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.
-n 1. a noisy confused place or situation.
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.
Senate Bill 841, 111th Congress:
The Pedestrian Safety Enhancement Act of 2010
To increase pedestrian safety, silent vehicles are required to make noise at low speeds.
The Listening Instruments Workshop provides participants with the information, inspiration and resources to create headphone-based listening experience that physically modify their sonic relationship to the urban soundscape. Instead of masking, blocking or canceling out unwanted sounds, the projects created play with the acoustic properties of various materials to affect, transform, modulate and obscure sounds from the surrounding environment. This mode of mechanically adjusted active listening creates different ways to explore, question, critically analyze and reconsider the urban soundscape. Once built, participants will embark on a listening tour of Side Street Projects and the surrounding area to explore the new listening opportunities created by existing and freshly made Listening Instruments.
More information available at workshop.listeninginstruments.com
A small booklet to go along with the workshop at Side Street Projects in Pasadena.
This is my way of replacing the introductory projected presentation since the workshop is off the grid.
Plus, I’m a big fan of Garnet Hertz’s workshop pamphlets.
With the increased use of sound for warning and communication in public spaces, masking and cancellation are not reasonable responses to the cacophonous urban soundscape.
I was fortunate enough to be selected as part of the Leap Motion pre-release developer program. I got a developer board in the mail last week and this is my first experiment with it.
It’s an exploration of the Leap Motion interface as instrument. I’m interested in investigating the characteristics unique to the device as apposed to using the device to replicate or emulate other instrument interactions (the obvious exception being the Theremin).
Leap Motion Dev Board v06.5
Built using OpenFrameworks.
This is an important distinction for me.
There’s a lot of language about “hunting” in reference to field recording and capturing of sound. Even there, the use of the word “capture” leaves one with the sense that sounds are elusive and difficult to attain – which is true. Anyone who has spent time waiting for a sound to record can attest to the evasive sensed during the act of waiting, listening and anticipating. Even the naming of the shotgun microphone makes reference to the language of hunting and capture. The issue that I have with the idea of hunting lies in the result of the act. The act of hunting results in leaving something else fundamentally changed. In the case of animal, it is dead. Hunting is the act that leads to killed. (This is of course unless you grew where I did and hunting simply translates to drinking cheap beer in the woods. But let’s assume actual hunting.) Other things besides simply the capture of something are at play in the use of hunting language in field recording. There is the planning and preparation. The gear needs to be prepped and organized. The locations need to be scouted, mapped and selected in the hopes of best results. The timing needs to be just right to increase your chances of success. This means time of day and time of year but it also refers to the fact that enough time needs to be allotted for the task at hand. It is an act of patience, of waiting, and of anticipation. These are phases of the process that build up to the final act of collection.
The reference to hunting, stalking and tracking of sound is definitely accurate but there is another way to think about this activity. A relationship can also be drawn to search itself. A quest guided by insight, information and inspiration that leads to the investigation of a soundscape for what it has to offer. It still requires planning and preparation. The process most definitely involves patience and awareness. Instead of language about leaving something fundamentally changed that results from a hunted object, foraging provides the sense that it’s there for collection if it happens to be the thing that you are looking for. Foraging is about the search, the investigation. The open awareness to the surroundings in a connected and knowledgeable way that leads to the collection of material for later use. Like foraging for the ingredients of a soup. There for anyone with access to attain. Foraging provides a method of observation and collection with language that resides in the experiential knowledge of context and growth as apposed to the occupational or invasive violence associate with the climax of the final kill or capture. Noise foraging is the act of collecting otherwise unwanted sounds from the urban soundscape. What is traditionally blocked or ignored is instead scooped up for inclusion in different forms.
Listening in the Megacity
Megacity: A city with a population in excess of 10 million people. Usually also consisting of a population density of at least 2,000 people/km2.
Example: Seoul, South Korea. Population: 10.5 million. Density: 17,000 people/km2
All content ©2014 Alex Braidwood unless otherwise stated.
- mysterious hum
- sonic fiction