Field Notes is a free bi-lingual magazine published by the German label Gruenrekorder, edited by Daniel Knef and Lasse-Marc Riek. Generally speaking our magazine is concerned with the phenomenon of sound from the most varied perspectives: artists, musicians, journalists and scientists add to Field Notes with their essays, interviews, travelogues, anecdotes, notes and picture series.
Tom Lawrence: The Waterbeetles of Pollardstown Fen
Scott Sherk: Phonography: Art or Documentation?
Jim Cummings: My Ears will Never be the Same
Marcus Kürten et al.: ‘Something Which Lasts Passes By’ – A Collection of Hearing Memories
Hein Schoer: The Sounding Museum – Between Art and Science: Cultural Soundscapes in Museum Pedagogy
Budhaditya Chattopadhyay: Soundhunting in a City – Chronicles of an Urban Field Recording Expedition
The Sonic Circuits Festival is seeking submissions of sound works for playback in the restrooms of the Atlas Performing Arts Center in Washington DC. Works that are selected will be played in rotation 12 hours each day for three days for the duration of the festival which takes place September 28-30, 2012. Works will also be posted online and a playlist of all
tracks used will be posted in the restrooms. Tracks must be wav or aif files, and files should be named accordingly:
Artist_Title-of-work.wav. Please email submissions to info(AT)dc-soniccircuits(DOT)org and provide the name of the artist,
city & country of the artist, website link, the title of the piece, and a link to the audio file (please use a file sharing
service such as yousendit.com or wetransfer.com). Tracks should be no more than 5 minutes in length. Deadline for
submissions is September 24, 2012.
«On June 16, 2010 Canadian artist Lance Austin Olsen’s home was broken into. His computer, backup hard drives, cameras and miscellaneous other equipment were taken - and with them, over a decade’s worth of irreplaceable digital sound and visual artworks. In his typical fashion, Olsen proclaimed that it was an opportunity to start again with a blank page.
THIEF makes reference to some of Olsen’s earlier field recording-based works, while deceivingly stripped down compared to his epic ROAD TO ESPERANCE or WAR OF THE WELLES albums. It seems fitting to make Olsen’s 25 minute composition THIEF available as a complimentary digital download, spreading it like a seed over great distances, so it is less likely to suffer the same fate as so many of his early works.
Released by Infrequency Editions on May 18, 2012
«Above all, originator of strong abstract visuals, Lance Austin Olsen has gradually curled up into the hank of sound
experimentations… Here, from a despicable tabloid event, and the definitive evaporation of a section of his personal
archives due to a burglary, he mutates this traumatic experience into an introspective throbbing soundtrack… Long sizzling
layer of rubbings, of slowed down, dusty, fogged sounds… subterranean world in dismay, reflection of an obscure side, link
onto a mistreated unconscious, a torn to pieces memory.»
Surprised by a thunderstorm in a small village Northeast of Segovia, Spain, in the middle of a particularly hot month, the sound of the windchimes in the doorway of the country house I was staying in caught my attention, so I quickly set up my gear and hit the red button…
ZeppelinExpandit2012 – BarcelonaSoLimit se dedica a la reflexión
acerca de la idea de límite. Por eso animan a todos los creadores que
lo deseen a que envíen obras sonoras para 16 altavoces realizadas a
partir de la idea de límite. Si se desea, se podrán emplear sonidos
del archivo BarcelonaSoLimit, de paisajes sonoros de los límites
geográficos de la Ciudad de Barcelona.
Las piezas serán proyectadas al espacio en un sistema de 16 altavoces
el día 30 de Noviembre de 2012 en el Centro de Cultura Contemporánea
de Barcelona. Si los autores lo desean, su versión estereofónica
comprimida en mp3 será publicada en este sistio web a partir de esa
Derechos de autor y propiedad intelectual
Cualquier empleo de las obras que exceda los límites de esta
convocatoria, deberán ser pactados con sus autores. En cualquier caso,
la Orquesta del Caos se compromete a respetar todos los derechos
derivados de la ejecución de las obras presentadas.
No se aplican criterios estéticos de selección. Las obras recibidas
serán aceptadas siempre que se den las siguientes condiciones:
1.1 Las piezas NO deben tener una duración de más de diez (10)
minutos, ni necesitar intérpretes para su ejecución.
2.1 El formato de las piezas será WAV o AIFF a 44,1 kHz y 16 bits. Se
admiten piezas de una hasta un máximo de 16 pistas. Cada pista deberá
llegar aislada en un archivo de una pista. Así, por ejemplo, el envío
de una pieza para 16 pistas deberá contener 16 archivos de una
pista. Otro ejemplo: si la pieza consta de una sola pista que se
desea reproducir por los 16 altavoces, el envío deberá igualmente
constar de 16 archivos mono, esta vez, iguales.
2.2 En el caso de que el autor autorice la publicación de su obra en
este sitio web, a lo anterior deberá añadirse una reducción
estereofónica comprimida en mp3 a 320 kbps. 3. Envíos
Debe adjuntarse la siguiente documentación:
3.1. Comentarios acerca de la pieza.
3.2. Biografía artística del autor.
3.3. Documento firmado por el autor manifestando autorización o
desautorización explícita para la difusión de su pieza a través de
Internet, siempre que se respeten los derechos de autor derivados de
su ejecución en ese medio.
3.4. Documento firmado por el autor manifestando su conformidad para
que la pieza forme parte del Archivo de Arte Sonoro Sonoscop, siempre
que se respeten los derechos de autor derivados del empleo de la obra
en ese contexto.
3.5. No se acepta el envío de piezas por Internet. Los trabajos y la
documentación tienen que llegar en soporte CD/DVD antes del 15 de
Noviembre de 2012 a :
Open Call for participants: OSG #4 Tape Music – 16th September, London
Open Sound Group #4: Tape Music
A one-day open workshop and networking event for artists and musicians working with analogue tape.
1pm – 8pm Sunday, 16th September 2012
Elevator Gallery, Hackney Wick, London
«…it’s all done with tape recorders consider this machine and what it can do… you can study and analyze every pause and inflection of a recorded conversation… a tape recorder can play back fast slowly or backwards … play a sentence backwards and learn to unsay what you just said… such exercises bring you a liberation from old association locks…»
– William Burroughs, The Invisible Generation.
Open Sound Group events give participants the opportunity to share ideas; talk about and demonstrate their practices and methods; form potential collaborative connections; and create sounds and record together. While the format of the day is open and flexible, one expected outcome is a series of recordings which will be released through the Open Sound Group netlabel. The event will take place at Elevator Gallery in Hackney Wick, East London.
The event is open to artists, musicians, composers and performers from any background. The one restriction specific to this event is that only analogue tape can be used, both as input source and recording medium. Four-track cassette and domestic reel-to-reel machines will be available on the day.
Graham Dunning runs Open Sound Group and is an artist and musician. Previous installations have used reel-to-reel machines, found footage and tape looping. In recent live performances Graham has been live sampling from found tapes, via walkmans, to make improvised rhythmical and drone based music.
Simon Reuben White is a director of Elevator Gallery and also an artist and musician. A previous exhibition piece invited viewers to listen to cassettes from a found audio journal. Simon recently took part in a recording project at Kurt Schwitters’ Merzbarn using pre-recorded sounds to improvise direct from tape.
The workshop is free to attend but places are limited.
To apply please send the following to firstname.lastname@example.org
– Approx 100 words about your working practice with analogue tape;
– One weblink to your site or blog
– One link to some online sound (soundcloud/youtube etc)
Please note: for successful applicants, these will be shared on the OSG blog.
[GFR 049] V.A. «Green Field Recordings: World Listening Day 2012»
«As usual since 2010, the year we celebrated the first World Listening Day, the portuguese netlabel dedicated to the world of field recording - Green Field Recordings - has invited artists from their catalog, and others who want to join to celebrate the July 18th through special editions. So it was with the first collection «VA, The Collector of Sounds, World Listening Day 2010/2011 and now with the launch of this new sound work, making the joining around the World Listening Day more 12 artists and their sound pieces. This is also an issue within the project Sounds of Europe, where Green Field Recordings have presence.
I sincerely hope that you all like this work.
A special thank you to all the artists who accepted the invitation launched this year!
«Some kind of sporting event in east London seems to have passed without incident. Among the many security measures put in place, including ground-to-air missile batteries and high-speed powerboats, was a sonic projector called the Long Range Acoustic Device, or LRAD for short.
The BBC had a report on it back in May. The LRAD can project a ‘piercing beam of sound’ in a directional way to control or disperse crowds, and it has the potential for use as a non-lethal weapon.
Interest in sonic weapons recurs every few years and there’s a boyish enthusiasm to it. Part of the appeal must lie in vague thoughts about building one of your very own. Here’s a Fortean Times piece on sonic weapons from 2001, and a more scholarly article from 1999 by Jurgen Altmann entitled Acoustic Weapons – A Prospective Assessment: Sources, Propagation and Effects of Strong Sound.
A smaller sonic weapon can be seen at the Customs & Excise HQ in Gravesend when they have their annual open day. It’s an ugly-looking device with a pistol grip attached to a box bearing sixteen inch-wide speakers. Somehow it conveys the impression of being meant for purposes other than self-defence. Customs seized it from … whoever, and the sonic gun is now displayed alongside many other intriguing contraband items.
A sonic weapon appears in Rudyard Kipling’s 1912 science fiction story As Easy As A.B.C. where it’s used to intimidate crowds. Kipling imagines a post-democratic future in which an organisation called the Aerial Board of Control rules the world with fleets of airships.»
“And I mean that—everything is fiction. When you tell yourself the story of your life, the story of your day, you edit and rewrite and weave a narrative out of a collection of random experiences and events. Your conversations are fiction. Your friends and loved ones—they are characters you have created. And your arguments with them are like meetings with an editor—please, they beseech you, you beseech them, rewrite me. You have a perception of the way things are, and you impose it on your memory, and in this way you think, in the same way that I think, that you are living something that is describable. When of course, what we actually live, what we actually experience—with our senses and our nerves—is a vast, absurd, beautiful, ridiculous chaos.”—via New Yorker: Keith Ridgway : Everything Is Fiction. (via jamreilly)
“An artist never works under ideal conditions. If they existed, his work wouldn’t exist, for the artist doesn’t live in a vacuum. Some sort of pressure must exist. The artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony but would simply live in it. Art is born out of an ill-designed world.”—Andrei Tarkovsky (1932-1986)
You are invited to participate in a special celebration of John Cage’s 100th birthday—a worldwide celebration of Cage’s composition 4’33”. If you’d like to participate in this celebration of John Cage’s 100th birthday, please send the World Listening Project an email at email@example.com, with John Cage in the subject line. Looking forward to hearing from you!