art in technologies Page 16

co n t e x t u a l

(among and upon the planets wired for what)

Robert Parke Harrison' s "Lesson"

World Soundscape Project

Future Garden. Part 1: The Endangered Meadows of Europe

World Forum For Acoustic Ecology

Bibliography

Canadian Association for Sound Ecology

"hear"these soundscapes: ("landscapes portrayed in sound,") Jean Fisher

"Third World sanitation/water quality" by Nicholas Kristoff, NYT, January 9, 1997

"Exploding flowers of the red mistletoe vine by a nectar-feeding tui bird of New Zealand," Nature , Dec., 1996

"Twice a year millions of birds migrate across the Americas to and from ancestral breeding and wintering grounds. For most species the migrations occur under cover of night and for thousands of years this passage has been clandestine to all creatures but those who listened to the birds' nocturnal flight calls." to Bill Evans to Soundscape interpretations

"imagistic SOUNDSCAPE: ...There is a communicative realm to environmental sounds that has nothing to do with music, but rather, has everything to do with the social context from which these sounds originate. Life Unseen will only be an exception to this habit in that it will take its entire sound material from the Vancouver Soundscape Collection, while in the process, add new sound environments to the collection ..."
Darren Copelandto Soundscape interpretations

"From a ``sound observatory'' to a ``sound city'' masterplan," - Andres Bosshard

Sounddreamnight "Listening, directed acoustic attention, the conscious appropriation of words, sound or noises, can be achieved by means of different listening postures and graded degrees of attention, and it takes place on various levels of consciousness and subconsciousness. This range of experience is offered by the Sounddreamnight composed and performed by Andres Bosshard .." --Hessischer Rundfunk - all ears

to A listening approach

Ways of Seeing-- John Merson talks with Hugue de Montalembert: "...You see how the surf is running - it gives you the shape of the beach. John Merson: So you can work out the shape of the beach by the sound of the surf..."

© 1995, 1996, 1997 Australian Broadcasting Corporation

Hildegard Westerkamp, Transformations

"...Beneath the Forest Floor is composed from sounds recorded in old-growth forests on British Columbia's westcoast. It moves us through the visible forest, into its' shadow world, its' spirit; into that which effects our body, heart and mind when we experience forest..."to Soundscape interpretations

The Nature of Northeast Iowa - Spring and fall songbird's migration

Horicon Marsh Wisconsin- Canada Geese fall migration to Soundscape interpretations

to A listening experience

soundscapes soundscapessoundscapes Mars Pathfinder (voices, images and, data-to-sound)

Soundwalk: Nice, Italy

soundscapes soundscapes soundscapessoundscapes soundscapes Richard Windeyer \"mess of my apartment building " and ...from the world outside..."Pekka Siren: Finlandsoundscapes soundscapessoundscapes soundscapes soundscapessoundscapes

soundscapes

soundscapessoundscapes soundscapes A Street Scene: Colombo, Sri Lankasoundscapessoundscapes soundscapes soundscapessoundscapes Dimitriy Nikolaev: Moscow: Australiasoundscapes soundscapes soundscapessoundscapes soundscapes soundscapessoundscapessoundscapes soundscapes

soundscapes soundscapes soundscapessoundscapes

soundscapes Bill and Mary Buchen:Indiasoundscapessoundscapes soundscapes

noise assoundscape

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send c o n t e x t u a l soundscape info to:

August 16, 1997

to endeavor: I ask you occurrences

(From: World Soundscape Project Document No. 4 of 4) A Survey of Community Noise By-Laws in Canada (1972), Sonic Research Studio, Communication Studies, Simon Fraser University, Burnaby, British Columbia, Canada

It is a fact that the human organism is becoming more and more separated from its natural environment as each new convenience, tool and technological system enters the human community. This changing relationship between man and his surroundings is to be seen, heard, felt and tasted; it is inescapable.

The World Soundscape Project is studying man's relationship to his acoustic environment. Our immediate concern is the Canadian soundscape - past, present and future. Later we shall extend our studies to include the sound of the world environment, so that trends can be noted, differences compared and salient features documented.

Acoustics as a design study has been limited to closed environments: concert halls, sound-proof rooms and the like. It is time that acoustic design be applied to the environment as a whole. To this end, the public must be stimulated to listen to and make critical judgments about the sounds to which it is exposed, or which it directly or indirectly produces. Too often people ignore (or think they ignore) unpleasant and boring sounds. This serves only to increase the problem of the proliferation of such sounds. Noise pollution is the direct result.

The World Soundscape Project takes a positive attitude to the situation: we regard the sounds of the environment as a great macro-cultural composition, of which man and nature are the composer/performers. To disguise an acoustic ambience with background music or masking noise, to block it out with ear muffs, cocoon-like sound-proof rooms or automobiles is not, in our view, a satisfactory solution to the problem of noise nor is it a creative approach to acoustic design. People must be stimulated to take a more active part in their acoustic environment, and not passively accept the "well-engineered" sound effects that are presently being introduced to the ears of an ever-increasing number of people.

The project combines the musician's aesthetic with many functional activities, which include aspects of architecture, psychology, acoustical engineering, urban geography, communications and many other disciplines. Much of our work has not yet been attempted on any systematic scale, and our efforts for the forseeable future will be to lay the ground-work for what is in effect a new field of studies which might be called Acoustic Design, or even Acoustic Ecology. Our aim is to provide coherent facts by which decisions can be made not only to control, but also to compose the acoustic environments of the future.

RESEARCH TEAM:

R. Murray Schafer, Director

Peter Huse, Assistant Director

Kathleen Swink, Co-ordinator of this subproject

Howard Broomfield

Lorraine Cushing

Bruce Davis

Colin Miles

J. J. Becker, Legal Advisor

to World Soundscape Project heading at top

Helen Mayer Harrison and Newton Harrison have been active in the field of Ecological Art as artists and conceptual designers for 25 years.

Brine Shrimp Farm;

Air, Earth, Water Interface 1971

Catfish Harvest, Portable Farm 1972

The Fifth Lagoon - From Salton Sea to the Gulf 1975

to Future Gardens. Part 1: heading at top

to the endeavor: I ask you info page

to the endeavor: I ask you Projects page

to passaroundsound

"The views and opinions expressed in this page are stricly those of Leif Brush. The contents of this page have not been approved by the University of Minnesota."