Tag Archive | Rui Costa

SO! Amplifies: Maile Colbert, Rui Costa, and Jeff Cain’s “Radio Terramoto”

Document3SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

This November 1st will mark the 259th anniversary of the Great Lisbon Earthquake on All Saints Day, 1755, which destroyed a quarter of the city and beget consequential tsunamis and fires. “Radio Terramoto” is a soundwalk research and art project designed to bring this seemingly distant devastation into contemporary consciousness. Based on the idea of listening to sound from a past historical event, “Radio Terramoto” is a traveling audience immersive event. It’s inaugural procession, made up of the creators and audience members, followed a path from the Convento do Carmo down to the River Targus in Lisbon, Portugal. It was also performed this summer in the town of Viseu, Portugal, as part of the Invisible Places, Sounding Cities Symposium in July 2014.

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“Radio Terramoto” is a radio transmission from All Saints Day, 1755. We are not sure how or why the forty minutes were recorded, but having been discovered aaccidentallyit has proven to be an important record of the experience of the people caught in the earthquake. We follow our mysterious ghost recorder from the Convento, where people were gathered for mass. The first wave hits and the convent crumbles. As people run to the river, we follow their path as the buildings around us burst into flames and collapse. Upon reaching the river in a panic, we are only to be greeted by the water pulling out, revealing flopping fish and shipwrecks, pulling towards the ocean to fuel the giant wave that would finally overcome our poor recorder. From here, the transmission stops. (To read this summary in Portuguese click here).

Maile and Rui lisbon end

The end of the inaugural “Radio Terramoto” performance in Lisbon, 11/1/13

The project and research for “Radio Terramoto” asks the question, what can listening to the past reveal about the now, both in artistic practice and scientific research? Its site-based (yet mobile) sound design weaves between the present and the past and is based on research on the earthquake, using documents of first hand experiences and the first seismic and “earthquake”-proof architecture that came after what may be the largest earthquake recorded in history.

processionFor the original “Radio Terramoto” soundwalk in Lisbon, first performed November 1, 2013, we walked with the audience bearing a transmitter; the audience carried radios and cell phones tuned into the specific frequency of the transmission. The soundwalk also included hand-held sculptural octahedra created using a geometric framing system designed by Jake Dotson, assembled as a singular form approximating a Pombaline cage, the first modern earthquake resistant architecture. The radio transmitter, and other key electrical devices were suspended in these 1 foot 3 inch octahetra made of brightly colored sticks of wood held together with friction and tension. The large cage broke apart into the individual octahedra to aid in the transportation of equipment and in providing a visual wayfinding aide for the participants.

mrcarrying

“Radio Terramoto” procession, Maile Costa and Rui Colbert in the foreground, Lisbon, Portugal, November 1, 2013

Like Maile’s “Passageira em Casa,” a traveling intermedia work that explores the concept of “home,” “Radio Terramoto” changes to be site and context specific with each presentation.  When we led a performance in Viseu, Portugal, for example, we began at the Sé de Viseu, moved through the old city center, and ended at a small body of water off the Avenida Emídio Navarro.

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Planned future performances of “Radio Terramoto” include a version in Los Angeles that will unite the original team in collaboration with Jesse Gilbert. Gilbert created the program SpectralGL, a cell phone app  that enables sound to visually affect the landscape from the video camera as the audience member walks. As Los Angeles has its own fraught relationship with earthquakes, we expect this performance to be particularly resonant and thought provoking.

Images courtesy of the artists and Jennifer Stoever (Viseu shots)

Rui Costa is a sound artist from Lisbon, Portugal. He is a founding member and artistic director of Binaural/Nodar, an arts organization founded in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of the Gralheira mountain range, northern Portugal. Rui has been performing and exhibiting his work since 1998 in festivals, galleries and museums across Portugal, Spain, Italy and the United States and has been collaborating regularly with the Italian vocal performer Manuela Barile and the American intermedia artist Maile Colbert. Rui Costa is also a regular speaker in conferences and gives workshops dedicated to sound art. For more from Binaural/Nodar, please check out the organization’s soundcloudvimeo, and flickr.

Maile Colbert is a multi-media artist with a concentration on sound and video who relocated from Los Angeles, US to Lisbon, Portugal. She is a regular writer for Sounding Out!

Jeff Cain is an artist, designer, curator and director of the Shed Research Institute a multidisciplinary art, research, curatorial, and design studio in Lincoln Heights, Los Angeles.

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Wayback Sound Machine: Sound Through Time, Space, and Place-Maile Colbert

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

SO! Amplifies: Eric Leonardson and World Listening Day 18 July 2014

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Six Years in Nodar: Sound Art in a Rural Context

"Oor van Noach" by Flickr user ines saraiva under Creative Commons 2.0 License.

My family comes from a tiny village called Nodar in  northern Portugal, part of the European Union-funded project “Tramontana” which focuses on preserving the immaterial heritage of mountain regions of southern Europe. In Nodar, centuries of isolation and self-sufficiency have created a unique blend of cultural expressions, ways of living, and inhabited landscapes. Like much of the Portuguese countryside, Nodar is undergoing a process of abandonment, which leaves rural communities with a weakened sense of identity. The agrarian paradigm, which has been central to the history and social fabric of rural communities, is arriving to an almost hopeless vanishing point, and the guardians of that memory are also disappearing. With this as formative part of my background, and considering my artistic interest in community-oriented projects, I felt almost a duty to direct much of my work to Nodar,  a place that means so much to me and where I thought I could make a difference. In 2004 my brother Luis and I founded Binaural/Nodar, an arts collective based in the village and operating in the surrounding region of the Gralheira mountain range.

Since March 2006, the Nodar Rural Art Lab has invited both local and international artists who work in the areas of sound, video, and intermedia arts to address issues such as collective memory, identity, gender, age, life, death, geography, topography, music, sound heritage, landscape, vegetation, consumption and leisure dynamics, myths, traditions, crafts, agriculture, and shepherding.  During their stay, the resident artists give public presentations in the region and are encouraged to establish interactions with the place and its inhabitants, geographic spaces, and social memory. Many of the artworks held in Nodar cross different artistic practices, often blending borders.

Nodar, Portugal. Photo by Carina Martins. All rights reserved by Binaural/Nodar

The decision to initiate an artist residency center in Nodar was motivated by my desire to deepen the investigation of exploratory artistic practices in close interaction with a specific rural context and its social and cultural possibilities.  Throughout the year, the Nodar Rural Art Lab programs various residency modules in order to stimulate a collaborative environment between artists from different artistic fields and geographic origins. During the course of the residencies, several parallel activities are organized, such as conferences, lectures and educational activities, namely youth-oriented. At the end of each residency module, there is a public presentation organized in the village in which the art projects are presented and discussed by the artists and the organization.

"Public presentation of an art project in Nodar" by Carina Martins. All rights reserved by Binaural/Nodar

Public presentation of an art project in Nodar. Photo by Carina Martins. All rights reserved by Binaural/Nodar

The sonic dimension has a critical role in the model we have developed in Nodar, especially because it operates as a powerful metaphor for the intimate and personal discovery of a place. Artists have documented the area’s soundscapes and oral heritage in Nodar since 2006. There are three central lines of artistic interaction that converge here: Sound, Space and People:

SOUND (Interaction with the acoustic environment): Some sound artists, who work with the acoustic dimension in an experimental way, are part of the team that runs the Nodar Rural Art Lab. The Lab has always been active in the international theoretical and artistic domains of the so-called soundscapes, and it has hosted some of the most respected sound artists of today, who–using idiosyncratic techniques for sound capturing, editing and manipulation–have created works based on particular aspects of the local acoustic context.

One of our approaches is what we call “sound interventions,” where we use field recordings and performance in order to “activate the space” and establish a dialogical approach between what is activated and what just “is,” which can incorporate body, gesture, sound, object, space and voice in this process. An example of this approach was the “Revenant : Paiva” project, conceived in 2009 by Patrick McGinley, Marjia-Liisa Plats, Luís Costa and Tiago Carvalho, in which a series of  performative actions were staged in a section of the river Paiva that crosses Nodar.  Using materials found in-situ as instruments, in addition to the artists’ own voices, to generate sounds that interacted with the acoustic environment itself, all activity was purely acoustic, with no amplification. The resulting work was presented live with the artists and audience spread out across the space with no preferential “point of listening”, which created subtle overlaps between the artists’ work and the space.

Working on “Revenant : Paiva.” Photo by Carina Martins. All rights reserved by Binaural/Nodar

Working on “Revenant : Paiva.” Photo by Carina Martins. All rights reserved by Binaural/Nodar

SPACE: Interaction with the geographic space. The landscape surrounding Nodar is beautiful and diverse; there are mountains, rivers, caves, slate stone architecture, terraced fields, and so much more. Moreover, we are witnessing an irreversible process of transformation of rural space. These two elements form fertile ground for the creation of works within nature, which either capture the dreamlike and timeless aspects of the landscape or question possible future uses for the same landscape.

Of particular interest to us is the use of geography as a means for projecting sound in which specific variables of the territory, such as topography and meteorology, intersect with instrumental or subjective aspects of artistic creation, namely the position occupied in the space and the choice of sound recording and reproduction tools and techniques. A good example of this approach was Lisa Premke’s project “Aural Lookout,” developed in 2012, in which she built a canvas lookout on the top of a hill that allowed the visitors to be sheltered from the environment while listening to the nature sounds acoustically amplified, as if being inside a large drum.

Working on “Aural Lookout." Photo by Carina Martins. All rights reserved by Binaural/Nodar

Working on “Aural Lookout.” Photo by Carina Martins. All rights reserved by Binaural/Nodar

PEOPLE: Interaction with local inhabitants. Since the beginning of our activities, we have been encouraging artists to interact, question and to some extent “provoke” local populations. As a result of these communication processes, various art projects have been developed reflecting and expressing aspects of the region’s collective memory and new habits and experiences.

Working on the subject of the anthropological voice may involve direct conversation with the local communities based on topics proposed by the artists and related to everyday life and local memory, as well as it may focus on linguistic aspects such as accents, musicality of the voice, etc. Maile Colbert’s “Over the Eyes,” created in 2007, was a very successful example of this sort of “conversational” project, where she organized a knitting circle with the village women, recorded the conversations with them, their songs and stories and incorporated them into the sound design of a multimedia installation, along with field recordings of the area, and text on physiological, biological, and psychological aspects to memory creation and destruction in humans. The projection screen was composed of raw wool and the knitted cloths made during the circle, which created an interesting dialogue with the immaterial nature of the audiovisual element of the piece.

Maile Colbert’s “Over the Eyes.” Photo by Carina Martins. All rights reserved by Binaural/Nodar

Maile Colbert’s “Over the Eyes.” Photo by Carina Martins. All rights reserved by Binaural/Nodar

We have always emphasized a type of sound art that enhances the context within which a specific sound work is produced, escaping a purely acoustic, or “sound-in-itself” approach. We believe that this emphasis on subjectivity and context is necessary, because sound–and the practice of field recording in particular—sometimes carries a burden of “objectivity” because it stems from the documentation of reality.  The subjectivity inherent to the sound recollection –for instance, the choice of the point of listening and of the technological means of sound capturing–is often not sufficient to alleviate this burden.

When we host sound artists in Nodar, we always try to convey the idea that the region’s landscape is fundamentally an “inhabited landscape.” Trying to avoid the human presence in order to get “wilder and more natural” recordings is purely illusory.  The landscape is inhabited in several simultaneous ways: by the marks of historical occupation of the territory, by the existence of vital spaces for each inhabitant–often lying far beyond the boundaries of the villages–by the very presence of the artists and by the audiences of the art works’ final presentations.

In summary, there are several methodological, instrumental and aesthetic approaches that Binaural/Nodar is working to further in the area of sound art. These approaches are anything but sealed; intersections, complementarities, unions and differences exist, which make each work of art unique.

Featured Image: “Oor van Noach” by Flickr user ines saraiva under Creative Commons 2.0 License.

Rui Costa is a sound artist from Lisbon, Portugal. He is a founding member and artistic director of Binaural/Nodar, an arts organization founded in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of the Gralheira mountain range, northern Portugal. Rui has been performing and exhibiting his work since 1998 in festivals, galleries and museums across Portugal, Spain, Italy and the United States and has been collaborating regularly with the Italian vocal performer Manuela Barile and the American intermedia artist Maile Colbert. Rui Costa is also a regular speaker in conferences and gives workshops dedicated to sound art. For more from Binaural/Nodar, please check out the organization’s soundcloud, vimeo, and flickr.

Sounding Out! Podcast Episode #4: Within a Grain of Sand

Borrowed from farm5.static.flickr.com .

Today’s entry in the Sounding Out! podcast series is a collection of interviews with sound artists from around the world. Compiled by Maile Colbert, these interviews show as much as they tell, often featuring the artists speaking in tandem with a recorded soundscape. At other moments, however; the soundscapes take on a life of their own as the artist pauses and the sonic landscape breathes.  Although Maile had discussed some of these artists’ work previously in a blog post for Sounding Out! Within a Grain of Sand, this recording seeks to investigate their work in a unique and true-to-form manner. So, listen and learn – about the practice of creating sound art.

CLICK HERE TO DOWNLOAD: Within a Grain of Sand

SUBSCRIBE TO THE SERIES VIA ITUNES

Here are some brief biographic notes on the contributing artists:

Jen Boyd

“Under the Golden Gate”
Jen Boyd is a sound artist living in Northern CA. She spends time recording sounds in her environment and then arranges them into layered soundscapes. In these pieces, some sounds unfold naturally while others are processed. Although her work mostly relies on ‘natural’ sounds she uses a wide variety of sound sources to paint sonic pictures for the listener. Jen hopes to spark the interest in people of all ages to listen more closely to the environment they live in everyday. If you listen, you can hear some of her recordings on touchradio.org.

Eric Leonardson

“Interview” (feat: recording artists from the World Listening Day)

Eric Leonardson is a Chicago-based composer, radio artist, sound designer, instrument inventor, improvisor, visual artist, and teacher. He has devoted a majority of his professional career to unorthodox approaches to sound and its instrumentation with a broad understanding of texture, atmosphere and microtones. If you are interested in learning more about Eric and his project, the World Listening Project, click this link.

Rui Costa

“Sightseeing for the Blind”

Rui Costa is a sound artist from Lisbon, Portugal. He has been publicly presenting his work since 1998. He is a founding member and artistic director of Binaural. He has performed in many venues and sound art festivals in Portugal, Spain, Italy and the United States.

and the podcast producer, compiler, and contributing artist

Maile Colbert

“Debaixo da Ponte 25 de Abril”

Maile Colbert  is an intermedia artist with a concentration on sound and video, relocated from Los Angeles and living and working between New York and Lisbon, Portugal, and teaching at Faculdade de Belas Artes da Universidade do Porto. She spent the last two years collaborating with the art organization Binaural, and is currently director of Cross the Pond, an organization based on arts and cultural exchange between the U.S. and Portugal. She holds a BFA in The Studio for Interrelated Media from Massachusetts College of Art, and MFA in Integrated Media/Film and Video from the California Institute of the Arts. She is currently in production on an interdisciplinary experimental opera based on Portuguese Maritime history, and will release two albums this year.


Within a Grain of Sand: Our Sonic Environment and Some of Its Shapers

“It devolves on us now to invent a subject we might call acoustic design, an interdiscipline in which musicians, acousticians, psychologists, sociologists, and others would study the world soundscape together in order to make intelligent recommendations for its improvement.”

–R. Murray Schafer

The Soundscape, Our Sonic Environment and the Tuning of the World

With those words, and with that book, Canadian composer, writer, educator, and environmentalist R. Murray Schafer introduced the concept of the soundscape…a sound, or combination of sounds, that forms or arises from an immersive environment. What follows is an exploration of how several key field recordists define and explore the notion of soundscape.

1. What do you do?

I capture moments.

I explore environments & structures using conventional & extended field recording methods. I also use instruments & small objects. Sometimes I perform live intuitive compositions, sometimes I install work & often I compose photographic scores.

For me it is the emotive impulse that most inspires.

I listen.

2. What can that tell us?

I believe passionately that one of the most important results of an exploration of overlooked detail in daily life (in terms of sound as well as visual elements) is how it can enhance ones life. It can allow us to engage with our surrounding in different ways & appreciate what remains & what has gone before or indeed is in danger of disappearing.

it can tell us that listening is a much, much broader vista than we all understand & one can spend a lifetime exploring.

Jez riley French

photo: carina martins

The study of the soundscape, called Acoustic Ecology, focuses on the relationship between living beings and their environment through sound. It’s a unique field in its interdisciplinary nature and beginnings, an interconnectivity between scientists, sociologists, anthropologists, and artists.

1. What do you do?

I am part of the organization Binaural/Nodar, which organizes educational and artistic creation events focused on a rural region in northern Portugal. Our creative focus is on sound and media arts that work with the natural and human environment of the region. As part of our activities, we organized a program of artist residencies dedicated to the river than passes through our region (Paiva river), which culminated in the Paivascapes festival, which took place in March this year. This was a multidisciplinary event that included a series of site-specific sound installations, a retrospective exhibition of sound and audiovisual works at a local museum, conferences on anthropological and environmental issues and nature walks. The festival had an itinerant nature, as it’s program was conceived to happen in several locations from the source to the mouth of the river.

2. What can that say?

The rural environment where we develop our activities has been inhabited for at least tens of thousands of years and each generation left their mark on the territory. So, we understand it as a infinitely complex, stratified and fragmented reality that most of the times cannot be fully comprehended if the approach is superficial, limited in time, based purely on a ‘naturalistic’ view of it that manifests itself for example on experiencing and recording the bucolic sights and sounds. It requires a more ‘relational’ approach, where what we see and listen to is mapped against other elements, stories, individual and collective memories, place names, old and new usages of the space, etc., which requires time, attention and empathy. We take these concerns on every aspect of our work such as which art projects to select, how and where to publicly present the works, how to mediate the relationship between the artists and the local communities.

-Rui Costa of Binaural/Nodar

photo credit: Binaural/Nodar

Acoustic Ecology has branched out to give birth to a movement in sound art called phonography, a neologism referring to the art of field recording. It’s also shown a spotlight upon our changing sonic environment, and has become an important tool in bioacoustics and biomusicology, which help us to understand what these changes can mean. Birds communicate mainly with sound. When their calls cannot be heard, their reproduction decreases. Scientists are working with acoustic ecologists to record and study environments in which this is happening. Some of these bird calls may someday only survive on these recordings.

1. What do you do:

I am interested in the common, the everyday and the ordinary in my art practice; and in the unnoticed, the trivial and the repetitive that constitutes daily life. The birds I am interested in have ambiguous reputations and are considered pests or nuisances but they are also loved and respected. Seagulls, crows/corvids and pigeons are all very sociable species and are often much more audible than visible and they proliferate in the favorable conditions we have provided in urban centers.

‘birdbrain’ focuses on our relationship with crows (corvids) and seagulls through voice (animal/human) and ideas about language (animal/human), including the spoken and written word. There is little philosophical discussion about animal voice, although the potential for animal language parallels current neurobiological research, which has identified that certain ‘motor and perceptual abilities’ essential for language in humans, also exist in birds.

2.What can that tell us:

The project has a number of components including an artist’s book that is posing as a mock field guide. The field guide comprises written texts of exchanges between a group of Little Ravens that I have transcribed over the course of a year using the phonetic words from conventional field guides.

The audio works consist of field recordings, mimicry and texts spoken by people with different accents. Scientific research tells us that birds also have regional accents and dialects, and that birds change their song according to place. Birds in cities sing more loudly to cope with urban noise and these songs tend to be simplified. Also, birds that have been introduced into different countries sing a song that is a variant from their brethren back in the homeland.

-Catherine Clover

still from birdbrain, catherine clover

Cymatics is the study of sound waves made visible. Sound frequencies vibrate a surface and create distinct patterns. Sound needs a medium to vibrate, and the characteristics of the medium and sound wave will inform the shape. If you place a metal plate upon a speaker head, place sand upon that plate, and play certain frequencies through the speaker, you will see the sand vibrate into different patterns. If we could see sound around us, we would see expanding spheres with a kaleidoscopic-like pattern on its surface, effecting each other and all molecules in its path.

The interconnectivity of our world is often over looked, often not thought about. It is human nature to categorize, this is part of how we think and communicate. But what is lost when we consider our categories as islands, instead of a part of a whole, a pattern of overlapping systems? There is a saying that the whole of earth and ocean is found within one grain of sand.

1. What do you do?

I am an artist and composer who focuses on listening and the environment in my work. I am often recording my life and my travels, and the recordings or my observances from the recordings end up in my compositions, art installations, and soundwalks. In 2004, I was fortunate enough to find other people interested in sound and the environment and together, we formed The New York Society for Acoustic Ecology (NYSAE), a chapter of the World Forum for Acoustic Ecology. Through various organizations like the Whitney Museum, the Electronic Music Foundation, and free103point9, we have held events, panel discussions, and performances relating to sound and urban ecology. I am often asked how I “got into sound” and I usually don’t know how to answer it as it feels like I never got out of an interest in acoustics and space. I think that my interest in sound began when I carried around a tape recorder instead of a doll as a child. Perhaps not much has changed as I feel like my compositions reveal a layer of personal narrative conveyed through field recordings that describe how I relate to my environment. Often, my soundwalks do not include sounds that I have recorded; they are about sharing with others what I discovered about listening to the acoustics of a particular place. Points of interest are carefully arranged in guided tours with conceptual elements that emerge as sub-themes.

2. What can that say?

I am mostly interested in the relationship between people the sounds of the urban environment, particularly on how nature is defined by those who live in urban environments. When we slow down to listen to all that is in-between point A and point B, I think that we can begin to enjoy the fine details, even in a noisy city environment. I’ve worked with both children and adults in educational settings in cities who didn’t realize that they had birds living on their street until they were encouraged to listen. And I’ve discovered things like some people don’t like the sounds of birds at all, and they may prefer listening to the sounds of the subway. Sound can be just as subjective and adaptable of an art material as paint.

-Andrea Williams

A drop of water falls into a puddle and creates a wave. A wave is a disturbance that travels through time and space. It affects everything it touches, it creates other waves, it continues colliding and transferring energy to molecules that do the same in turn to other molecules. It can be water, it can be light, it can be sound. It can be many things that collide into our molecules, and our system translates. The water is cold, the light is bright, the sound is loud. This is passive information. But when we actively feel how cooling the water is on a very hot day, when we actively consider how strong that sun is, and when we actively enjoy how the crash of an ocean wave makes our heart race…our world becomes so much richer.

1. What do you do?

Soundscape compositions, soundwalks, listening workshops, lectures, writing, editing, some mentoring of composition students, organizing as part of the World Forum for Acoustic Ecology (WFAE) and so on…

2.What can that say?

Everything I do seems to be focused on understanding the world through the act of listening and on the desire to share this understanding with as many people as possible. I believe that every sense perception gives us valuable and important connectedness to and information about the world in which we live. Our hearing sense has been underutilized (certainly in my lifetime, in our societies, nowadays) and a re-balancing of our senses may mean a re-balancing of how we approach life, environment, culture, politics and ideas. Experience in listening and composing has shown me ever new, changing and deepening approaches to space and time. And I wish this for everyone who learns to connect more consciously and deeply to his or her listening. What can that say: listening means noticing means inspiration means energy to do and act.

– Hildegard Westerkamp

Hildegard Westkamp, Photo by Peter Grant

World Listening Day is July 18th. You can participate through the World Listening Day organization. Or just take the time, whatever you are doing, to stretch your ears and focus them on the rich acoustic world around you.

1. What do you do?

The World Listening Project maintains a website and online forum about its artistic and educational activities, including public workshops, forums, and lectures, as well as participating in exhibitions, symposiums, and festivals. Phonography and Acoustic Ecology inspired all of this. In the Chicago area, where we began, we formed the Midwest Society for Acoustic Ecology, a regional chapter of the American Society for Acoustic Ecology. We’re busy now inviting people to participate in the 2011 World Listening Day on July 18, the date of R. Murray Schafer’s birthday. If you visit our website you can learn how to celebrate. It’s quite open and last year the response was phenomenal.

2. What can that say?

Hearing tells us where to look. Wherever we are, every place on the planet has its own soundscape. From moment to moment the soundscape is always changing, often unpredictably. Depending on the time scale, dynamics, and frequency range we can choose to focus attention on. The World Listening Project suggests that listening is active, not passive: that listening means paying attention to the world. And when we do that we can begin to change it in a way conscious way. Bernie Krause has been a supporter. He’s making waves in the field of soundscape ecology. This is what Bernie says: “Western society bases most of what it knows on the visual. We actually ‘hear” what we ‘see.’ The World Listening Project aims to transform that perception in our otherwise urban centric and abstracted lives. At a time when we are facing not only a silent spring, but a silent summer, fall and winter, as well, it is clear that where a picture is worth a thousand words, a soundscape may soon be worth a thousand pictures.”

Eric Leonardson of the World Listening Listening Project

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