to Popular Music Studies. In addition, the David Sanjek Award for best paper by a graduate student at the meeting will be announced.
Back to menu
SUNDAY, March 25
SUNDAY, March 25, 2012
Sunday, March 25, 2012 9:00 am to 11:00 am
‘Silver City Bound': Black Women Musicians & the Urban Avant Garde
Room: KC 905/7
Moderator: Imani Perry
Daphne A. Brooks, “‘One of these mornings, you’re gonna rise up singing': The Secret Black Feminist History of the Gershwins’Porgy and Bess ”
Farah Jasmine Griffin, “Playing through the Changes: Mary Lou Williams’ Manhattan”
Salamishah Tillet, “Bethlehem, Boardwalks, and the City of Brotherly Love: Nina Simone’s Pre-Civil Rights Aesthetic”
Jayna Brown, “After the End of the World: Afro Diasporan Feminism and Alternative Dimensions of Sound”
Room: KC 802
Moderator: Tom Miller
Jeremy Morris, “Hear, Here: Location-Based Music”
Van Truong, “Distant Sounds”
Mark Katz, “Analog and Digital: A Love Story”
Karl Hagstrom Miller, “I am Sitting in a Room: The Private Pop Experience”
Sunday, March 25, 2012 11:15am-12:45am
Utopian Spaces in an Accelerated Age
Room: KC 802
Moderator: Eric Lott
Wayne Marshall, “Music as Social Life in an Age of Platform Politricks”
Julianne Escobedo Shepherd, “Cunt Music: When Vogue House Dips Meet Dipset”
Max Pearl & Alexis Stephens, “New Jack City: Frenzied Cultures, Transitory Spaces (or, how I learned to stop worrying and embrace the hype cycle)”
Sunday, March 25, 2012 2:15pm-3:45pm
Room: KC 905/7
Moderator: Greil Marcus
Sonnet Retman, “Muddy the Waters: Other Stories of Love and Theft in the Making of the Delta Blues”
David Suisman, “The Urban Ear of Tony Schwartz”
Franklin Bruno, “Who Put the Arrow in ‘Cupid?': Hugo and Luigi’s Schlock ‘n’ Soul”
A Girl’s Guide to the Urban Imaginary
Room: KC 914
Moderated by: Jacqueline Warwick
Elizabeth Keenan, “Out in the Streets: 1960s Girl Groups and the Imagined Urban Space of New York City”
Sarah Dougher, “Making Noise in the Safe Space: How Girls’ Rock Camps Make Place in the City”
Diane Pecknold, “The Spectral Cityscapes of Tween Pop”
“Beat Street”: New York City Hip-Hop
Room: KC 804/5
Moderator: Oliver Wang
Patrick Rivers, “Rumble in the Concrete Jungle: Beat Battles in NYC and Their Impact on Hip-Hop Production”
Shanté Paradigm Smalls, “‘Voices Carry': Queer Dissonance and the Travel of NYC 1980s Hip-Hop Sound”
Chris Tabron, “‘Boom It in Ya Jeep': Low-end Theories of Black Aurality in 90’s NYC Hip-Hop”
Roundtable – I Pledge Allegiance to the Block: Cityscapes, Hegemonic Sound, and Blackness
Room: KC 808
Whether a homesite for protest and resistance or, as Alain Locke suggests, an escape from the ‘medieval’ south, the city serves as both a muse and haven for black American cultural expression. Although city-scapes are heavily represented in African American music and popular culture, more discussion is needed about how the city is often a hegemonic space of black cultural expression. In other words, how does an urban setting dictate power and blackness in the (African) American community?
Moderator: Guthrie Ramsey
Matthew D. Morrison
Sunday, March 25, 2012 4:00pm-6:00pm
Room: KC 808
Moderator: Devin McKinney
Julia Sneeringer, “‘I’d Never Even Been to Manchester': Liverpool Musicians in Hamburg’s Entertainment Economy, 1960-1965″
Leonard Nevarez, “How Joy Division came to sound like Manchester”
Lucy O’Brien, “Can I Have a Taste of Your Ice Cream? (Post punk feminism and the Yorkshire Ripper)”
Gillian Gower, “Riot Culture: Beats, Banksy, and the Bristol Sound”
Inspired by how sound and memory interact, Cities and Memory is a sound program with the aim of “remixing the world, one sound at a time,” existing on the (already quite blurred) line between documentary field recording and sound art.
Its primary manifestation is an online global sound map, on which every location boasts two sounds, the “city” and the “memory.” The “city” sound is the faithful, documentary field recording capturing that place at that time, as it existed and was heard. The “memory” sound is a reimagined, remixed, reinterpreted version of that sound: everything from oral reconstructions, full-on techno tracks built around a field recording, ambient reimaginings, and all the points in between, as summarized in this roundup of creative approaches from the site. The reimagined sounds represent how sound is remembered and experienced differently by each individual, and explore what happens in that magical period between sounds being physically experienced and their being mentally processed, interpreted, and above all felt.
Starting from that basic premise, Cities and Memory has collected more than 600 sounds from around the world in just over a year, with more than 100 artists, musicians, field recordists and sound enthusiasts contributing anything from a field recording snatched on a mobile phone through to a complete musical reconstruction.
Over recent months, Cities and Memory has expanded with a series of projects each exploring a different avenue or window onto sound that has been opened up. For instance, last November saw #HamburgSounds, an ambitious project to sound map the vast city of Hamburg, Germany and to reimagine its sounds. A four-day recording session garnered enough recordings for forty sound artists each to give their take on a different aspect of Hamburg’s sounds and what they meant to them. The results were symbolically released over a 24-hour period, representing a day in the city’s life, and in the memories and imagination of its citizens. For more sounds from Hamburg, click here.
This year also saw a project using Brian Eno and Peter Schmidt’s Oblique Strategies cards as creative direction for reimagining field recordings. The reimagined sounds that came from more than 100 different creative strategies employed in the project were even more diverse than its locations, which covered everything from jungle in Thailand and Shanghai temples to the urban centres of Chicago, New York and London. Spectrum analysis, musical cryptograms, working simultaneously with artists in different countries, even TripAdvisor reviews(!) – every creative sonic technique in the book seems to have been used in one way or another.
The latest project, called Quiet Street, takes the form of a simultaneous digital and physical exhibition, reimagining the sounds of the city of Bath as part of its Fringe Arts Bath Festival. The physical installation presents two sides of sonic memory – first, the documentary field recording of a location in Bath, and second the reimagined, or ‘memory’ version of the sound. The audience can navigate between two sonic ‘versions’ of Bath simultaneously on different sides of the space. One side broadcasts the “city” sound from a location, the other the matching “memory” sound, a remix or reinterpretation of the field recording, time-synced so that the sets of sounds shift in and out of one another in unison. The listener chooses – by his or her own physical proximity – to experience freely the two sound worlds.
As the “city” and “memory” sounds are precisely time-synced in the installation, an additional creative challenge for the artists was to create reimagined version the same length as the source field recording. More importantly, they also needed consider not just how the reimagined sound stood on its own, but how it would live simultaneously in the same space as the field recording, creating a direct tension between “real” documentary sounds and the memory of those sounds in the same space.
The digital exhibition of Quiet Street allows the sounds to be explored through a map interface. It also allows listeners to simulate the installation experience with a series of installation mixes, presenting the field recording and reimagined sound on opposite sides of the stereo field. You can access playlists here and here as well as download the album documenting the event here.
As a curator, the most exciting thing to me is that the central idea behind Cities and Memory is so open; there are almost infinite possibilities for its application. A new angle on sound, place or memory can bring up a new project at any point, and every contributor brings their own experience and interpretation.
In the course of exploring hundreds of field recordings, examining them in detail and finding a creative angle from which to reinterpret them, I’ve developed a new appreciation not just of field recording as a practice, but of how to listen to whichever environment I find myself in. It’s given me a new perspective on sound and on music, and how utterly blurred the lines are between the two. I listen very differently to the world now. As Cities and Memory continues to grow, I hope many others will too.
Stuart Fowkes is the creator and curator of Cities and Memory, producing a large number of the source field recordings and reimagined ‘memory’ versions himself, as well as curating the project as a whole. Quiet Street runs from 22 May to 7 June at 8/9 New Bond Street Place, Bath, as part of Fringe Arts Bath, and digitally at www.citiesandmemory.com/quietstreet. Find out more about Cities and Memory and how to contribute: http://citiesandmemory.com/what-is-cities-and-memory-about/
REWIND!…If you liked this post, you may also dig:
Toward A Civically Engaged Sound Studies, or ReSounding Binghamton–Jennifer Stoever