There are a number of events on at Scarborough’s Coastival Festival this weekend involving staff and students from the University of Hull, including Living Waves by Rob Mackay – Featuring Evelyn Glennie.
Living Waves
Living Waves is a sonic journey in to stone. It uses the sounds of ringing rocks found in the Lake District to create an immersive sound installation. It was commissioned for the Ruskin Rocks Project and features Dame Evelyn Glennie playing a new lithophone specially created for it .
I’ve seen Rob present this piece three times and have heard excerpts from it several more. This is the first time it will be exhibited in a complete form but Rob assures me there so much more material to create more work
It will be on at Coastival in Scarborough this weekend on Friday and Saturday (10am – 5pm) at Scarborough’s Rotunda Museum of Geology. FREE ENTRY!
There are two other installations including sound design by Rob Mackay, installations by Sam Eaton and Sea Swim:
by Rob MacKay and PhD student Sam Eaton is a virtual instrument in which you make music by interacting with a map of Scarborough. “Create your own composition by combining the sounds of the landscape!”
This is an installation with 3 channels of video and surround sound which immerses viewers into the experiences of swimming in the North Sea. By Lara Goodband, John Wedgewood Clark, and Rob MacKay.
The festival will involve over 700 performers from the town in the epic production of Orpheus the Mariner which uses giant puppets, some of which have been made by Music and Drama students from the University of Hull, including the world record attempt at the largest puppet ever built!
During his talk on 2nd December Chris Watson mentioned an artist-led organisation based in Australia with whom he, and other artists, collaborates regularly on some fantastic soundscape projects. This post will introduce them briefly and explain the technique that Chris described and showcased during his talk. But first:
[Image: WIRED LAB]
WIRED LAB connects international artists and residents of rural Australia and connects them in new ways. Contributing artists include sound recordists Chris Watson and Jez Riley French, amongst others such as musicians and instrument inventors Colin Offord and Jeff Henderson.
Some fantastic work comes out of the organisation, which you can see on the website, but I’m going to feature the work of Chris Watson and Jez Riley French’s contact mics in order to illustrate the applications in Acoustic Ecology.
The Computational Beauty of Nature features recordings by Chris Watson. Their surreal sounds, he assured us, are unprocessed and are the sounds he picked up by attaching contact mics these long metal wires fences.
Contact mics are placed close to each other: one on the top wire of the fence, the other on the bottom. This means that as the rain or other objects, falls on the top wire we hear the immediate vibration as well as the same vibrations shortly after they’ve travelled through a great distance of wire in order to reach the second microphone.
In The Computational Beauty of Nature it sounds as though this goes for objects hitting both wires so there is a unique mirroring going on between the left and right channels.
The stereo width in the above recording is also a fairly natural. As Chris said in his talk,careful microphone placement is key to gathering perspective; it is also an important, probably the first stage of, compositional decision making because there are so many aspects embodied in perspective.
More examples include contributing work to bioacoustics of the area. The different wire fence set ups they have contribute to the diversity of sounds to be heard, for example the Flying V wire constructed in 2010:
“This recording taken from the eastwest wire of the Flying V. This sound is most likely a bird perching on the wire. It gives a good idea of the delay line / reverb effect from such a large scale single wire span.”
Chris Watson recommended the C-series contact microphones built by Jez Riley French. He’s based around Hull, very easy to contact and very responsive and helpful in his replies. Follow the link above and see his catalogue of hyrdrophones and contact mics available. See this play list for a brief showcase of the mics:
I bought a pair of C-series mics and have put them to great use so far. However in order to illustrate the application of them to metal fences I did some testing when I was last in York. There was a large carousel in Parliament Square and a metal fence about 4-foot in height acting as a barrier for people to queue around. As you can imagine, whilst people we waiting to ride, there was lots of contact with the fence; I was in contact too wired up with these mics:
And not on a fence but a window during intermittent rain fall on a windy day:
Great results are waiting to be had if you get yourselves a single or pair of these mics. See Jez’s website or do a search on Soundcloud for loads more examples
Firstly a contradiction. The definition of sound map should not be taken too literally. The idea of map, mapping, journey likewise should not be taken at face value, that is, as a two-dimensional means-to-an-end. To use a philosophy crudely, not all swans are white; not all maps are two dimensional.
Maps are ultimately representations, which suggest no boundaries as to how it is represented indeed representation is chosen by those representing. They should accepted as a subjective truth insofar that the map is an abstraction derived from something- the geographical territory- but it is not the thing itself.
What I am trying to say is that like any map, sound maps should have no prescribed method. However you choose to represent, do what you want. But here are a couple of methods. (If you’re interested in the philosophy, check out ‘Map-territory relation’ on Wikipedia and the links on there. Bateson, Baudrillard, Korzybski, eat your heart out.)
How far can we push the boundaries of the typical cartography of a sound map?
Mapping Sounds
Let’s start with the most straight forward method of mapping and embedding sound files on an existing map programme such as Google or Bing. There are two online tools you can use to create a sound map. They don’t require signing up but the advantage of doing so is that you can save maps and edit or add to them at a later date. Umapperand Map Makerare two services I found.
This is a simple tool that is straight forward and not as buffed up with custom features like those of UMapper. All is is is a Google Map with the ability to place those red markers with the ability to embed flash-based links such as SoundCloud players.
You have to sign up (for free) in order to share an iframe link, see below, otherwise you can export a javascript code. To make a map simply find the location of your field recording- be as precise as you like- and click to acquire the longitude and latitude of that place.
You then have to title the marker and add some text. Call it what you like within the character limit and use the ’embed’ code on the Soundcloud file. This can be done as many times as desired and then you can save your map once it’s titled. Wordpress doesn’t like iframe codes so please click on the link to find my example.
Umapper offers much more custom features than MapMaker and can therefore provide a more detailed representation. You have to upload your sound files to the site (copyright is still your own) and it can only supports MP3 file format. Each marker contains a media player and an image as well, if uploaded, to support the file.
The maps are more interactive and with the use of shapes and so on allows you to be more creative with how you choose to create your map. It’s a bit more time consuming and I had problems uploading and playing back my audio files and images so I can only offer an existing example by way of the London Sound Survey
Sound Map by Composition
During his talk on Monday Chris Watson suggested another kind of sound map, this time by way of composition. His current work at the Millennium Gallery in Sheffield is an example of this insofar as he attempts to take the listener on a journey through his hometown Sheffield. He does this by using ambisonic diffusion to immerse the listener in his soundscape of field recordings collected from all over the city.
In terms of composition it begins at the peripheries of Sheffield, on the hills, and finishes beneath the train station in the heart of the city. We heard sections of the 36-minute piece during his talk and witnessed how he exploits the acousmatic potentials of this kind of mapping. However the veil is lifted ever so slightly by the accompanying black-and-white photographs that depict the places he record in an non-synchronised random slide show.
In the same category a slightly different method can be found in Matthew Barnard‘s work Woche (with apologies to Ruttman and Brock). Although this piece is a document of a week in central London, with no necessary continuity in terms of time or place, if we allow the term ‘sound map’ to be broadened then we have a composition that maps the experience of the busy city represented using heavy, and pretty, aesthetic devices.
By way of the binaural method and the unique psychoacoustics thereof, we play the part of the recordist, experience the places he or she visited, and hear the acoustic environment, as accurately as possible, the way they did.
My piece Avignon Off’13, also binaural, likewise ‘maps’ a journey during a certain period but contains all phonographic material and no electroacoustic processing. These two pieces are two further examples of how sound map can be created using composition.
Marcus Leadley is another to look out for. If you ever meet him at a conference or symposium, it’s likely he has a sound walk prepared for people to talk part in. Marcus, records souunds of place using various recording techniques and compiles them into a randomised composition built on Max MSP.
He sends the output to a radio transmitter and listeners are required to wear wireless headphones and explore the places that are randomly appearing in the soundscape composition. Listening to Marcus Leadley’s Hidden Sounds of Whitstable showcases some of the sounds he is able to discover:
Sound Walks
Sound walks are another to ‘map’ the sounds of a place using what ever creative tools the artist chooses. Usually sound walks are live pieces in which the artist takes a group of participants through a place in order to raise more awareness to the acoustic environment. However they can take the form of compositions and be done for aesthetic purposes.
This practice was formed alongside soundscape ecology at the Simon Fraser University in Vancouver. Artists such as RM Schafer, Hildegard Westerkamp, and Barry Truax took part in defining the theory and Westerkamp had her brilliant essay on soundwalking reprublished recently. Click the picture to read:
Through soundwalking Hildegaard Westerkamp identifies that ‘we cannot close our ears’ and therefore ‘cannot help hearing all sounds.’ She attempts to ‘remove the initial hearing barriers’ in order to ‘become fascinated by exploration.’ Soundwalks need not be ephemeral and presented only in a live format. By use of various methods artists have come up with ways to document their walks from the very literal (see the map above) to very impressionistic.
During a rhythmanalysis soundwalk of Newcastle in 2011, Justin Bennett instructed the particpants to draw a small circle in the centre of piece of paper and then a large circle that has the smaller one in its centre. The use of circles is fairly relevent to the psycho-spatial properties of experience of listening. See the blank diagram:
The listener, or rhythmanalyst, can use any language or pictures to describe their experience. For example:
And Justin Bennett’s [hard to read] soundwalk map of Newcastle City Centre:
Other artists record their sound walks binaurally and appropriately ask listeners to use headphones to listen to their walks. Binaural sound artist Dallas Simpson composes walks and improvises performances by interacting with the landscape to make unique pieces usually intended for headphone reproduction. See Dallas Simpson’s Personal Performances.
These have been three methods of mapping sounds: cartographic, compositional, performative.
If you’ve found this pose helpful, keep checking back for more! For a growing list of Sound Maps found online, see this page of the Acoustic Ecology @ UoH blog: Sound Maps
The Station, broadcasted on Wednesday 09 October 2013, is a soundscape composition that captures the psyche of a place by way of it’s acoustic character and history.Only 24 hours in Newcastle Station, as Chris explores, is full of soundmarks that are recognised by the people who work in and use the station on a regular basis.
It is a great piece and includes narration from Chris Watson. Not only is this a good example of acoustic ecology it is also a fantastic narrative piece that cinematically represents a journey and explorations. Technology and doing allow us to make these.
“The sound recordist Chris Watson, regularly travels to and from this station and became fascinated by the sounds and acoustics of the building, so when he was granted permission to record inside, he leapt at the chance, visiting at various times during both day and night over several months, to capture the sounds within; from the quiet crackle of the overhead wires on a misty dawn morning to the terrifying roar and clamour of footballs fans and police dogs when Newcastle were playing at home to Sunderland, and the chanting voices and shouts of the fans overwhelmed even the sounds of the trains.”
The European Acoustic Heritage project is currently taking submissions for a soundscape composition competition revolving around the theme of Water.
Open until August 13th 2012, the call is for compositions that involve some aspect of water (be it the obvious or the associated) with an emphasis on culture and context – we have plenty of inspiration here in Scarborough. The compositions must be 10 minutes or less in duration (always a problem for me!).
More detailed information on the contest and the EAH project in general can be found HERE
Acoustic Ecology @ UoH 