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Posts Tagged ‘one square meter’

::: 2015.11.17 ::: london, uk :::

::: presentation @ goldsmiths :::

tuesday, 17 november
cinema, richard hoggart building

Music Research Series and SPRS present:
Patrick McGinley, AKA murmer
One Square Meter: Small Scale Sonic Exploration

McGinley presents his experiments in small-scale sonic exploration.

We will examine and discuss perspective, perception, attention and focus through sonic surveys of small or unexpected spaces, as in his ongoing projects ‘One Square Meter’ and ‘Hidden Sounds’.

The Music Research Series is designed to help postgraduate students advance their research and careers. The events stimulate exchange, hones skills, facilitates the creation of professional networks and helps to consolidate the department’s postgraduate community, all over a glass of wine! Attendance is strongly recommended for all postgraduate students (MA, MMus and PGR) in Music but of course undergraduates, music researchers, and visitors from across the college and the community are also most welcome to these public lectures.


::: one square meter: maribor riverside :::

one square meter is a project in micro-exploration. all sounds were recorded within a small radius of one another, a study of the different resonances perspectives, and focuses of a small space. for this project the chosen spot is on the riverside of the drava in maribor, the ruins of an old staircase that once led down to the water. the site contains the support poles for the now-gone staircase handrails, metal guardrails and fences, discarded bottles, reeds and cables dipping into the water, concrete walls, and life (insects, birds, fish, etc).individual sounds can be heard from the map on the right. here as well is a composition made using the recordings:

one square meter: maribor riverside is one outcome of the maribor maps project, a collaboration with udo noll, creator of the aporee soundmaps, and as we speak, which was a part of maribor capital of culture 2012.


::: 2012.10.16-21 ::: taipei, taiwan :::

as part of playaround 2012

The technology required for exploration of our sonic environment (digital sound recorders, microphones, editing software) is now readily available and affordable, but the most important and powerful tool we have is often overlooked: our ears. In this workshop we will return to this most basic hardware and explore perception via listening itself, in a detailed consideration of our surroundings via sound. Although we will of course make use of the technology available to us, our focus will be on the act of listening itself in an attempt to gain a greater understanding of what is arguably our most important sense.

We will explore both active and passive soundscapes: passive through the act of field recording, as we explore the obvious and hidden sounds of small spaces in an exercise called ‘one square meter’, in which participants will find and document different sounds, resonances and perspectives from within a defined radius, and active through improvisational sonic explorations as we create unamplified group performances in found spaces using only the materials found therein. In this way we will give voice to spaces whose resonances may otherwise remain silent.

Further description of some of our activities:

– durational listening: One of out first exercises will be to explore our own perception of sound through an extended session of listening to field recordings and found sound. We will explore and discuss perceptions of time and space and how they are affected by sound, notions of self-awareness, sensitivity to certain types/qualities of sound, and identification vs. anonymity of sound.

– one square meter: Participants will choose a small defined space, natural or urban, and explore it’s sonic aspects in detail through various recording techniques (normal microphones, contact microphones, hydrophones, miniature microphones inside objects, etc), making an extended sonic survey of a small space. For an example see this Maribor, Slovenia location on the aporee soundmaps.

– active/passive blind soundwalks: Participants will lead and be led through various environments with eyes closed, both through the existing soundscape of our natural environment, and through our own created soundscapes which we will construct through our acoustic improvisations and explorations. In this way we explore the intensity and detail of listening to an environment without seeing it.

– revenant actions: for the ‘active’ portion of our workshop, we will choose locations and explore them sonically through intervention/interaction with the space. All spaces have resonance and materials, and we will examine what sounds we can eek out of a space using only the material found there and a collection of ‘resonant aids’, such as instrument bows, rubber mallets and sticks, etc. Tones from rubbed windows, bowed metal, percussive hollow objects, textures from dried leaves – these are just a few examples of what can be found in a chosen space. For more information on the revenant project, see http://www.revenantsound.net

In the end we will have a collection of field recordings and site specific performances that will be a document of our explorations.

::: 2012.08.30-31 ::: maribor, slovenia :::

udo noll  (de)
with patrick mcginley (ee),
support by ana pečar, petra kaps  & andrej hrvatin (si)
sound maps
KIBLA, Ulica kneza Koclja 9

udo noll and patrick mcginley talking to carsten stabenow (de)
2012.08.30, 20:00

radio aporee is a platform for artistic research of concepts and practices in the field of sound, location and their specifications in space. two terms, periphery and resonance, build the main focal foundation, bound to sound and space and also to social and communicational viewpoints. the term periphery can be defined as a spatial or qualitative differentiation, as movement away from the centre, towards the borders. at the same time, every conscious perception builds peripheries, where the main focus lies in the centre of those peripheries. the term resonance defines two poles: the answer of the place or of the opposed to our mere presence or address, in contrary to the resulting muteness. do we succeed in establishing a fruitful relationship with the surrounding world or are we left out? field recordings as the main source and method of the willing approach towards places and situations can be read as communicative relationships: the recorded sound is, at best, the answer to the question, defined by our search and approach. in this case, resonance is the stroke of luck, where a contact with space and the world is established. conscious listening is the key and the access point to an intensified reception and experience of the surrounding world.