Week 1: Soundscape walk


Week 2: Lecture and Ideas

Use graphics to indicate sound types: create a key or a legend.

Use words used to describe sounds.

Use colour to represent a sound: sound and a colour can overlap in meaning, ascribe a colour to a sound, use a collage or montage of images to represent busy, noisy areas.

Group specific sound types together: how are they grouped together? By sound type/ by time of day or regularity/ by who or what is making noise?

Include objects that symbolise or represent sounds, maybe things found along a sound walk.

Objects that symbolise other sounds – objects collected from a specific place that one generally only finds in that place conjure sounds and  fill in gaps in memories and thoughts e.g a beach.

Our mind creates sounds from what we remember and what we associate with objects especially if they do not hold much meaning other than what we hear from them.

Artist Case Studies and Theory:

Nikki Sheths: Stirchley Soundwalk- created as a sound map which indicated interesting listening points in the area, the purpose of which was to encourage a deeper connection with the natural environment.

Amble Skuse: Normalised Interfacing Plymouth- uses sound and drawing to explore how, as a disabled person, she has access or limited access to spaces on maps.

John Kannenburg: The Museum of Portable Sound.

Ian Rawes: The London Sound Survey collects the sounds of everyday public life throughout London and compiles past accounts to show how the sound environment has changed.
Lisa Hall: Acts of Air: Reshaping the urban sonic
Ximena Alarco: Sounding the Underground

Barry Truax: emphasising the importance of the acoustic horizon

Alfred Korzybski: the map “is not the territory” rather it is an abstraction of an idea of space created by those controlling or structuring space.

Michel de Certeau “The problem with the use of a map to navigate space is that it flattens and suggests that ones movement through space is linear.”