Archive
While walking
Pohanna Pyne Feinberg interviewed me about the walking aspect of soundwalking, as part of a project on walking and art. In this video, we discuss such issues as pacing, personal history, the culture of mobility, and still listening.
I went to visit the Pier 21 museum in Halifax, which focuses on immigration to Canada, and has a special exhibit this year for Canada 150. One activity it asks of museum-goers is to write about their first day in Canada, which I did. It was August 1968. I remember clearly walking by a vacant lot by the highway between our high-rise apartment and the restaurant where we had dinner that day. The lot was filled with chirping crickets, and that sound along with the pervasive sound of a multi-lane highway, seemed very Canadian to me as an immigrant from the UK. Both highway and insect sounds were unusual to my ears, although it feels strange to write that now, having become so accustomed to them in the intervening half century. In both cases, it was a buzzing, layered, sound caused by many individuals. And it turns out that my perception of the cricket sounds as unusual, and more Canadian than English, has an ecological reason. At that time in the UK, crickets were almost extinct because of industrial farming practices. So I would not have heard a field filled with crickets like that before.
While walking
While walking is a research project headed by Pohanna Pyne Feinberg, who lives currently in Montreal, and did a residency at the Dare Dare centre.
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While Walking is a research project that explores walking as an artistic process and practice. How can walking contribute to the creative process? How can we understand walking as an art form? How does interaction with public space influence walking art practices? In what ways does the urban environment become a source of inspiration, distraction or perhaps intimidation? And, more specifically, what experiences do artists who are women encounter as they make art that involves walking the streets?
While Walking is an opportunity to learn from Montreal-based artists who walk as an aspect of their diverse art practices. Excerpts from recorded conversations with the artists will be shared in the format of an audio walk designed to enable the listener to reflect on the artists’ ideas while walking through the city.” While Walkingproject
Going Underground (CBC)
La marche – est haute 4 juin 2015
Le 4 juin 2015, David Madden va donner une balade sonore “Soundwalking home” (15:00h),
St. Viateur et Outremont.
This is one stage of the sound art and writing project “Here be dragons” by Andra McCartney.
Plus de détails ici:
On 4 Jun 2015, David Madden will be giving a soundwalk entitled “Soundwalking home” beginning at 3 pm, rain or shine (except thunderstorms).
Une partie du projet “La marche – est haute” dirigé par Eric Mattson. “La marche (est haute) présente, entre avril et juin 2015, dix interventions numériques, sonores et artistiques en milieu urbain.”
http://oral-records.blogspot.ca/
Journées sonores canal de Lachine, 2000-2004
Journées sonores canal de Lachine, 2000-2004
Andra McCartney, Concordia University
Le Project
<<Journées Sonores, canal de Lachine>>est un projet sonore de documentation sur les modifications du paysage sonore du canal Lachine au fur et à mesure des différentes étapes de son réaménagement. Comme tous les projets de rénovation urbaine, ce projet de plusieurs années et millions de dollars a de profonds effets sur le contenu sonore des abords du canal. L’enregistrement, pendant plusieurs années, des sons depuis la piste qui court le long du canal a permis la création d’images sonores condensées accompagnant ces changements urbains. Nous espérons qu’en les écoutant, ces sons vous sensibiliseront au lieu – en particulier vous qui vivez et travaillez aux abords du canal – et que vous serez amenés à penser votre rapport avec les sons de ce lieu. Contrairement aux représentations visuelles, les enregistrements de sons ne cadrent pas de scènes ou d’édifices particuliers, mais soulignent des rapports entre sources différentes, comme la circulation de voitures ou de bateaux, des cyclistes, des machines industrielles ou de construction et des piétons.
Les enregistrements sonores ont été juxtaposés à des illustrations du canal Lachine. Notre intention était de mettre en relief différents angles d’un environnement donné en fonction de sources et perspectives différentes.
Le document ci-attaché Lachine Canal francais était produit pour l’installation au Musée de Lachine. En commençant sur la page 24 on peut trouver une liste de notes qui s’agissent de l’environnement du canal de Lachine. On peut les entendre sur youtube:
https://www.youtube.com/watch?v=qh341k2f4lU&list=PLIG92ZJmuTlXF4FpScYlXOOCBSNDpAna6
Journées sonores, canal de Lachine is a sound project which reflects on shifts in the soundscape of the Lachine canal as it changed with each phase of a revitalization project, as the canal re-opened as a recreation area in 2002, after many decades of dormancy while the St. Lawrence Seaway moved shipping and industrialization to another area on the south shore of the river. Like all urban renewal projects, this multi-year, multi-million dollar project has profound effects on the areas surrounding the canal. By recording sounds from the areas around the canal over several years, this project created condensed sonic images that followed these urban changes, as well as imaginary scenes from its past based on interviews with local residents. These sound recordings do not frame particular buildings or scenes, but point to relationships among different sources such as auto and boating traffic, cyclists, industrial/construction machines and pedestrians, and reveal the changing ambiences of these places over time.
In the final phase of this project, a multimedia installation was produced for display at the Musée de Lachine (2004), in a historical building adjacent to the canal. The show included an interactive computer installation, bringing together sounds recorded throughout several years. It also included more composed meditations on particular sites, along with photographic and drawn images and found objects. Comments from the project’s website were also included. Visitors to the gallery were encouraged in turn to comment on the installation and how it affected their perception of and attitude toward the sounds of the Canal. It was possible then to go outside and do a soundwalk immediately after experiencing the installation.
The booklet that is inserted here was produced for the Musée de Lachine installation. Journées sonores canal de Lachine.
Starting on page 24 is a list of notes that are associated with short pieces about the Lachine canal sound environment. These pieces can be viewed as a playlist from the andrasound channel on youtube:
https://www.youtube.com/watch?v=qh341k2f4lU&list=PLIG92ZJmuTlXF4FpScYlXOOCBSNDpAna6
Balade Montreal Equinox Soundwalk
On the evening of March 21, the Soundwalking Interactions group got together for one final soundwalk—Balade Montreal Equinox Soundwalk—following four years of consistent soundwalks and post-walk discussions. The walk began at St. Laurent metro station (corner of St. Laurent and Boul. de Maisonneuve) and headed south towards the Palais de Congres and China Town. The route was not planned in advance and took roughly forty-five minutes to complete. I led the soundwalk, accompanied by three participants, through a series of interior spaces, busy sidewalks and alleyways.
The excursion was one of the most dynamic soundwalks that I have ever participated in. In part, this can be attributed to the location of the walk which transitioned through many borders within the city: namely, the Old Port, downtown and China Town. Liminal (or transitional) zones typically have vibrant sensory ecologies, often resulting in chaotic and competing sensory encounters. Andra McCartney has previously written on this site about the concept of econtonality vis-à-vis sounding environments and listening. This concept is particularly useful when mobilized in relation to urban sounds. As she writes:
The ecotone is a marginal zone, a transitional area where species from adjacent ecosystems interact. Some species in an ecotone are from neither ecosystem but thrive here and do not live elsewhere, because of the rich possibilities contained in such regions, which have characteristics of more than one ecosytem. Beaches and the edges between forests and grassland are both examples of ecotones, or the stratified fresh and salt waters of the confluence where river meets sea.
It is also worth noting that the dynamic intensity of the soundwalk came not only from a range of intermittent loud and softer bursts of sound, but also from temperature changes, gusts of wind, and a mixing of pungent smells dispersed throughout the walk. One of the larger objectives of this project is to better understand how sensory experiences such as touch and smell connect to hearing and various ways of listening during soundwalks. This particular part of Montreal, at this point in the year, seems to provide an ideal site for considering questions at the intersection of listening, walking and sensory experience. Additionally, this is a layered area of the city, with the Autoroute Ville-Marie running just below the sidewalks and with many entryways to Montreal’s Underground City—the more than 30 km network of tunnels, corridors and commercial spaces located below the downtown core of the city. This layering heightened the complexity of the walk given that while traversing along the sidewalks there were sounds coming from above and below.
The post-walk discussion took place in a restaurant in China Town. We opened with a conversation detailing some of the ways in which moving in a group of four while using recording equipment affects other pedestrian encounters. One listener noticed that we seemed to draw attention to ourselves as we moved through the Palais de Congres. Another participant remembered the way we altered people’s conversations as we passed by.
Michael Langiewicz, one of the recordists, recounted his experience of recording a group of skateboarders–which are heavily featured in the audio-visual piece below–and some of the phase issues he encountered while recording them.
Andra talked about how wind is often the most difficult element to deal with when making soundwalking recordings (and/or recording outside).
Another listener mentioned that he was surprised to find quietness in many of the alleyways near the Autoroute.
One of the participants discussed walking by the aftermath of an accident and how he was unable to record anything of note as the area was eerily quiet. Andra mentioned how we walked through an accident scene in Mile End on a previous soundwalk and felt that the experience was characterized by a “weird silence.”
Ben discussed how cinematic the walking experience felt, especially when magnified by recording.
The audio-visual soundscape piece below derives from three distinct soundwalk recordings by Ben Cardilli, Michael Langiewicz and Andrew Willson. Each recordist took a different forty-five minute route after they moved away from the St. Laurent metro station. I cut the recordings into 20 to 60 second fragments and then edited them together using quick cross-fades. Ben’s recording is panned all the way to the left; Andrew’s is to the right; and Michael’s is directly in the middle with the volume level slightly lowered. All three of the recordings play out at the same time throughout the piece.
Balade Montreal Equinox Soundwalk 21 Mar 2014
Balade Montreal Equinox Soundwalk 21-03-2014
Rencontre: Métro St. Laurent 17:00 meet outside Metro
Balade commence 17:30 soundwalk begins.
Underground sounds project on CBC Cinq à Six
Underground sounds project on CBC Cinq à Six
Interview on the CBC Radio One program Cinq à Six, about the underground sounds project and soundwalks done for the Soundwalking Interactions project in the underground city, during the winter of 2012. Inspiration for this project from Suzanne Martel’s science fiction novel, Surréal 3000 is explained.
Entrevue à l’émission Cinq à Six sur CBC Radio One à propos des projets sonores souterrains et des marches sonores menées dans le Montréal souterrain dans le cadre du projet La marche sonore comme processus d’interaction durant l’hiver 2012. L’inspiration pour ce projet, soit la nouvelle de science fiction Surréal 3000 de Suzanne Martel, y est discutée.