BEDLAM (ˈbɛdləm)
-n 1. a noisy confused place or situation.
Cities & Memory – Oblique Strategies

The project began by selecting a segment of a field recording that I made in Delhi, India on DB Gupta Rd at Delhi Station. Once selected, I was assigned 2 randomly selected Oblique Strategies. The Oblique Strategies is a methodological intervention developed by Brian Eno and Peter Schmidt in the mid 1970s. The idea is that cards or selected at random from the deck and the statements on those cards are intended to inspire new approaches to making work.

The two oblique strategies I was randomly assigned where 1: Spectrum analysis and 2: Is the intonation correct? I found these two to be very interesting as both a sound artist and a graphic designer. As a designer, I’m very much interested in what sounds look like whether it be spectrograms, visualizations or listening maps. I’m also very much interested in language. I decided to try and develop a process from the two pieces of inspiration that would create the final composition using only the original recording as source material. In the end, I developed a system that used the spectrum analysis of the original recording to manipulate the intonation of the recording by altering it’s speed during playback. I first recorded a video screen capture of the spectrogram as the sound played. I then read that video into a Max patch and analyzed it in real time, using the values from the analysis to control playback of the original sound. I then routed that sound to Ableton Live for the application of some minimal effects and mastering. The final piece is created with this process and the original field recording is the only audio material used.

Des Moines NoiseScape @ The Social Club

This track is from my installation at the Des Moines Social Bash in 2013-14. The installation included 3 tracks composed entirely of noises foraged from around downtown Des Moines and it’s familiar infrastructural elements.

Modified NatureSound & Junction Dam Installation


[This post was originally written for the Bogong Centre for Sound Culture Blog while I was the artist in residence there.]

As mentioned in my earlier post, the village is built around a lake created as the result of damming two rivers. The hydro-scheme that runs through the Bogong High Plans is a massive example of humans modifying nature for their own use. The damming of these rivers coming out of Rocky Valley and Pretty Valley create Lake Guy. I haven’t been able to forget that this recreational village populated by temporary residents is actually the result of infrastructure development.

When working with the nature sound recordings I’ve been making each morning, I am constantly amazed by the variation in bird song and critter noises that I am collected. They are rich in tone and highly variable in structure. There are a few that have really gotten my attention because of how unnatural they appear. They are reminiscent of some type of digital compression artifact or synthesizer glitch. Maybe this is the copy of a copy effect. For example, early synthesizers were attempting to replicate classic pianos and now modern synthesizers are attempting to emulate those earlier versions. Maybe it’s just a frame of reference for a particular type of frequency and structure that I don’t encounter on a daily basis other than in the digital environment. Then when I do encounter it in the wild, it points back to these digital experiences from memory. There’s also the chance that all of the bird calls are fake and being broadcast from small amplified speakers hidden in trees like some Disney resort mountain village and what I am hearing is one of these speakers breaking down from years of neglect. Interesting premise for a critical design piece or JG Ballard novel, but probably not the case. I have seen quite a few birds and as far as I am aware, our robotics technology isn’t that good yet.

The dam is a massive concrete structure. It defines the northeast corner of Lake Guy and has a narrow walkway that tunnels through. The walking track around the lake goes down into the valley on the non-water side of the wall and through the dam’s 14 separate chambers The chambers at the beginning and end are open to the outside. The chambers in the middle are enclosed and completely cutoff from the forest except for very small openings at the bottom about 2 feet high and 1 foot across. The echo and reverb within these enclosed chambers is amazing. The first evening I was here, my host took me on a hike around the lake. Walking through the dam was a phenomenal listening experience. Every small sound resonated in the chamber. Several of them had sounds of water trickling in. A couple were very silent. After thinking about this experience for a couple days and passing through the dam on various nature sound hikes and exercise runs, I knew this was somewhere I wanted to project sound compositions into and record the results.

While obsessing over the community notice boards, I decided that I was going to create an intervention that took advantage of my temporary Australian phone number ( feel free to ring me @ 043 234 7156 ) and play with the idea of man’s attempts at controlling nature. I designed and posted SHOPPERS cards in the local grocery asking people to call and leave impressions of local birdsongs on the voicemail. Since this is a temporary number, I have no issues giving it out to anyone and everyone. Seriously, feel free to call. Even it’s just to say you hate me. It’s cool. A couple days after posting on the community boards, I got 2 responses and they sounded amazing. This also solidified how I was going to present the sounds I was working with.

Inside the dam, the compositions being projected are all created using only the nature sound recordings made in and around Bogong Village. The sounds are manipulated to created new tones, textures and frequencies. This manipulation is the same as the attempts made to control and divert the water in this area. The electrical company plays a large role in how water moves and what it is used for. Streams and rivers are diverted through large pipes that cut under the mountains and pour back into areas where it can be converted into electricity. During that travel, it has not only been relocated but removed from it’s natural ecosystem and redistributed in an unnatural way. The modified nature sound recordings are no different. Presenting them inside the dam creates a relationship between the manipulation of the water ways, land and soundscape. The lake is as artificial as the sounds. The dam becomes an echo chamber literally for the sounds to reverberate and figuratively as the creator of electricity that results in noise which drives people to get away to a place like Bogong Village, which is created by the dam that created the electricity. Feedback loop complete. Inside the dam, the sounds are presented through a speaker that has been painted with black and white diagonal lines. This direct formal reference to railroad guards and caution signs serves to aesthetically connect the space to the larger infrastructure of energy production it is a part. It appears both cautionary and official. Hing on the chain link fence barrier and flanking the speaker on both sides are collages created to visually present the notion that the dam is responsible for various forms of development that we often have fluctuating relationships with. We love mobile devices because they provide the world’s knowledge in a pocket-sized object. We hate mobile devices because they are always going off in the theatre or we are being run into as some walks and texts. We love wireless technology because we can get messages anytime, anywhere. We hate wireless technology because people expect us to respond to their message at anytime, from anywhere. We love metro trains for their ease of use. We hate metro trains for their noise and traffic delays. The collages each have a small speaker attached and are performing modified nature sound recordings that align with the emphasis of the collage. One being more about communication, the other addressing urbanization. They both have images of the dominant birds from the recordings perched throughout. All of the visual elements are place on the narrow tunnel through the dam and lit by the single industrial light over head.

Each of the three pieces – the designed speaker cabinet and the two collages – plays a looping modified nature sound. The overall composition is created by the three separate sounds playing simultaneously. The sounds are all different lengths. As the larger piece is heard, the individual elements are looping at different times creating a unique listening experience throughout the installations entire duration. Similar to nature sound recording, from one session to the next you might hear similar elements but the overall composition is going to be different each time.

As the piece plays, the sounds fill the chamber and reverberate around the listener. It can be heard before entering the dam. As the listener approaches, there is a distinct change passing from one chamber to the next while getting closer and closer to the source. The sound of the installation mixes with the natural sounds from around the dam. On the day of installation, this included the sounds of kookaburras, crimson roselas, the rush of the day-lighing tube that routes water around the dam back to the “river” and the gentle sounds of rainfall. Inside the enclosed chambers there were various amounts of water noise. In the chamber of the installation a small amount of trickling mixed with the composed audio. Moving down the tunnel away from the piece the sound then noticeably decreases as each chamber is passed through. One chamber was filled with the sound of rushing water. The combination of this with the composed soundscape in the neighboring chamber created a performance of two different forms of manipulated nature. The modified recordings in the piece and the blocked water from the dam. Passing through the different chambers of the tunnel created a very distinct audio representation of the infrastructure of the dam. The sound changed with each passing chamber and was mixed, at varying levels, with the other sounds occurring in that space. Each chamber takes on it’s own audible identity. It’s a small neighborhood. Each being similarly different. As the listener exits the dam, the sounds of the installation fade and the soundscape of the natural surroundings return.

Manipulating the familiar and presenting it back in this unique acoustic environment inspires thought and consideration regarding the ways we engage with nature. We put a lot of noise out into the world. We do a great deal of manipulating. It’s what’s gotten us to where we are now and that’s both positive and negative. The decisions that we make have consequences. The history of this place – Bogong Village, the Junction Dam and the hydro-scheme – represent this same sense of tension between wanted, unwanted and unexpected. As we work to find more renewable ways to generate the electricity that our modern lives depend on it’s worth reflecting on what’s been done before. Some good has come from it. Some negative things have happened too. I firmly believe that part of this process has to be about appreciating nature and working to understand how we can be better participants. It’s also worth spending time exploring the unique aspects of what has already been done. Maybe, it’s just about making time to listen.

Community Notice Board Intervention

Community Notice Board Intervention

I’ve gotten a bit obsessed with these community notice boards. The SHOPPER cards that folks from the community can fill out are really interesting. Especially once they use pictures and highlighters. These boards aren’t new to me. I’ve seen them in grocery stores in the United States and I remember them in the grocery in the town where I grew up. There’s even something similar at the local market I go to but it is less official and less systematic. I originally spotted them on our way up to Bogong Village as we hung fliers for the Listening Walk that I will be leading as a way to engage the community. I began wondering if this board system could be another way of reaching out to the community. So I quickly filled out a card and posted it. I grabbed a couple extra because I wanted to be better prepared next time I came down the mountain.

Community Notice Board Intervention

I designed my own card to resemble theirs but included my own messaging. It’s a request for birdsong impressions. In Bogong Village the birdsong is wonderful. It’s rich with character, dense and persistent throughout the day. The village however is a temporary community left over from the when the hydro-electric scheme was being built and in the early days of it running. There’s a dam that has created a lake and around the lake are a series of cabins that can be rented throughout the year. The dam and the recreational water way are evidence of attempts at controlling nature and the idea of imitating birdsong seemed like an interesting way to investigate the sounds of that intersection. The lake asks questions of “nature” and “real” while this intervention poses a similar request.

From Memory: A Performative Exploration of Sonifying Solar Wind Data

From Memory was the final performance of Journey to the Sun, a 5 segment theatrical event exploring theater as a method of presenting scientific information created by Grin City Collective’s Culture Lab. From Memory was the final performance of the evening and was intended to encapsulate the other 4 pieces while also exploring the relationship between time, space and memory. Throughout the show’s performances, audio samples where collected in realtime to be integrated into the final audio piece. The realtime samples were then combined with samples recorded during rehearsal (using different actors to introduce the idea of misremembering) and sounds generated and manipulated by solar wind data being transmitted back to Earth from the Solar TErrestrial RElations Observatory (or STEREO) satellites that are currently orbiting and monitoring the sun.

Bureau of Infrastructure Tourism – Public Transport and Communication 001

Bureau of Infrastructure Tourism – Transport and Removal 001

End Transmission @ Tiger Strikes Asteroid

End Transmission. An installation at Tiger Strikes Asteroid. from Jaime Alvarez on Vimeo.

End Transmission, 2013
A collaboration between Ezra Masch and Alex Braidwood
Installation at Tiger Strikes Asteroid, Philadelphia
Audio recordings of jet engines play on a 4-channel loop. The sound system is positioned in front of a sheet of reflective mylar, which vibrates in response to air pressure from the speakers. Light is projected onto the surface of the mylar, reflecting a luminous image of the material's movement on the opposite wall.
Note: this project contains low-frequency sound that may be difficult to reproduce with most home stereo equipment.

Compositional destruction & different awareness of objects

Archery target noise testing.

Recently I’ve become very aware of how working on a new piece changes the way that I view the objects around me. I’ve been working for the last few weeks with scientist, archer and artist Kenji Yoshino on a new performance that utilizes archery in a sound art piece. We met at the Grin City Collective in Grinnell, Iowa while we were both artists in residence there. Kenji supplied the farm with, among other things, an array of bows and arrows for us to shoot in our free time. He also provided the instruction for those needing it. Being an Eagle Scout and growing up in a shooting family, I knew my way around the bow even if it had been over 15 years since I shot last.

As we were shooting with a bunch of the other artists on the farm, I recorded a good amount of audio from the arrows hitting the target and hay bail which later, I worked into the performance at Relish during my stay in Grinnell. But that got me thinking, what if we shot arrows into other things to hear what it sounds like? Kenji was interested in the idea. Near the end of my time in residence, we set up a bunch of random materials in a barn and shot arrows at them to record the sound and video. This became the archery chimes prototype video. Being curious about making this more of a spectacle lead to sketching out ideas for instrumentation and control. I wanted to be able to catch the sounds in real time, quickly affect them and then develop soundscapes from the force and impact of the arrows on the different materials as well as the reaction of the materials after they are struck.

The impact. The force. The chaotic motion that eventually settles back into place when the targets are hanging. Visually the reaction of the materials was stunning. The sounds tend to be harsh and jarring. The goal of the performance is to make them less so. We also want to demonstrate the accuracy of Kenji’s arrow and explore how that can become a structure for instrumentation. The live recording and modification becomes a way to hold it all together and create something new to experience in a different time scale than the audio exists in the archery unaffected.

Then comes the question of what to shoot. We’ve played with various materials and while many sound amazing, many are also very destructive to the arrows and so they won’t work. I’ve started scouring around for things that we can put on display and then destroy and have found some pretty interesting things. I won’t get into too many details before the final performance is set but one thing that has happened is that as I am at home, school, the store, driving down the street, everything around me now begs the question “what would that sounds like if it were shot with an arrow?” It makes me wonder how things will break when hit and how different strike locations on the object might have different results altogether. It really changes how I situate things in my mind as I start categorizing the things I see. The groups become characteristics like: will resonate, will make a single thud, will be one shot only because it will break, might get more interesting as gets more destroyed, we shouldn’t shoot that, etc. It’s a completely different set of criteria by which I am viewing these objects. One of force, destruction and creative sonic potential of that force.

Compositionally, it makes me think of Schoenberg’s twelve-tone technique for composing. Except in this case it becomes even more strict. After each note is used, that key of the piano is obliterated.

Grin City Soundscape Performance 2

An excerpt from the second piece that I performed in Grinnell, IA at Relish. This work is part of the results from my artist residency at the Grin City Collective.

Performance Excerpt – Live @ Relish in Grinnell, IA

This is an excerpt from a longer performance that I gave at Relish in Grinnell, IA on May 29th, 2013. This performance was created as part of my artist residency at the Grin City Collective.

All sounds are created from field recordings that I’ve made in various locations, including several from the Grin City Collective farm.

Several pairs of modified headphones were provided for the audience to have a different listening experience of the performed compositions.

This excerpt features Kenji Yoshino, Gideon Chase, Ezra Masch & Noah Breur on archery w/ special guest Carolyn Grace Scherf on lard for soap making.



Sounding at Relish – Grinnell, IA

Yesterday I worked in the csa garden crew in the morning, raced around prepping the farm for a major storm which included helping to put a new wall on the turkey coop, and gave a sound performance at one the best restaurants in town. This may have been my best single day of the farm residency.

During my time as an artist in residence at the Grin City Collective, I was invited to perform at Relish in town. It’s a small restaurant inside of what used to be a large house with several rooms and an outdoor patio in front. On Wednesday nights they have musicians come in and perform. Mostly singer/songwriters from what I could find online. So I wasn’t sure what the response would be to what I was doing or what the turn out would even be for a night billed as a sound art presentation and performance. The audience was amazing and the turnout was really good. The two adjacent rooms of the house/restaurant were pretty well full and a couple folks were milling around in the bar area too.

As part of the evening, I brought along four pairs of headphones that I have with me on the farm and at the beginning, I simply left them on different tables in the hopes that people would pick them up without too much prodding. I never know if people will be willing to put them on. It’s something that comes from the workshops. Some people are hesitant but usually it’s just that they don’t want to be the first ones to maybe look silly or awkward. No issues with that here. Many people were interested in them and excited to put them on to experience a portion of the performance. I really appreciate the confidence and security that this represents. It’s also about a willingness to take risks and have new adventures which probably aligns with the fact that they went to a “sound art show” at a restaurant in town. With the headphones on, people began investigating the pieces that I was presenting but they also started to explore the space and each other in different ways. I love it when this happens. Moving beer classes to listen to the resonance on the wood, jingling pocket change near the pipes, and even playing wine glasses as harps all broke out later in the set once they knew it was ok to move around and make noise. I forgot to do my “please turn your cell phones on” bit at the beginning. I like it best when I can just start and then answer questions and provide more context later. I feel this sets up the best relationship between the listener and the sound. It’s more important that the audience listen and develop their own relationship with what I am making as apposed to me first telling them what they should be listening for. It also makes for better conversations afterward because they are going into the piece with their ears more open if I haven’t framed it before starting.

I played a set of 3 pieces that are part of a new series of works that I’ve been making. The material used is a combination of things that I’ve been playing with before coming to Grin City and things that I have been collecting and working with since being on the farm. As people started filling into the rooms to find seats (at 9 promptly… this is the Midwest after all) I just started making noise with the headphones being already laid out on some of the tables. I was pretty immersed in getting everything going but I’m pretty Joe Lacina was the first one to put them on. Then I quickly saw from my periphery that they were circulating around the room. I also noticed that everyone was working really hard to sit still and be quite so I knew that I needed to talk a little between sets. I wanted to break the tension and remove this reverence for the performer. It’s not about the guy sitting there turning knobs and moving sliders (my friend Anna joke-seriously told me it looks really boring and she is totally right). It’s about the development and projection of the sound and how it is sculpted within the space. In between sets the audience had really good questions and I had a chance to say my piece about noise, listening, design and audio ecology. They also asked if I wanted them to be quite so I tried to let them know that I just wanted them to be comfortable, whatever that means. I don’t have any expectation that the performance is treated as some sort of sacred thing that everyone must sit still and face forward. Although I was very pleased that the event was set up so that it could be a seated performance, it seemed like the audience really dug getting up and moving around to explore the features of the room.

Listening to the passing train at Relish in Grinnell, IA

Listening to the passing train at Relish in Grinnell, IA

During the break, people were wearing the headphones around Relish and made their way outside. I finished just in time for a train to go by the nearby tracks. Immediately the headphones were scooped up as everyone headed outside to hear. The train line is about 1 block from the patio and from their the train sounded amazing. Listening to it with the headphones on in real space, not a recording, reaffirmed my fascination with trains. I’ve discovered that “foamer” is a term for someone who sits and waits for trains to come by so that they can, usually, photograph them. Turns out, I’m a listening foamer. Maybe I need a better term for that. Even though my friend Anna had heard all these tracks before, I still was able to use a few different chickens throughout the evening.

I’m really glad to have had this opportunity to perform as a way of turning my time here as an artist in residence into something that people could experience. The performance at Relish was a combination of things that I’ve used in the past and new things that come straight from Grin City. It was a piece of phonographic fiction created from a series of experiences that many cities, a few road trips and a couple weeks as an artist in residence on a farm in Iowa. It was a fun way for me to synthesize the things that I’ve been working on here at Grin City. All that mixed in with a great audience, new friends, one of the best restaurants in town and my wife secretly showing up for the entire show without me even knowing it until the break made for a pretty amazing night. For this I am really grateful.

Audium: A theater of sound-sculpted space

1.12 Arrived in SF in time to see Audium, a 176 speaker sound-sculpture space

Last spring, I traveled to San Francisco to experience the Audium in person. This trip was supported by a grant from the Center for Cultural Innovation in Los Angeles. What follows is a writing that I created after the performance as part of the final grant report.

Originally written on July 2nd, 2012
A large room with a suspended ceiling and a floating false floor houses this permanent audio-performance-as-sound-art-installation created from a composition performed through a series of 176 different speakers mounted throughout the space. There are square acoustic panels mounted in concentric circles at the ceiling. Speakers of different sizes, for frequency and response, are hung from the ceiling facing down, under the floor facing up and along the wall facing toward the center. The audience is seated in a series of 3 concentric circles facing the center. There are speakers mounted directly under many – if not all – of the chairs. Some of the walls are solid but some of the curved forms used to define the space are created from stretched white fabric. The area where the performer sits is a very Kubric-esque station opposite the entrance that contains a custom mixing area with a series of dials and switches. The entirely custom-built interface is marked with glow-in-the-dark labels so that they can be seen by the performer but won’t give off any projected light. This aligned with the initial announcement that requested people remove any watches with illuminated faces or anything else that might light up during the performance. As the sound began, the room was slowly taken to complete and absolute darkness. In fact, during the second movement, the gentlemen sitting next to me got a silent phone call and the light emanating form his blue jeans pocket was incredibly bright, emphasizing the darkness after 30 minutes of being without light.

A primary technical feature of the space is that it provides sound the ability to move through the space and be composed with other moving sounds. The tape performance consisted of a mix of musical instruments, synthesized sounds, field recordings and even some voice samples. These sounds create a dream-like state that flows through a series of emotions and compositional movements. It deals with issues of tension, beauty, memory, child hood innocence and scientific exploration. There are moments that are heavily rhythmic and draw the listener’s attention around the space and other times the sound comes to the listener during the experience.

The presentation throughout the space functions in a way that a normal projected listening experience cannot. The sound moves through the space in a way that directly reflects one’s listening ability in real space. Sounds come from all around us. We hear in 360° and we can’t turn it off. Our ears don’t blink – as the famous John Cage saying goes. This installation / performance explores this and presents a composition in a way that creates a different relationship to recorded and projected audio. The listening experience is quite amazing. Hearing a performed composition distributed through space in such a way draws the listener in and blurs the familiar lines of experiencing recorded sound, usually limited to 2 channels of stereo or at most maybe, 5 channels of surround sound. Having sonic distribution at this granular level to compose against creates a great deal of questions and opportunities for composers. As a media artist, I am intrigued by the questions this raises about the methods by which an artist would perform in this type of space. How does one perform within such a dramatically complex and interwoven sonic environment? What are the interaction implications of a controller for 176 distributed, discrete audio channels? And how might this controller work in reverse if instead of distributing sound out to many channels, we consider ways that our binaural listening system might be hacked and modified to perform this space surrounding a listener? While considering the role of the listener within this rich, dynamic performance environment that the Audium presents, these are some of the questions that the experience of this multi-speaker audio installation and performance has raised for me.

503 01 – mr & mrs formalplay collaboration

Sonic fictions from powered mobility

All content ©2014 Alex Braidwood unless otherwise stated.

  • In Class Demo
  • Sound Art : October 08, 2016 at 08:54AM
  • Sound Art : September 20, 2016 at 06:34AM
  • Sound Art : September 17, 2016 at 01:49PM
  • Sound Art : September 17, 2016 at 11:20AM
  • Sound Art : September 17, 2016 at 10:13AM
  • Sound Art : September 05, 2016 at 04:08PM
  • Sound Art : September 05, 2016 at 07:24AM
  • Sound Art : August 22, 2016 at 08:23AM
  • Sound Art : August 20, 2016 at 03:28PM
  • Sound Art : August 20, 2016 at 12:05PM
  • Sound Art : August 20, 2016 at 06:56AM
  • Sound Art : August 20, 2016 at 06:10AM
  • Sound Art : August 20, 2016 at 05:25AM
  • Sound Art : August 18, 2016 at 10:20AM
  • Sound Art : August 18, 2016 at 05:38AM
  • Sound Art : August 17, 2016 at 12:40PM
  • Sound Art : August 16, 2016 at 01:15PM
  • Sound Art : August 15, 2016 at 01:34PM
  • Sound Art : August 15, 2016 at 10:56AM
  • Sound Art : July 12, 2016 at 02:22PM
  • Sound Art : July 12, 2016 at 02:01AM
  • Sound Art : July 08, 2016 at 02:16PM
  • Sound Art : July 08, 2016 at 08:49AM
  • Sound Art : July 08, 2016 at 07:48AM
  • Sound Art : July 07, 2016 at 07:23AM
  • Sound Art : July 03, 2016 at 02:55PM
  • Sound Art : July 03, 2016 at 12:11PM
  • Sound Art : June 30, 2016 at 10:46AM
  • Sound Art : June 25, 2016 at 10:50AM
  • Sound Art : June 24, 2016 at 10:55AM
  • Sound Art : June 23, 2016 at 09:19AM
  • Sound Art : June 23, 2016 at 07:41AM
  • Sound Art : June 21, 2016 at 12:07PM
  • Sound Art : June 18, 2016 at 07:51AM
  • Sound Art : June 17, 2016 at 12:15PM
  • Sound Art : June 17, 2016 at 08:54AM
  • Sound Art : June 16, 2016 at 08:42AM
  • Sound Art : June 15, 2016 at 07:35AM
  • Sound Art : June 15, 2016 at 06:29AM
  • Sound Art : June 14, 2016 at 06:54AM
  • Sound Art : June 13, 2016 at 10:48AM
  • Sound Art : June 11, 2016 at 02:14PM
  • Sound Art : June 11, 2016 at 05:30AM
  • Sound Art : June 10, 2016 at 02:19PM
  • Sound Art : June 10, 2016 at 10:52AM
  • Sound Art : June 10, 2016 at 06:18AM
  • Sound Art : June 09, 2016 at 02:23PM
  • Sound Art : June 09, 2016 at 05:05AM
  • Sound Art : June 08, 2016 at 09:37AM
  • Sound Art : June 08, 2016 at 07:08AM
  • Sound Art : June 06, 2016 at 03:57PM
  • Sound Art : June 06, 2016 at 09:26AM
  • Sound Art : June 03, 2016 at 02:59PM
  • Sound Art : June 02, 2016 at 08:13AM
  • Sound Art : June 01, 2016 at 04:41PM
  • Sound Art : June 01, 2016 at 04:12AM
  • Sound Art : May 31, 2016 at 04:50AM
  • Sound Art : May 30, 2016 at 03:47PM
  • Sound Art : May 28, 2016 at 01:27PM
  • Sound Art : May 23, 2016 at 03:55PM
  • Sound Art : May 18, 2016 at 04:56AM
  • Sound Art : May 17, 2016 at 09:56AM
  • Sound Art : May 16, 2016 at 02:57PM
  • Sound Art : May 15, 2016 at 05:57PM
  • Sound Art : May 15, 2016 at 05:56AM
  • Sound Art : May 13, 2016 at 10:09AM
  • Sound Art : May 12, 2016 at 11:59AM
  • Sound Art : May 05, 2016 at 05:21AM
  • Sound Art : May 04, 2016 at 04:59PM
  • Sound Art : May 03, 2016 at 07:36PM
  • Sound Art : May 03, 2016 at 02:27PM
  • Sound Art : May 03, 2016 at 09:48AM
  • Sound Art : May 02, 2016 at 01:48PM
  • Sound Art : May 02, 2016 at 04:19AM
  • Heritage Listening at BlackContemporary
  • Behind the scenes (well, above the scenes actually) of Heritage Listening @ #BlackContemporary.
  • Objectifying Sound
  • Working w/ Infrastructure 
  • Solar Power. Sound recording. 
  • Secret Spring Break, Formal Danger
  • Sound Art & Graphic Design Adventures in S. Korea
  • Buoy Listen – Chuncheon S. Korea
  • Cassette Player/Recorder Panasonic M8455
  • Stereo Wind Turbines – Spirit Lake, Iowa
  • Bee Hives @ The Prairie Flower
  • Cities & Memory – Oblique Strategies
  • Des Moines NoiseScape @ The Social Club
  • Modified NatureSound & Junction Dam Installation
  • It rains on all the microphones the same
  • Listening Walk – Mt Beauty, Victoria, Australia
  • The return hike
  • Australian Bird Calls @ 0432 347 156
  • Bogong – Final Early Morning Nature Sound Hike
  • Bogong – Installation Prep
  • The experience is the hike and the listening
  • Community Notice Board Intervention
  • Bookmaking Noise at the Country Horse Races
  • New Year’s Day – Australia’s Alpine Nat’l Park – Bogong Village
  • New Year’s Eve – Noise Celebration in Mt Beauty, Victoria, Australia
  • Water is Electricity is Noise
  • Temporary Community in the Alpine Shire
  • Post-interview – 3CR Community Radio, Melbourne
  • Customs and Boarder Patrol
  • Listening at the shore – Venice Beach
  • Comforting water noise in the O’Hare Urban Garden
  • From Memory: A Performative Exploration of Sonifying Solar Wind Data
  • Lake Superior – Grand Island Lakeshore – Stone Quary Cabin
  • Bureau of Infrastructure Tourism Listening Tour
  • Bureau of Infrastructure Tourism – Public Transport and Communication 001
  • Bureau of Infrastructure Tourism – Transport and Removal 001
  • Bureau of Infrastructure Tourism – Listening Site Scouting
  • Nature sounds – NoiseScape: Yellowstone – Artist Paint Pots
  • End Transmission @ Tiger Strikes Asteroid
  • Alert Fatigue – process
  • Temporary listening at the making of a Tibetan sand mandala
  • Compositional destruction & different awareness of objects
  • NoiseScape [prototype]
  • Discovering my own totem sounds – fire
  • Grin City Soundscape Performance 2
  • Performance Excerpt – Live @ Relish in Grinnell, IA
  • Sometimes it just feels good to make some fu©king noise
  • Sounding at Relish – Grinnell, IA
  • Listening on the Farm – thunder in the farmhouse
  • Listening to the Farm – Drips, Pens & Tills
  • Listening to the Wind on the Farm
  • Listening on the Farm – high winds & loose roof panels
  • Nature Sound Workshop 2013 – Seattle, WA
  • Diagnostic Listening
  • Audium: A theater of sound-sculpted space
  • Noise to keep us safe
  • Listening Instruments Invention Workshop
  • Listening Instruments Invention Workshop – photos
  • Listening Instruments Workshop Booklet
  • Listening at the Hardware Store
  • Anti-cancellation
  • 503 01 – mr & mrs formalplay collaboration
  • Listening Instruments workshop – warning
  • Warning – Safety Headphone Danger Zone
  • Sonic fictions from powered mobility
  • LEAPstrument Zero1
  • Hunting vs Foraging
  • Active Listening in the Urban Soundscape
  • Listening in the Megacity
  • Kansas City SoundWalk Research & Performance Documentation
  • Listening to the Unwanted, Broadcast from the Desirable
  • Infrastructural Radiations 02013-002-0073
  • The Listening City – Reports from the Noise Camera
  • Dead rat making – Listening at the fabric store
  • Rapport de la Volière Mécanique
  • Dem Noises – Infrastructural Intersections
  • Listening at the Intersection of Infrastructure
  • Écoutant Instruments pour l’écoute
  • Rapport de la route électrique – 02013-01.0001
  • Noise Box
  • Rapport de la Volière Mécanique: 02012-04.0002
  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-04.0001
  • Carte Voliére Mécanique
  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-04.0001
  • Mysterious Hums – Collective Listening
  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-03.0002 – Visée #02
  • Carte Voliére Mécanique
  • Listening to Mysterious Hums
  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-02.0022 – Visée #07
  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-02.0022 – Visée #04
  • Carte Voliére Mécanique
  • Rapport de la Volière Mécanique: 02012-02.0022 Sighting #01
  • Panel – Visualizing the Invisible: The Art of Sound
  • Carte Voliére Mécanique
  • Hum Listener
  • Rapport de la Volière Mécanique: 02012-02.0015 Sighting #09
  • Carte Volière Mécanique
  • Listening to LA on KTLA (the weirdo on the corner)
  • Visualizing Audio – Commotion – Noise Collage Test 018
  • Visualizing Audio – Commotion – Noise Collage Test 011
  • Report from the Aviary: 02012-02.0015 – Sighting #03
  • Mysterious Hum: DETINU 6425
  • Mysterious Hum: Subterranean Descent
  • Persistent Hum: Grammy Patrol
  • Mysterious Hum: 6th Bridge – On & Over
  • Noisolation Headphones on So Cal Public Radio 89.3 KPCC
  • City Sonic – by KPCC
  • Noise Collection Organizational Measure
  • Wander-listen
  • Listening Up: Neighborhood Tumult Meter
  • Happy New Ear
  • New York: Critical Information
  • That time I wore those things and ʍɐs ʇɐɥʇ ɟɟnʇs
  • Asynchronous Collective Residue
  • Thinking about the Walkman® – Shared Listening Experiences
  • Thinking about Magnetic Tape – Musical Instruments
  • Simulacra-tecture
  • I’m not a Musician
  • Thinking about Mysterious Hums – The Importance of a Source
  • These aren’t your Grandparents’ Orange Groves
  • Noise? Some Ramblings about Discovery & Inspiration
  • Listening in Las Vegas

  • categories
  • blank
  • noise
  • listening
  • architecture
  • media
  • art
  • dem noises
  • performance
  • chronicle
  • totem
  • megacity
  • sonification
  • naturesound
  • intervention
  • Process

  • tags