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this edition has been curated in the netherlands by raviv ganchrow – detailed program notes:
The following audio sequence by Mehrnaz, Farah, Richard, Ján, Marco, David, Ghaith and Hilde was realized during Raviv Ganchrow’s Aural Tectonics workshop at the Institute of Sonology, The Hague, in the spring of 2021. Aural Tectonics explores the site-specificity and context-dependency of in-situ sound by fostering a critical awareness of, and attitudes towards, environmental ambiance. Founded in a practice-based approach, the workshop develops situated strategies for listening, recording, sound montage and mapping as well as experimental approaches to situated sound synthesis and site-specific sound intervention. Each year, a particular site is chosen around which a sequence of intensive projects are developed, fostering diverse approaches to ‘hearing place’ and encouraging individual approaches towards hearing contextual ambiance and the spatial agency of situated sounds.
This year Aural Tectonics took place under the duress of the third-wave in Covid’s global pandemic. Convening entirely online, the group investigated affordances (and limitations) of interlinked presences and geographically distributed locales through shared experiences of solitary listening. Confined to each participant’s immediate surrounds, the group partially responded to the unprecedented circumstances by examining the agency of locally sited hearing and dislocated yet interleaved simultaneities. The result is a sonorous collection of disjunctive locales linking situated trembling from the Netherlands to Germany to Sardinia to Turkey. The resulting sonic montage, mediated through audio (and video) transductions, presents an attentive fragment from a much larger transductive patchwork that continues to unfold in the quarantined and intensely mediated site of global online streaming.
Participants: David Andriani, Mehrnaz Khorrami Ghaziani, Richard Hughes, Marco Manconi, Ghaith Qoutainy, Farah Rahman, Ján Solčáni, Hilde Wollenstein
The Institute of Sonology website:raviv ganchrow, 2021.04
[time / artist / track / notes]
////// Mehrnaz Khorrami Ghaziani
Behind the Wall
This piece represents the sound recording of various times and events of daily life for a small group of people sharing the same house. The chosen house is considered the base zone with three recording locations. These three locations constituted a triangulation data collection. The piece is composed of the fragments of the recorded sound, based on the events taking place, and describes what I hear and see. Events within the piece include moments where I breathe and hold my breath and flashbacks of time. The intension of the piece is to find relationships between the activities and individuals who live within the shared space. It explores how individuals hear each other, their behaviors, and the rhythm they unconsciously compose over time. Occasionally, these activities overlap each other or follow one another.
Eventually, what we hear is not what we imagine in our minds. Our experiences depend on our perceptions, our choices and our senses.
////// Farah Rahman
////// Richard Hughes
Sometime between Sunday the 7th and Monday the 8th of March, a large heap of seaweed and rubbish was disposed of by the sea at Scheveningen north pier, The Hague. It took until Friday the 12th for the rough sea and high winds to clear and disperse the heap.
This brief environment invited birds of many varieties and excluded the habitual humans to this location. Although now the location has returned to what it once was.
The Irish language provides some words to describe a situation like this.
Turscar – cast-up dead seaweed :: Bruscar – human rubbish :: Tuaim – noise (naturally occurring) :: Torann – human noise
The sound aims to blur the source between human and ‘natural’ rubbish and noise.
////// Ján Solčáni
This recording thematises my daily walk routines across the neighborhood and the variety of sonic events interacting with my body that shape the everyday social reality.
////// Marco Manconi
I often take my car going to the town center or to the countryside and I’ve always been fascinated by the noises and the vibrations that it reproduces and how the different sounds coming from the surroundings interact with and mutate the audible atmosphere within the car.
////// David Andriani
wind_traffic_water and time
The piece is a 2-channels cut-up composition of environmental sounds recorded while exploring the industrial zone of Binckhorst in Den Haag. Time-stretch processing has been used to capture certain moments or details occurring during the walk in order to allow the listener to better focus on their sound qualities.
////// Ghaith Qoutainy
Habitat 0.01 is fertile. It grows, eternally. The soil is brought from the upper layer of a ground that touches the edges of a pond. The air tunnels through the tubing made by worms on the insides of the muddy earth to feed the roots of the potentially sprouting greens. Algae creep from the bottom of the water, swimming up, reaching to the light. The beach sand lays a bed for the water not to soak the ground.
Revisiting Habitat 0.01 in a matter of a month or two, a new context will be found; endlessly growing atmospheres.
The installation is an alive context in which an atmosphere resides. This atmosphere is not a recreation or an imitation of a formerly perceived experience, but rather an Aura in itself. It had been constructed as a first result of an undergone — still ongoing– research on the interrelated interactions of the elements of an unintended atmosphere, with a great — rather unavoidable– respect to the experiencer’s perceptive presence in it.
////// Hilde Wollenstein
a gallery of anamorphic impressions in fluid frames
The composition consists of impressions that have been found in field recordings from a roof terrace in Gazi, Yenimahalle, Ankara. From several hours of recordings I chose parts based on their recurrence in the environment and their varying distance from the roof terraces. I framed each impression in different durations and band filters in order to bring out the different sonic qualities and the sonic objects that occur within them.
As the piece progresses, a relationship between the frames begins to appear. Perhaps not in a vertical sense, but over memory of the previous impression and what was different or similar with what we hear before or after.