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June 28, 2013  

Sounding Out! Podcast #15: Listening to The Tuned City of Brussels, The First Night

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In this podcast, Felicity Ford (Great Britain) and Valeria Merlini (Italy) explore the sonorities of the city during the Tuned City Brussels festival. This podcast focuses on the events hosted the first night of the Tuned City festival. Listen in as Ford and Merlini lead us through a montage of sounds hinting at the events to come. Please click here for our podcast exploring Day 1, “Noise,” here for our podcast which focuses on Day 2, “Situational Listening,” or here for our podcast which considers Day 3, “Ephermeral Atmospheres.”

The first Tuned City project was realised in Berlin in 2008, with subsequent editions in Tallinn and Nürnberg. For the current edition Q-O2 workspace for experimental music and sound art has invited Tuned City to collaboratively research the sounds of Brussels. Brussels is a dense multi-layered city characterised by abrupt shifts in urban structure, architecture and the social environment. This patchwork provides an urban modality that resists a general grasp of the city while still providing room for individual expression. The abundance these juxtapositions during the festival creates a productive resonance where the city is manifest to the passerby in its vibrant, open-ended, multiplicity. How does one grasp the nature of these oscillations and what modes of resonance give shape to the particular Brussels vibe?
 Over the course of the four day festival, Tuned City Brussels probes these urban frequencies through concerts, walks, installations and interventions, while at the same time focusing the theoretical framework around three core notions: ‘Relational Noise’ (Day 1), ‘Situational Listening’ (Day 2), and ‘Ephemeral Atmospheres’ (Day 3). A different theme will be explored each day in a corresponding ‘zone’ in the city, in which the festival relocates. Several lectures, artistic presentations, residencies and workshops have led up to this four day festival. Particularly important was a collaboration with the art schools Sint Lucas Architectuur, Erasmus Hogeschool RITS/Radio, Sint Lukas Transmedia, a.pass and La Cambre (ENSAV) option Espace Urbain.

If you would like to learn more about the Tuned City Brussels Festival, please check out their program here.

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Felicity Ford (Great Britain) works across a wide variety of platforms in order to engage the public with new modes of listening. She celebrates everyday life by linking the sounds of material culture, documentary sound-recording processes and listening to their larger social contexts. Since completing her PhD in 2011 she has completed commissions on Sonic Wallpapers for the Museum of Domestic Design and Architecture, a film soundtrack for the Welcome Library and the British Film Institute for a 1930s antenatal care film entitled “Bathing & Dressing,” Parts 1 & 2, and a knitted sound system with accompanying composition. She co-runs the website Sound Diaries with Valeria Merlini.

Valeria Merlini (Italy) is a Berlin based sound artist, turntablist, DJ and curator. After studying architecture in Florence, Italy, she obtained a Master’s degree in Sound Studies at The Berlin University of the Arts. Her work explores everyday sounds within an urban context through an interdisciplinary and critical approach. She is a co-founder of Studio Urban Resonance, a member of the Italian record label Burp Enterprise and co-runs Staalplaat Radio. As a DJ she focuses on experimental electronic music, constantly extending the conventions of turntablism, musique concrète, free improvisation and composed music. She was the director of the 2012 Museruole Festival and has participated in numerous international events and exhibitions.

March 21, 2013  

Sounding Out! Podcast #12: Animal Transcriptions: Listening to the Lab of Ornithology

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This podcast culls material from seven hours of interviews about sound and animal life with scientists, engineers, programmers, archivists and other staff working in the Bioacoustics Research Program (BRP) and in the Macaulay Library of Natural Sounds (LNS) at the Cornell Lab of Ornithology. The interviews were conducted as part of a research project situated at the intersection between sound in poetry (prosody) and environmental sound (soundscape), specifically focused on animal vocalizations.

Poetry might help us to use, study, and deploy animal morphologies in ways that hope to better, rather than merely exploit, the human relation with such life forms, if not to improve the welfare of the species themselves. As Katy Payne, Mike Webster and others suggest, when we speak of animal “song,” we bring metaphors from the arts of poetry and music to complement our limited scientific understanding of the intricacies of animal communication.

At the same time, the process of capture, practiced by poets and recordists alike, heightens ethical choice in a time of accelerated species extinction: many of the techniques and resources developed at LNS and BRP are currently used for basic monitoring of conflict between animal life and human industry. This podcast explores both why and how the Macaulay LNS collects animal sounds (which some of the archivists refer to as “specimens”), and how such a collection is conceptualized, deployed and situated within a matrix of concerns (philosophical, aesthetic, ethical, and political) about human relations to other-than-human life forms.

This article continues the work on “rendering” I began here at Sounding Out! last spring. My interest in the Macaulay LNS, directed by Mike Webster and Greg Budney, introduced me to the vital, cutting-edge, and often mind-blowing work being done in BRP, under the leadership of Chris Clark as well as of a pioneer in animal communication and conservation such as Katy Payne, who founded the Elephant Listening Project and has also contributed to the podcast. Although I did not get Chris’s voice on record, his groundbreaking research, activism and leadership on behalf of a “singing planet” nevertheless loom large behind much of the work featured here. I was fortunate to be able to speak with Tim Gallagher, of Ivory-billed Woodpecker fame, in the Lab of Ornithology. The podcast also explores the crucial work of audio engineers Bill McQuay and Karl Fitzke, and of software analysts and research specialists LIz Rowland, Ann Warde, Laura Strickland, and Ashakur Rahaman, amongst others.

The staff at the Lab of Ornithology generously granted me a tour of their archive, showed me their gear, explained their sound visualization software, and sat me down in the surround sound listening room, where I heard some unforgettable recordings, which opened up my investigation to acoustic dimensions I had never before suspected.  We sounded these dimensions in wide-ranging conversations about archiving, acoustics, field work, gear, communication, looking at sound, music, evolution, and conservation. This podcast offers, in a condensed form, some of the highlights of those conversations and experiences.

Thanks are due to the staff whose voices the podcast features: Mike Webster, Greg Budney, Bill McQuay, Liz Rowland, Alexa Hilmer, Ann Warde, Mary Winston, Tim Gallagher, Ashakur Rahaman, Katy Payne, Laura Strickland, and Karl Fitzke. Thanks are equally due staff who consented to be interviewed or otherwise helped out but whose voices didn’t make it onto the podcast: Chris Clarke, Christianne McMillan White, George Dillmann, Connie Bruce, Tammy Bishop. Thanks to Aaron Trammell for crucial editorial and technical help. Thanks finally to the Cornell Society for Humanities for the 2011-2012 research fellowship and the scholarly community that made this research possible.

Animal Transcriptions: Listening to the Lab of Ornithology – Contents and Credits

Intro

Mike Webster
Winter Wren, at normal and at one-half speed (Greg Budney, from The Diversity of Animal Sounds, Macaulay Library of Natural Sounds sampler CD)

Sound: Greg Budney and Musician Wren (Cyphorhinus arada, LNS 8897, Peter Paul Kellogg)

Archive 2:40

Mike Webster
Greg Budney
Bill McQuay

Sound: Ashakur Rahaman and Blue Whale (Balaenoptera musculus, played back at eight times normal speed, LNS 128263, Paul Thompson)

Acoustics 5:45

Liz Rowland
Bill McQuay, Greg Budney: Africa Sequence (The Bai)
Alexa Hilmer
Ann Warde

Sound: Greg Budney and Townsend’s Solitaire (Myadestes townsendi, LNS 50192, Geoffrey Keller) and Brown-backed Solitaire (Myadestis occidentals, LNS 136544, Michael Andersen)

Field 11:00

Bill McQuay
Greg Budney
Mary Winston
Tim Gallagher
Liz Rowland

Sound: Ann Warde and Beluga Whale (Delphinapterus leucas, LNS 126105, Donald Ljungblad)

Gear 14:30

Ann Warde
Ashakur Rahaman
Greg Budney: Beluga multi-array recording
Liz Rowland

Sound: Katy Payne (Humpback Whale)

Communication 20:05

Greg Budney: Madagascar lemur family group
Bill McQuay
Ann Warde
Laura Strickland
Bill McQuay: Treehopper sequence (NPR Radio Expedition)
Katy Payne
Tim Gallagher

Sound: Mike Webster and Crested Oropendola (Psarocolius decumanus, LNS 12830, Ted Parker), Common Potoo (Nyctibius griseus, LNS 59964, Paul Schwartz)

Looking at Sound 27:25

Liz Rowland
Laura Strickland
Alexa Hilmer
Ashakur Rahaman
Katy Payne

Sound: Alexa Hilmer and Humpback Whale (Megaptera novaeangliae, LNS 110847, Paul Perkins)

Music 36:05

Bill McQuay
Ann Warde
Laura Strickland
Katy Payne
Karl Fitzke
Alexa Hilmer

Sound: Laura Strickland and Wood Thrush (Hylocichla mustelina, LNS 11316, Arthur Allen; LNS 125223, Michael Andersen)

Evolution 40:10

Greg Budney (Spot-breasted Oriole duet, LNS 164045, David Ross)
Mike Webster (Black-throated Blue Warbler, LNS 27208, Randolph Little)
Katy Payne (Humpback whale group singing, LNS 118147, William Steiner)

Sound: Alexa Hilmer, Katy Payne with Common Loon (Gavia mimer, LNS 107964, Steven Pantle)

Conservation 47:05

Greg Budney: Attwater’s Prairie Chicken lek
Ashakur Rahaman
Tim Gallagher
Liz Rowland

Sound: Karl Fitzke and European Starling (Sturnus vulgaris, recording by Greg McGrath)

Recordings used with permission of Macaulay Library, Cornell Lab of Ornithology.
Starling recording used with permission of Greg McGrath.

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Jonathan Skinner founded and edits the journal ecopoetics, which features creative-critical intersections between writing and ecology. Skinner also writes ecocriticism on contemporary poetry and poetics: he has published essays on Charles Olson, Ronald Johnson, Lorine Niedecker, Mei-mei Berssenbrugge, Bernadette Mayer, Cecilia Vicuña, translations of French poetry and garden theory, essays on bird song from the perspective of ethnopoetics, and essays on horizontal concepts such as the Third Landscape and on Documentary Poetry. Currently, he is writing a book of investigative poems on the urban landscapes of Frederick Law Olmsted, and a book on Animal Transcriptions in contemporary poetry. He teaches poetry and poetics in the Department of English and Comparative Literature at the University of Warwick.

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tape reelREWIND! . . .If you liked this post, you may also dig:

Listening to Disaster: Our Relationship to Sound and Danger— Maile Colbert

Animal Renderings: The Library of Natural Sounds— Jonathan Skinner

Six Years in Nodar: Sound Art in a Rural Context— Rui Costa

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