recentpopularlog in

robertogreco : fieldrecordings   5

SublimeFrequencies
"SUBLIME FREQUENCIES is a collective of explorers dedicated to acquiring and exposing obscure sights and sounds from modern and traditional urban and rural frontiers via film and video, field recordings, radio and short wave transmissions, international folk and pop music, sound anomalies, and other forms of human and natural expression not documented sufficiently through all channels of academic research, the modern recording industry, media, or corporate foundations.

SUBLIME FREQUENCIES is focused on an aesthetic of extra-geography and soulful experience inspired by music and culture, world travel, research, and the pioneering recording labels of the past."

[See also: https://www.instagram.com/sublimefrequencies/ ]

[via: https://www.instagram.com/p/BaHOtRtF4T8/ ]
asia  world  worldmusic  music  hishammayet  sound  film  video  fieldrecordings  radio 
october 2017 by robertogreco
Field Recordings by Gastropodcast
"Plants that can hear themselves being eaten. Microphone-equipped drones that eavesdrop on sick chickens. Lasers that detect an insect’s wing-beats from dozens of feet away.

In this James Bond-inspired episode of Gastropod, we listen to the soundtrack of farming, decode the meaning hidden in each squawk, moo, and buzz, and learn how we can use that information to improve our food in the future. Tune in now for this special broadcast of the barnyard orchestra!"

[via: https://digg.com/2015/field-music

"This is the first of a two-part series exploring the relationship between sound and food." ]
sound  fieldrecordings  plants  cows  insects  nature  science  farming  gastropod  nicolatwilley  cynthiagraber  food  multispecies  animals  animalwelfare  agriculture 
july 2015 by robertogreco
radio aporee ::: maps - sounds of the world
"The project radio aporee ::: maps has started 2006. it is a global soundmap dedicated to phonography, field recording (and related practices) and the art of listening. it connects sound recordings and places, in order to create a sonic cartography, open to the public as a collaborative project. It contains recordings from numerous urban, rural and natural environments, showing their audible complexity, as well as the different perceptions, practices and artistic perspectives of its many contributors, related to sound, public and private spaces, listening and sense of place."

[via: http://www.pri.org/stories/2015-05-29/heres-what-map-world-sounds ]
maps  mapping  sound  googlemaps  audio  fieldrecordings 
june 2015 by robertogreco
lost in doi saket - a soundmap by kate carr
"Lost in Doi Saket - a sound map

I've never been a driver and have a hopeless sense of direction, so deciding to rent a scooter for my month in Doi Saket was always going to be risky. Nor did things start well at the rental place. Before I had even managed to ride a metre with my feet off the ground the owner had declared me ready to go and pushed me out the door. Almost immediately I was lost and so began my 600 kilometre recording tour of the region. At its heart my soundmap is about the process of weaving an emotional landscape from a physical spaces. It explores the way fragile and fleeting moments like a teen listening to love songs on the shores of a lake, or a joyful burst of backyard dancing slowly sink into an area, shaping it in the same slow way that walking along a similar route every day will eventually create a path. Lost in Doi Saket is about the different ways people leave a mark on the places they inhabit and visit. The way a community wears the land around them, and the way this process changes them too. The piece isn't intended as an collection of observations, it isn't simply about things I heard or saw, it is also about the things I did here -- the different ways I tried to explore, understand, participate and listen to Doi Saket. It's about the little things like struggling to buy cigarettes, and big things like realising I was very ignorant about Thailand. It's about the beautiful, haphazard and confusing process of getting to know and like new people, and new places and catching yourself totally lost in a moment. It is a record of the tiny ways I shaped Doi Saket during my time here, and the far bigger mark my visit left on me.

Kate Carr, Doi Saket, Thailand.

Thanks to: Helen Michaelsen, Pisithpong Siraphisut, Rees Archibald, Tim Plaisted and Tanya Serisier.

This artwork was made possible by the Compeung Residency Grant Program."
katecarr  soundscapes  fieldrecordings  doisaket  thailand  sound  audio  ambient 
may 2015 by robertogreco
Sonic Ethnographer: An Interview with Ernst Karel | Institute of Contemporary Arts
"Ernst Karel is Lecturer on Anthropology, Assistant Director of the Film Study Center, and Lab Manager for the renowned Sensory Ethnography Lab at Harvard University. In his audio projects, he works with analog electronics and location recordings, sometimes separately, sometimes in combination, to create pieces that move between the abstract and the documentary. Karel collaborates with filmmakers as a sound recordist, mixer, and sound designer. Notably, Karel has worked on key films produced at the Sensory Ethnography Lab including Sweetgrass (2009) and Leviathan (2012), both of which were released in UK cinemas via Dogwoof.

Manakamana, directed by Stephanie Spray and Pacho Velez and produced by Leviathan directors Lucien Castaing-Taylor and Véréna Paravel
, is the latest feature documentary from the Sensory Ethnography Lab to play at the ICA Cinemas. On the eve of the film's release, Dogwoof's Patrick Hurley caught up with Karel for the ICA Blog to talk about his post-production sound work on this film as well as his own sonic artwork made while traveling in cable cars.

Patrick Hurley: As well as doing the mix for Manakamana, you've also created an album of recordings from Swiss mountain transport systems. What do you find sonically interesting about cable cars?

Ernst Karel: That project, which resulted in a CD called Swiss Mountain Transport Systems, an 8-channel sound installation and a 5.1 version for imageless cinema, began in 2008 when my partner, Helen Mirra, was living in Basel, Switzerland, on a year-long artist residency. At that time, walking had become a central part of her art practice, and the work she was making involved day-long hikes in the mountains. I joined her for part of the summer and the fall. Our first walk together involved traveling by train and then gondola (aerial cable car) to reach the hiking trail. I was struck by the sounds of going up the mountain: the whirrs and clangor of the base station’s machinery, the slam of the door as the small pod swings around and, with a series of thuds, is launched into a sudden and subdued near-silence, the austerely beautiful low drone of distant motors transmitted through the heavy cable to resonate in the enclosed space suspended from it, interrupted periodically by rhythmic pummeling when the car passes over rollers, the open windows that allow transient acoustic glimpses of a vast surrounding landscape inhabited by humans and other animals.

It’s an emergent music that at the same time indexes a particular emplacedness. The unprocessed recordings of Swiss Mountain Transport Systems document the various transport systems which are specific to Switzerland’s mountainous terrain—gondolas, funiculars, chairlifts—of different types, of different vintages, and accessing different elevations, recorded from within these mostly-enclosed mobile environments. In this way the project is a sonic investigation into the integration of such technology into the Swiss social-geographical landscape.

Patrick Hurley: ICA Cinema-goers will be familiar with Sweetgrass and Leviathan, and this weekend will have the opportunity to experience Manakamana. As a common denominator among these films—having done the sound mix and compositions for each—could you tell us where you've replicated certain techniques and cases in which you've tried new things?

Ernst Karel: Well, clearly the movies could hardly be more different from each other, and so the sound for each was approached quite differently. But at the same time, one thing that they have in common is simply a commitment to place, to the sounds that emerge from a particular encounter. In each case that starts with the sync sound recorded along with the image, though here Leviathan and Manakamana could not be more different: Manakamana was recorded immaculately in stereo by Stephanie Spray, in sync with but separately from the 16mm image, and the soundtrack for Leviathan started and grows outward from the weird electroacoustic music that emerged from the encounters between the plastic-encased sport camera’s built-in mono microphone and its harsh environment. So each was really an opportunity to try out new things.

Patrick Hurley: When Leviathan came out, it was often compared to 2001: A Space Odyssey, and Stephanie Spray has commented that when you worked on the sound for Manakamana, you helped them to 'emphasise particular frequencies over others for a subtle sci-fi effect'. Regarding both films, I’m interested to know if you were deliberately trying to create or invoke something otherworldly? It’s a curious objective in non-fiction film…

Ernst Karel: I think this might be an instance of the notion that a goal of anthropology is to make the familiar strange and the strange familiar. I wasn’t intending an otherworldliness per se, but rather an in-depth investigation into the nature of the place, and for example in Manakamana in sections where there is less speaking, when we therefore have occasion for close listening to the rich acoustic environment of the cable car’s mechanism and the passing landscape, that meant paying attention to the resonant frequencies of the cable car’s drone, and sometimes tweaking the sound to subtly emphasize those tones.

Patrick Hurley: Sound takes extra prominence during the end credits of both Leviathan and Manakamana for which you have done original compositions. Can you tell us a bit about your creative process here?

Ernst Karel: The sequence following the credits in Leviathan featured an extended composition for the multichannel space of the cinema that made the most of the odd electroacoustic sonorities I mentioned before, loosened somewhat from reference to immediately present images. At the end of Manakamana, during the credits this time rather than after them, we similarly are freed from being tied to an immediate audiovisual experience, and the composition opens outward somewhat."
ethnography  2014  interviews  patrickhurley  ernstkarel  leviathan  anthropology  manakamana  film  sound  fieldrecordings  music  stephaniespray  sensoryethnographylab 
january 2015 by robertogreco

Copy this bookmark:





to read