Objective: The purpose of this track is to sonically illustrate the piecing together of a quilt made by my mother, Margarita. An original composition that incorporates field recordings collected over two years and studio recordings. 

Instruments: violin (contact), classical guitar, electric guitar (bowed) 

Foley: sewing machine, scissors, cloth pass 

Microphones: Schoeps cmit5u, MKE 600, VP88, contact microphone, AKG 414, Senheisser e609, Zoom H6 (XY, M/S)

Log Cabin Quilt

a listening mix with classic music by
Yves Tumor,
Abyss X,
Laurel Halo,
Aphex Twin,
J Colleran,
Oï les Ox,
Exael,
Novocanemusic,
Special Request,
The Sun God,
Legowelt(Actress Mix 1),
Eugene Ward, 
Dean Blunt and Inga Copeland,
JASSS,

classics mix - uuuse

The final episode of a three-part series on the multi-sensory nature of psychic perception, developed by Susan Ploetz.

SPOILER ALERT: If you have not listened to Episode Two of Extra Sensory but still would like to do the extra sensory session, please note that this episode will reveal information about the target of the remote sensing exercise. Wait to listen to Episode Three until after you do the session from Episode Two.

A small group of dedicated listeners submitted their remote sensing drawings, writings and descriptions of what they sensed during the guided sensory awareness and remote sensing exercise. Here they come together in a dreamy audio matrix, and a communal sensing emerges that defies space and time.

Acknowledgements:

Participants that submitted material included Aliki van der Kruijs, Sharon Stuart, Ingmar Bruin, Anne Dessing, Gerrit Reininghaus, and Radna Rumping. Additional sound for this episode by Cullen Miller.

Susan Ploetz would like to thank all those who listened, participated and sent in material, both past and in the future! She would also like to thank Radna Rumping for all her warm help, generous suggestions and proposing the collaboration.

Extra-Sensory (Episode 3)

Luc Belet
Romain Desport
Gaël Bouket
Production : Joan Prevost

13 Juillet 2023. extrait 2


The sound/video installation-project ‘Eye Contact with the City’ (recipient of an Honorary Mention at PRIX Ars Electronica 2011) was the outcome of an artists’ residency in Bangalore in the autumn of 2010. The primary materials used in the installation were the field recordings made and video footage shot at various locations in Bangalore. Materials also included retrieved audio from old reel-to-reel tapes found at the city’s flea markets. The extensive repository of field recordings and other audio materials eventually took the form of this elegiac composition during a subsequent artists’ residency at the School of Music, Bangor University, in the summer-autumn of 2011.
The composition accommodates the passage of time that affects detachment, decay and departures in the perception of transfiguring acoustic geography of a city. Stemming out of intense phenomenological experience in an emerging Indian city and its complex sound world, the work represents a sonic construct that investigates the multi-layered listening processes at the city undergoing dynamic metamorphosis. Working on the assumption that passing of time over an once-inhabited but rapidly-emergent locale can be captured by employing a contemplative-poetic mood of elegiac pace in listening-methodology, this work explores indolence to facilitate meditative and in-depth observation involving a keen sense of temporality and spatial historicity that reshapes memory associations disconnected and erased during the course of time.
The primary material for the work was gathered in six months of extensive fieldwork. The audio composition took two more years to slowly take a final shape. The sounds that were gathered during the extensive field recording embody the imagery of amorphous urban development, exemplified by the enormous metro-rail constructions. The disruption occurs in an anticipation of idleness quite typical of Bangalore and similar to that of other Indian cities. Sounds retrieved and restored from found reel-to-reel tapes provide insights into this endangered idleness embedded within the essential urban nature. Apart from being mere sound information extracted from industrial environment of the construction sites, the field recordings are the impressions, reflections, and musings of a nomadic listener. They are inclusive of the phenomenological experience of expanded listening recontextualised in the composition that augments the imaginary outlines of the city by framing the impermanence of sounding urban growth. The strategy of composing has been digital-acoustic mediation of recognisable environmental sounds into auditory contexts; the aim is to evoke listener’s spatial association, cognition, and imagination of the city in the state of slow and gradual decomposition.

 More Infomation: http://www.gruenrekorder.de/?page_id=9517

elegy for Bangalore | Budhaditya Chattopadhyay

We park the car close to Col de Joux Plane. As we pull things out of the trunk, my ears open to a interplay of sounds, which strikes my unsuspecting ears as a wild, atonal improvisation performed by gamelan (ensemble). I turn to see a stream of cattle pouring alongside a nearby shed, following a well-trodden path close to us, along the edge of a small lake. Around each of their necks is a thick band of leather or canvas on which hangs a metal bell (looking handmade) with its unique sound. I stand for a while with my eyes shut and listen, enraptured. Above the continual ringing and bonging of my initial perception, I begin to hear individual sounds, sonic differentiation, and the question arises: 'what does the ringing of these bells sonify?' The movement of the cattle, for social or gastronomic reasons? A couple of hours later, traversing the mist-covered ridges, we still hear these bells, now transmitting the reverberation and decay of the reflection from the surrounding mountain surfaces as well: depth, distance and location. I wonder how the cows adapt (or don't) to the incessant sounding. Still later I learn that these sounds can transmit information concerning age, gender, species and fertility.

Some days later I make this recording, moving cautiously toward and among the cows and recording them from a few different positions. During the final 16 or so minutes of my 41 minute recording session I fell into a completely absorbed state, sitting on a mossy rock, eyes shut, lost in the sea of sounds and overwhelmed by the pure presence of these magnificent animals. At some point they started moving, and around 16:00 in this edit, I felt a large presence behind me. A cow was snuffling my backpack and gave me a gentle nudge. I decided that the message was 'time to move on now' and went on to join my herd.

Unfortunately the limitations of my Zoom H4n with Rycote windscreen are quite apparent under these windy conditions. This recording is only a shadow (or should I say echo?) of the rich variety of sounds coming at me from all directions in the actual experience.  

Symphony of Resting Cows (Symphonie Des Vaches Se Reposent)

This is a 66 minute audio essay on The Travelling Archive, an archive of field recordings from Bengal, written and presented by singer and writer Moushumi Bhowmik. The essay was written for presentation on Baba Betar, an internet radio, that partnered Chobi Mela International Festival of Photography 2021 and was hosted by Arfun Ahmed. The theme of the festival was Shunyo, which could mean both zero, emptiness or the point from which to start all over again.

In this essay, Moushumi remembers people and places by listening to voices from past and continuing journeys within and around Bengal. Bengal is both a physical space and a space of the mind in this story. Wistfully told, it draws the listener into a very personal field of listening by weaving song with sound and sound with silence. Moushumi sits in her room in Kolkata, and as she talks, recording herself, the night moves towards dawn. Dogs bark, the last trains pass through the station, a plane goes swimming in the sky, people call out, they open and shut doors and windows, while slowly in the dark a map unfurls.

This soundtrack has been mixed by Sabyasachi Pal. 

The voices we hear come in the following sequence:
1. Chobi MelaX team, hawa mithai sellers and others at the Dhanmondi Lake tea stall area. Recorded by Moushumi Bhowmik on a Redmi phone in February 2019
2. Aseer Arman’s song playing through speakers during The Travelling Archive installation at  Abdur Razzaq Biddapeeth, Dhanmondi. Recorded by Moushumi Bhowmik on a Redmi phone in February 2019
3.Barindra Das recorded at Shankar Hotel, Silchar on a PD150 camera by Sudheer Palsane in August 2005
4.Naseema recorded in Dhaka on a Sony minidisc recorder by Moushumi Bhowmik in December 2004.
5.Binoy Roy recording from cassette Pranto Prantarer Lokgaan Volume 8 of series Shikorer Sandhane, produced by Bhromora, Kolkata in 1993.
6.Putul Sarkar recorded in Gouripur, Assam by Sudheer Palsane on a PD150 camera in August 2005.
7.Deben Bhattacharya voice from interview with Aly Zaker for Ekushey TV, Dhaka in February 2001. 
8.Muhammad Safi recorded by Deben Bhattacharya in 1971, released on album Echoes of Bangladesh. (Fremeaux, 2008) 
9.Munda women of Munshigonj, Sundarban, Bangladesh in conversation with Moushumi Bhowmik recorded by Sukanta Majumdar on a Sound Device 633 recorder with a Sennheiser 418 mic in January 2018.
10. Abdul Hamid Jalali and others recorded in his home in Sylhet by Moushumi Bhowmik on a Sony minidisc recorder by Moushumi in December 2004
11.Ranjit recorded in Rajghat Tea Garden, Srimangal, Bangladesh by Moushumi Bhowmik on a Sony minidisc recorder in December 2004. 
12.Naren Hansda and Chapalabala recorded in Jahajpur, Purulia on a Sony minidisc recorder by Sukanta Majumdar in February 2007.
13. Sultana and Jadab Sarkar recorded in Sonai, Cachar, Assam on a PD150 camera by Sudheer Palsane in August 2005.
14. Nityagopal Das Baul song from album Inner Knowledge released by Real World Records in 1997. 
15. Chintamoni recorded by Soumya Chakravarti on a Sony TC D5M cassette recorder in Santiniketan in 1984.
16.Hajera Bibi recorded in Faridpur on a Sony minidisc recorder by Sukanta Majumdar in April 2006.
17. Bhaktadas recorded by Sukanta Majumdar at home on a computer in Kolkata in 2010 (mistakenly remembered as 2009 in the essay).

Songs   Grow  Out  Of  The  Land

This 5-minute piece represents the sounds of recording on a single day working after school with Mrs. Grindall’s fifth grade classroom at Portage Path Community Learning Center in Akron, Ohio. The song “Water Vapor” and approximately 45 seconds of the sounds of students recording the song were also used in the sound/installation, Making Sense of Science: Teaching and Studenting in Four Urban Classrooms, exhibited at the Akron Art Museum from March 17-July 15, 2012. Sounds have been “panned” left and right to get some feel of the separation and listeners who want to “move” closer to one set of sounds can adjust the balance harder to the right or left. Transitions have also not been intentionally smoothed so that listeners can hear the cuts between sounds in this representative translation. 

Gershon VibrationalAffectSounds

field recordings and electroacoustic sound compositions

Symphony of Resting Cows (Symphonie Des Vaches Se Reposent)

sharonrstewart