01 ::: blanca rego ::: rain09022015bcn ::: 05:23
02 ::: christopher delaurenti ::: the surry power station ewss test heard amidst a stand of bamboo ::: 06:18
03 ::: christina kubisch ::: wien landstraÃŸe ::: 09:27
04 ::: stephanie spray ::: swayambhu ::: 06:40
05 ::: darius ciuta ::: f_rmÂ ::: 07:11
06 ::: cathy lane ::: sweet airs ::: 10:44
07 ::: julia hanadi al abed ::: the oceanÂ ::: 04:52
08 ::: martin kay ::: stadium elevator ::: 09:33
09 ::: magali babin ::: new year’s party 31.12.15. 10:30 pm. panama beach ::: 10:03
10 ::: rodolphe alexis ::: attempt to approach a natterjack toad ::: 07:28
Iâ€™ve always been obsessed with rain, maybe because I was born in Ferrol and I grew up in A CoruÃ±a, two cities in the north-west of Spain in which rain is an important part of everyday life. To this day, I think that Iâ€™ve made more than 100 recordings of rain.
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The Surry Power Station EWSS Test heard amidst a stand of bamboo was recorded 9 December 2015 with binaurally mounted DPA 4060s affixed to my head with surgical tape and a Shure FP24 mixer running into a Sony M10 recording deck at 24 bit / 48kHz.
The Early Warning Siren System (EWSS) is a quarterly test using 71 Whelen 2806 and 2906 sirens deployed throughout eastern Virginia in the United States. The cascading canon of sirens is intended to alert the local populace of a nuclear disaster at the nearby Surry Power Station. The squawking bird you hear is quite likely a red-breasted nuthatch which is usually much more placid.
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2015, Christina Kubisch, electromagnetic field recording in an underground train station in Vienna
ELECTRICAL WALKS 2003-
Electromagnetic Investigations in the City
Work in progress
Since the end of the 1970s Christina Kubisch works with the system of electromagnetic induction, which she developed from the basic technique to an individual artistic tool. In 2003 she started a new series of these works in public space, which trace the electro-magnetic fields of urban environments in the form of city walks.
Electrical Walks is a work in progress.It is a public walk with special, sensitive wireless headphones by which the acoustic qualities of aboveground and underground electromagnetic fields become amplified and audible.
The transmission of sound is made by built-in coils which respond to the electromagnetic waves in our environment. The palette of these noises, their timbre and volume vary from site to site and from country to country. They have one thing in common: they are ubiquitous, even where one would not expect them. Light systems, wireless communication systems, radar systems, anti-theft security devices, surveillance cameras, cell phones, computers, streetcar cables, antennae, navigation systems, automated teller machines, wireless internet, neon advertising, public transportation networks, etc. create electrical fields that are as if hidden under cloaks of invisibility, but of incredible presence.
The sounds are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and are hard to describe. Some sounds are sound much alike all over the world. Others are specific for a city or country and cannot be found anywhere else.
Electrical walks is an an invitation to a special kind of investigation of city centres (or elsewhere). With the magnetic headphone and a map of the environs, upon which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electromagnetic fields; what is accustomed appears in a different context. Nothing looks the way it sounds. And nothing sounds the way it looks.
image credit: Christina Kubisch Â©
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This track was recorded at the base of the Swayambhunath Stupa in June 2015, two months after the April 2015 earthquake that killed more than 9,000 and razed entire villages, houses, and historic sites in Nepal. Although several of the temples and buildings directly surrounding Swayambhunath were damaged, the main stupa remained standing and the religious life of this sacred site continued as before, with Nepalis and Tibetans circumambulating clockwise at its base, with mani wheels spinning and feet shuffling to the tempo of Om Mani Padme Hum. Swayambhunath sits atop a hill in the northwestern corner of the Kathmandu Valley and is one of its key religious landmarks.
Lightly edited, with two internal cuts, and no layering, the piece was recorded with a Sound Devices 702 and Sanken CSS-5.
Stephanie Spray is a nonfiction filmmaker, phonographer, and anthropologist working in the Sensory Ethnography Lab at Harvard University whose primary geographic focus is Nepal. Her nonfiction films have won numerous international awards and have been exhibited in museums and film festivals around the world.
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ALL SOUNDS RECORDED/MANIPULATED IN KAUNAS (LITHUANIA)
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The wind is responsible for so many things in the Hebrides (remote islands off the west coast of Scotland). It hardly ever stops blowing. It has many characters and is accompanied by all kinds of other weather conditions. For a sound artist and composer making recordings in the islands the wind can be a curse, but it is more often a delightful carrier of the voices of people, animals, birds and things. These airborne sounds often come from far away, their source hidden from view, mysterious like the â€˜sweet airsâ€™ of Shakespeareâ€™s play The Tempest – the sounds of a birthday party far across the island; sheep roaming the cliffs; people singing hymns together in a house; cows waiting to board the ferry to be sold on the mainland; snippets of a church service and the cries of different birds. The wind also has its own voices and activates the songs of other objects – gates, plants, leaves, fences. The wind is an accompaniment to all aspects of life on these unique islands.
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I spent my childhood on the Aquitaine coastline.
Being at the edge of a continent, this straight coastline as far as the eye can see, with the relentless back and forth, the permanent roar, nourished the desire to solely print the track. Ocean were the very first takes i did, years back, with voice alone, trapped on a mini-tape recorder.
The 22th of November 2015 had a simply pleasurable shiny weather, i had take an old grundig tape recorder with me ; 20 years later, i’m back to my first love facing the great immensity…
image credit: Anne Careil Â©
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Stadium Elevator is part of an ongoing project (destined to be released on AVANTWHATEVER this year) that explores the various ways in which the material/ acoustic/ environmental attributes of the MCG stadium and itâ€™s surroundings work to warp, abstract and re-contextualise the phenomena of mass cheering.
image credit: Cesar Salmeron
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This composition has been created with a single-take field recording. I recorded it during my most recent travels. This work is related to my PhD research about the sonic identity of environment related to auditive memory.
image credit: romy-lena B.
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An April night, somewhere in the muddy and flooded fields of the french western countryside.
image credit: Camille Pissarro – Paysage au champ inondÃ©, 1873