Audire project invited submissions of existing sound art works to be exhibited online, as part of the “SOUND, ART AND MEDIA” meeting programme on April 8, which addressed the thematic.
We are pleased to present 12 selected sound art works that include soundscapes, sound narratives, field recording and mixed compositions.
Coagulation is an electroacoustic stereo composition produced by Andre Perim based on the process of Alchemy. It is stated as the seventh and last stage of Alchemy (Calcination.Dissolution.Separation.Conjunction.Fermentation.Distillation.Coagulation). The process of composition was made by the multiple derivation of a single sound found in a harsh recording though the dematerialisation of sound and re-signification of noise. In 2020 it was awarded by the site Sound-Silence Though.
Keywords: alchemy, liquid, fluid
André Perim is a musician, composer, sound and multimedia artist from Brazil. His work is based on several unique influences ranging from the sacred tradition of the Afro-Brazilian Rhythms to electronic elements inspired by ambient , psychedelia and concrete music.
Ana Carvalho dos Santos
Listening instructions: Please use headphones for a better hearing of the sound work.
“Energy Changes” is the name of one of the exercises written by Pauline Oliveros in her book “Sonic Meditations” (1974). The guidelines of this exercise are the basis of this sound production, join togheter the capture of a soundscape with meditation exercises. After the exercise, the material was processed by a sound synthesis software. This experimental soundpiece explores the practice of manipulating of the real and also the body’s relationship with the natural space.
Keywords: soundscape, sound synthesis, sonic experience, experimental
Ana Carvalho dos Santos (1996, Porto). Graduated in Multimedia from School of Media Arts and Design (ESMAD-PP) (2018) and currently is enrolled in the Masters in Multimedia: Arts and Culture at the Faculty of Engineering of the University of Porto (FEUP).
Her work focuses mainly on audiovisual and digital art works. Works between installation, visual art and sound. She addresses in her works issues of real and imaginary, concrete and abstract, the distortion and perception of the real world and also exploration of her own body. Lately she has been focusing on the relations of the human being with nature, eco-psychology and reconnection with natural environments. Also, besides studying and create her own artwork, she also works at the music software development company Imaginando (Braga).
Glitching Glitch Feminism
Listening instructions: Please use headphones for a better hearing of the sound work.
“Glitching Glitch Feminism” is an experimental remix-review of Legacy Russell’s ground-breaking manifesto “Glitch Feminism” (Verso Books, 2020). I actuate what Russell terms the “generative force” of glitch by ‘glitching’ direct quotes from her manifesto, thereby trading the hierarchical, problematic position of the critic for something more equitable and engaging. By restricting my material to sounds originally produced via the body, I collapse the digital dualism binary; what is a so-called bodily ‘real’ and a digital ‘fake’ ultimately fuse and deceive the ear. I manipulate the voice to blend gender expectations and create multiple, contrapuntal vocal selves, as Russell advocates in her text.
Keywords: Theory, Gender, Digitality, Glitch, Dualism
Amanda Hodes is a writer and sound artist. Her work includes creative writing, audio poems, sound installation, and other media. She has her MA in Creative Writing (Poetry) from the University of East Anglia and is currently an MFA Creative Writing candidate at Virginia Tech. Her work has been recognized by the Arts Club of Washington, Sound Scene Festival, Koster Foundation, Fulbright Summer Institute, and elsewhere. Her writing has appeared or is forthcoming in Denver Quarterly, [PANK], West Branch, Footnote, This Is What America Looks Like (Washington Writers’ Publishing House, 2021) and Rewilding: An Ecopoetic Anthology (Crested Tit Collective, 2020).
Great Kiskadee meets motorcycle
Gabriela de Azevedo
Listening instructions: listen with headphones
This piece is a field recording from the city of Serra, state of Espirito Santo, Brazil. It was recorded with an H1N recorder in front of a protected area of the Atlantic Forest. Many birds are singing but the Kiskadee stands out with its potent song. There’s a counterpoint between nature and urbanity, a motorcycle on the other side of the area rides by and it’s possible to imagine its moving locations, even though it was out of sight.
Gabriela de Azevedo (Brazil) has recently graduated as a Bachelor in Music Composition at the Federal University of Espirito Santo. She’s a field recording collector and her studies are mostly focused on the subject of soundscape related to well-being.
Letters to My Dear Lovers
Listening instructions: it is advisable to listen with headphones
Written letters carry a charm that emails or text messages don’t. They have a smell, a texture and if they are handwritten, they can tell a lot about our personalities.
Letters to My Dear Lovers is a piece about acceptance and embracing the past, and it celebrates radio as a deeply intimate medium.
This story was originally produced for Short Cuts – a Falling Tree Production for BBC Radio 4.
Keywords: radio intimacy, radio romance
Sofia Saldanha is an award winning audio producer. She started her radio adventure in Portugal at Rádio Universitária do Minho, has a masters degree in Radio and is a graduate of the Salt Institute for Documentary Studies. Her work has been featured on BBC Radio 4, Antena 2 and in several radio channels across the US. Sofia is part of In The Dark, a non-profit organization based in London, that presents audio documentaries from around the world to live audiences. In 2018 she started In The Dark Lisboa. Sofia is the author of a documentary series that tells the story of the Portuguese poet Fernando Pessoa.
“Memorial” is a recording of 113 sirens recorded over nine nights from an alley-side stairway in Chicago, from May 24 to June 2, the days that span the de facto end of lockdown in our city and the beginning of the George Floyd and Breonna Taylor protests. I’ve layered the sounds over one another, no matter their duration, loudness or distance, in the order in which they were recorded, leaving nothing out. Besides cutting and layering, there is no other processing. Each siren begins a second or two after the one before, as when you sing a song as a round.
Keywords: Sirens, Covid, BLM
Neil Verma is assistant professor of sound studies at Northwestern University. He has published several books on radio and sound. His sound art has aired on Wavefarm, Resonance FM, and Radiophrenia. He is the editor of the RadioDoc Review.
Ode to Papa
Listening instructions: I would suggest that this piece is listened to with headphones.
Ode to Papa is a 7-minute excerpt from a 10-minute piece made in response to the recent passing of my father Cherub. Recorded in my bedroom and from familial locations in Nelson and Sunshine Bay BC, the composition features a range of spectral tones, ethereal provocations, and chance encounters with the midnight train. The sounds weave processed voice, piano, field recordings, and archival video ephemera together as a means to see, hear and embrace hidden realms. Much like earlier works, the track was performed and improvised live, recorded with a smartphone, and mixed in post.
Keywords: Improvisation, fieldrecording, Voice, Sound walk, Mobile Technology
Dr. prOphecy sun is an interdisciplinary performance artist, queer, movement, video and sound maker, mother, and current Jack and Doris Shadbolt Fellow in the Humanities at SFU. Her practice celebrates both conscious and unconscious moments and the vulnerable spaces of the in-between in which art, performance, and life overlap. Her recent research has focused on ecofeminist perspectives, co-composing with voice, objects, surveillance technologies, site-specific engagements along the Columbia Basin region and beyond. She also performs and exhibits regularly in local, national, and international settings, music festivals, conferences, and galleries and has authored several peer-reviewed articles, book chapters, and journal publications.
Pro Interstate Hall of Fame
Samuel M Clevenger
Listening instructions: listeners are encouraged to listen with headphones to create a more immersive listening experience.
A field recording of the interstate highway that runs next to the Pro Football Hall of Fame in Canton, Ohio. The sounds of the interstate serve as a sonic critique of the dehumanization of football and sporting spectacles under late capitalism. A short guitar interlude separates two field recordings, serving as a meditation on the brooding sounds of the highway. The sounds were recorded using a Tascam field recorder while standing in the parking lot of the Hall of Fame. Recording and guitar created by Samuel M Clevenger.
Keywords: Football, Sport, Dehumanization, Interstate, Capitalism
Samuel M Clevenger teaches the history of sport and physical culture at Towson University. His research centers on rethinking modern sport history through the lens of decoloniality and envisaging post-capitalist sporting forms through historical analysis. His research has been published in such journals as Rethinking History, Sport in Society, The International Journal of the History of Sport, and the International Journal of Sport Communication.
The drunkard and the equilibrist under construction
Listening instructions: The use of headphones is advised
In a city, sound ecology is made up of several layers. With the pandemic, some of these layers lost expression, such as automobile traffic, human voices, everyday noises. On the other hand, the “voices” of animals have gained expression. Even roosters sing all day long. Meanwhile, in Braga there is something that has never stopped and that can be heard better: the noise of construction work. In a short walk around my house, in less than a kilometer, I was able to register the restoration of houses, the demolition of a housing block and excavation work in a street.
Back home, in São Vicente, when I recorded the sound coming through my kitchen window, Elis Regina’s music came out of the radio speaker, which created another layer over the noise of the works.
Keywords: landscape, construction, works, noise, city
Luís Pinto ( Braga, 1978) PhD student in Communication Sciences. He sold records, was a radio announcer, disc jockey, sound artist and sound technician for theater and cinema, created sound supports for exhibitions, composed for advertising films and installations. He was a curator and directed an experimental radio project. He creates sound pieces, from narrative, interview, composition, soundscape, to documentary. Hopes to finally learn the piano, one day.
The Night Swimmer
Kalli Anderson & Kaija Siirala
Listening instructions: This is an immersive stereo composition best experienced with headphones.
The Night Swimmer is an immersive audio documentary about what it feels like to swim at night in the middle of Lake Superior, the largest fresh water lake in the world. It features the voice of 61-year-old Marilyn Korzekwa, who became the first person to complete a crossing of the eastern end of the lake, from Michigan, USA to Ontario, Canada in August 2018. The sounds of the lake include underwater recordings created during the swim and are intended to replicate the subjective experience of swimming long distances.
Credits: Co-produced by Kalli Anderson and Kaija Siirala
Music: Micah Smith, Jordy Walker and Off World (all licensed)
First broadcast on Shortcuts, BBC Radio 4
(Editor: Eleanor McDowall, Falling Tree Productions)
Keywords: swimming, lakes, underwater recording, documentary, narrative
Kalli Anderson is a documentary-maker working in audio and video. She is based in New York, New York and in Toronto, Canada. Website
Kaija Siirala works in documentary arts as a picture editor and sound designer. She is based in Hamilton, Canada. Website
Transitions: Wind Chimes
Listening instructions: binaural audio recording, headphones suggested
Transitions explores the binaural space organically by interacting with the immediate sounds of the exterior space. These works use prose, field recording visuals, binaural audio recording, found objects, and natural sounds to illuminate the sonic landscape of the chosen place. Wind Chimes takes place in a bike tunnel in Denver, Colorado.
Keywords: binaural, Denver, environment, prose, sonic landscape
Dr. Leslee Smucker is committed to inter-media project performances, sound experimentation, creative academic research writing, teaching, and artistic collaboration. As a violinist, sound artist, teacher, and researcher, her projects have been presented at venues including Association Philomuses in Paris, Auditorium Clarisse in Italy for the International Pound and T.S. Eliot Conference, Center for New Music in San Francisco, and The Scottish Library (presented by University of Edinburgh’s Cantos Project). Smucker’s creative research has lead to two publications including her essay entitled “Renaissance Man” which was published in the Ezra Pound Edinburgh Companion to the Arts, as well as a co-authored essay with Dr Carlo Caballero in the Cambridge Press publication Fauré Studies.
Waybriar (excerpt) (2020) is one of a series of pieces in which close listening is used to navigate site and place in an idiosyncratic manner. This approach results in recordings that are not traditionally representational, but instead reflect the experience of moving into the sites’ geographies in personal ways. Here a single recording of a walk in a field at dusk is used to explore the site sonically, while the audio from it is processed to slowly shift away from a depiction of real-time acoustic field to a impressionistic representation of a soundspace derived from the explorations of the site.
Keywords: soundscape, walking, audio processing
Ed Osborn works with many forms of electronic media including installation, video, sound, and performance. He has presented his work at SFMOMA (San Francisco), the singuhr-hörgalerie (Berlin), Artspace (Sydney), and ZKM (Karlsruhe). He is Associate Professor of Visual Art and Music at Brown University (Providence, Rhode Island).