Vol11 No.21 INICIO
Vol11 No.21
ISSN 2317-9694

Materiales EXTRA Materials



Sound + Environment: Composing Place
Por/By: Rob Mackay

Este número de Sonic Ideas, titulado Sound + Environment: Composing Place, publica artículos en extenso sobre trabajos revisados por colegas seleccionados para la conferencia Sound + Environment 2017 celebrada en la Universidad de Hull los meses de junio y julio del 2017. Este tomo de Sonic Ideas, es uno de los tres ejemplares que publicaron trabajos escritos de la conferencia. Los otros dos ejemplares fueron las revistas Interference3 (ISSN 2009-3578) financiada por la Universidad de Edimburgo; y Soundscape4 publicada por el Foro Mundial de Ecología Acústica.

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Composing the Plastic City
Por/By: Dr. Adam Stanovic / Dr. Amanda Crawley Jackson

In 2015, occursus – a network of artists, writers, researchers and academics with an interest in space and spatialities in art – commissioned a series of musical compositions based on a small patch of land on the edge of Sheffield. The patch of land, still home to one of the world’s oldest cementation furnaces, was once situated at the heart of the industrial city centre where it was engaged in the production of blister steel. Following the national decline of this industry, the land lay forgotten and derelict until a recent rediscovery, or re-imagination, of the space produced Furnace Park – a community park that invited reflection upon the changing nature of the city through the act of artistic engagement and activity.

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Height of the reeds
Por/By: Jez riley French

April 2017: I am standing on the Humber bridge with my daughter, Pheobe. We have stopped half way across on the first public day of ‘Height of the Reeds’ - a headphone based, triggered sound piece comprised of located sound, the orchestra and choir of Opera North, three Norwegian musicians and three speaking voices. I am moved as I watch members of the public walk past, some in tears, others transfixed by a new experience of a structure they have lived beside for decades, but most of all I am moved by simply being there with my daughter and thoughts of my mother, who can’t be here to be part of this. As an artist my connection is to the material. Thoughts of what the success of a piece (or its failure) will involve are founded in an intuitive creative process and the evolving outcome as opposed to concerns of any commitment towards entertainment. This internal conversation, between loyalty to ones artistic response and an understanding of the privilege one is afforded when commissioned, is a constant one. A conversation that one must learn to navigate so that it does not overtly influence the work itself. For me the element of intuition is elemental, more so than any reliance on technology or overly academic paths of perceived norms within the arts. What matters, on a personal level, is that I am able to be myself in the work and therefore myself as I stand with my daughter listening, watching and thinking about the things that matter.

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U.S.-Mexico Border Chords & Discords: Glenn Weyant’s Sonic Anta Project
Por/By: Prof. Sabine Feisst

In the United States, the U.S.-Mexico border has become the subject of politicization since the mid-1990s when the North American Free Trade Agreement (NAFTA) began to weaken Mexico’s economy, propel Mexican migration northward, and when Operation Gatekeeper, a U.S. government strategy to control immigration to the United States, went into effect. Politicians on the right and left have blamed migrants and drug and human traffickers for economic and safety problems. President Bill Clinton answered such concerns with a border control increase in the 1990s. President George W. Bush replaced wire fences with steel structures in the 2000s and President Donald Trump ordered the construction of a continuous concrete wall in 2017. The backers of these actions have failed to consider its dramatic consequences for the borderland’s human and non-human inhabitants and rich ecosystems, and not least its effect on that land’s delicate sonic ecologies with their iconic sounds of endangered animals and rich musical cultures. In the following I will examine the U.S.-Mexico border’s aural space, touch on some examples of activist sonic placemaking in the Sonoran Desert and then focus on sound artist Glenn Weyant, who has responded in powerful ways to the changing acoustic ecologies of this borderland for more than a decade.

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El Cielo: Música inspirada en la fauna de la reserva de la biosfera de Tamaulipas, México.
Por/By: Dr. Evaristo E. Aguilar López

El autor describe los antecedentes, referencias y procesos creativos personales relacionados a la fauna y la creación musical, como antecedente para la integración de su obra EL CIELO, una perspectiva musical contemporánea de algunos habitantes naturales de la reserva ecológica de la biosfera de ‘El Cielo’, ubicada en Tamaulipas, México, decretada por la UNESCO como área natural protegida. EL CIELO es una composición instrumental integrada por seis imágenes sonoras para percusiones: I. Colibríes; II. Tecolote triste; III. Reptiles; IV. Felinos; V. Insectos; VI. Osos y Coyotes. 

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Soundings: Making Art in Place
Por/By: Vanessa Tomlinson

This paper explores four different site-specific sound projects called Soundings, and unpacks various reasons for ‘engagement with place’ as an arts practice. This practice is based on a collaborative approach to sound-making in various Australian environments, interactively undertaken between the author and Brisbane-based composer-performer Erik Griswold since 2007. The practice of Soundings meditates on the following questions:

How can site-specific performance lead to new knowledge, new relationships, and new experiences for the performers and listeners?

How can site-specific performance help to activate listening and, therefore, understanding of place?

Who and what is listening, and who and what is playing?

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