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text2field-recordings - Lisboa 2017

by Wolfgang Dorninger

'I wouldn't want to miss you, Sound Development City.'

2017: I recorded the same text twice. The first time I used recordings by the participants of my text2field-recordings workshop in Lisboa. The second time I used sounds I had recorded myself in Marseille during SDC2013.

Two times the same text, yet very different. Just as the two cities, and the week-long journey that seperated them. The Architecture Biennale in Lisboa sounded 'Close Closer', and the exhibitions were titled 'Future Perfect', or 'The Real And Other Fictions'. At La Friche in Marseille I looked at face that were exhausted by the year as cultural capital, while out in the city i found pure sounding life - at the same time Christian Schüle (Die Zeit) found silence in Marseille and titled his article with: 'Marseille, wo ist dein Lärm?' (Marseille, where is your noise?).

'Dancing Partners', what a funky, freaky, intellectual, arty dance. I will continue to remember Sound Development City 2013 clearly for quite a long time. Thank you to all of my dancing partners, the SDC crew and the very honorable generosity of the private sponsors!

Wolfgang Dorninger 2017

text2field-recordings projectpage: http://text2fieldrecordings.tumblr.com/ Website: http://dorninger.servus.at/

Disclaimer: When it became clear that Sound Development City was being discontinued, we reached out to our alumni and asked them to send us a reply to the question: 'What was the expedition to you from today's perspective?' Their answers are published in our Conclusions & Contributions category.

#sdc2013 #lisboa #lisbon #soundart #field recording #phonography

text2field-recordings - Marseille 2017

by Wolfgang Dorninger

'I wouldn't want to miss you, Sound Development City.'

Wolfgang Dorninger 2017

text2field-recordings projectpage: http://text2fieldrecordings.tumblr.com/ Website: http://dorninger.servus.at/

#SDC2013 #soundart #field recording #phonography #marseille #2017

Park Recordings

My series of park recordings have a new home: https://audioboom.com/playlists/1285831-park-recordings

park recordings

Der französische und später der englische Park waren Symbole der Leitkultur des Adels. Die Entwürfe der großflächigen Gartenanlagen waren Teil des Selbstverständnisses absolutistischer Fürsten, die mit Hilfe der gebändigten Natur Macht und Wohlstand ausdrückten. Kommunale Parkanlagen entstanden erst ab Mitte des 19. Jahrhunderts nicht nur in gesundheitspolitischer Absicht, sondern auch als Einrichtung moralischer Bildung. Der Park, nicht nur Ort der Erholung und des Vergnügens, ist seit der Renaissance auch Bühne des gesellschaftlichen Lebens und sozialer Umbrüche. In Krisenzeiten verwandelten sich manche Parks in Notquartiere wie z.B. der Tompkins Square Park in New York City Ende des 20. Jahrhunderts.

Im Zuge des Projektes Sound Development City 2013 besuchte ich unzählige Parks in Lissabon, Madrid, Barcelona und Marseille um sie akustisch zu untersuchen. Waren die barocken Parkanlagen im offenen Feld angelegt, die Parkanlagen des Bürgertums anstelle von Stadtmauern errichtet worden, so liegen die Parkanlagen heute im Zentrum der Städte.

Meine Fragestellung bei meinem projekt "park recordings" lautet: Wie klingen Parkanlagen 2013.

Ich positioniere dabei immer ein omnidirektionales Mikrophon (AKG 414) - das Schall von allen Seiten, auch von oben und unten gleichwertig aufnimmt - in der Mitte der Parkanlage. Die Tageszeit ist beliebig gewählt, der Aussteuerungspegel ist immer gleich eingestellt und ich achte darauf, dass keine ausserordentlichen Tätigkeiten wie Rasenmähen oder Bauarbeiten durchgeführt werden. Die Aufnahmen werden in einer Länge von vier Minuten online gestellt und in weiterer Folge in einer Installation ausgestellt.

Wolfgang Dorninger, Oktober 16, 2013

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park recordings

The french and later the english park were symbols for the cultural identity of the nobility. The design of the extensive gardens were part of the self-conception of absolutistic rulers who expressed power and wealth through the display of tamed nature. Communal parks didn’t originate until the mid 19th century with a health-political background, as well as a facilities of moral education. From the Renaissance on, the park is not only a place for recreation and relaxation, but also a stage for social life and change. In times of crisis, parks transformed themselves into homeless shelters, like the Tompkins Square Park in New York City at the end of the 20th century did.

In the course of the Sound Development City 2013 project i visited numerous parks in Lisboa, Madrid, Barcelona and Marseille to examine them accoustically. While the baroque parks were set in the open fields, the parks of the middle classes were constructed instead of city walls, the parks of today are located in the middle of the cities.

My working question for my project „park recordings“ was: What is the sound of parks in 2013.

I always placed an omnidirectional microphone (AKG 414) that records sound equally from all sides, including from above and below, in the middle of the park. The time of day was randomly picked, the recording level was always set identically and I paid attention that there weren’t any extraordinary activities like lawn mowing or construction work going on. The recordings are published with a length of four minutes and will be exhibited as an installation.

pt.1: Lisbon, Praca Da Alegria, Sept30 2013 at 10am 38.71793,-9.145287

pt.2: Lisbon, Jardim Augusto Gil, Sept26 2013 at 01pm 38.716102,-9.131138

pt.3: Lisbon, Jardim Botto Machado, Sept26 2013 at 00:30pm 38.716019, -9.124122

pt.4: Lisbon, big private garden beyond Teatro da Garagem, Sept26 2013 at 01:30pm 38.714847, -9.132371

pt.5: Madrid, Plaza De Espana (dir. Gran Via), Oct01 2013 AT 2:00pm 40.423412,-3.712188

pt.6: Madrid, Plaza De Espana (dir. Calle Ferraz), Oct01 2013 at 2:30pm 40.423108,-3.712749

pt.7: Madrid, Parque Del Retiro, Oct02 2013 at 10:00pm 40.417091,-3.684369

pt.8 Madrid, Jardins de Ferraz, Oct01 2013 at 3pm 40.423451, -3.715754

pt.9: Madrid, Parque de la Montana, Oct01 2013 at 3:15pm 40.423655, -3.717583

pt.10: Madrid, Campo del Moro, Oct01 2013 at 3:45pm 40.418614, -3.718302

pt.11: Barcelona, Parc de L'Espanya Industrial, Oct03 2013 at 10am 41.377766, 2.140923

pt.12: Barcelona, Placa del Duc de Medinaceli, Oct03 2013 at 11:30am 41.378343, 2.1789

pt.13: Barcelona, Parc de la Ciutadella, Oct03 2013 at 0:30pm 41.388334, 2.186446

pt.14: Marseille, park next to Quai de Rive Neuve, Oct06 at 11:15am 43.291958, 5.366024

pt.15: Marseille, Parc Longchamp, Oct08 at 0:45pm 43.304892, 5.395801

#SDC2013 #marseille #lisboa #lisbon #text2field-recordings #fieldrecording #phonography

#text2field-recordings #SDC2013 #soundart #soundscapes #vimeo

text2field-recordings contributed "From Linz to Johannesburg" to L F ST L by Malose Malahlela at VANSA (Visual Arts Network of South Africa) in Johannesburg on March 29th.

Malose wrote a text on how Lisboa and Marseille sounded to him in September/October 2013 on the SDC2013 expedition.

Lisboa is a quiet city from my 5 day experience walking in it, going through different streets hoping to capture dialogue that exist in sound caused by the everyday. I don't want to feel like I have to search for sound but more of a sense that the dialogue that's created when multiple sounds communicate forging a harmonic window in chaos, dawns on you as a listener. Marseille had that texture of sound and it reminded me a lot of Jozi, inner city. (Malose Malahlela)

I used three sound containers from Lisboa for the first two sentences and for the last one I used the water/city sound container from Marseille.

A video with the last sentence Marseille had that texture of sound and it reminded me a lot of Jozi, inner city can be seen here.

#soundart #soundscapes #field recording #text2field-recordings #SDC2013

text2field-recordings at L F ST L

SDC2013 colleague Malose Malahlela presents L F ST L at VANSA (Visual Arts Network of South Africa) in Johannesburg. L F ST L is a sound & video installation by Malose Kadromatt Malahlela that reﬂects on artistic processes, experiences and technology. Malose invited me to contribute with text2field-recordings. So I asked Malose for a text on how Lisboa and Marseille sounded to him. I use this text to trigger the fieldrecordings recorded in Lisboa and Marseille during SDC2013. More info on L F ST L

Catalogue: text2field-recordings (pdf)

SDC2013 catalogue (pdf)

#SDC2013 #soundart #field recording #phonography

At the end of the Sound Development City 2013 expedition SDC published this awesome book. You can download my contribution "text2field-recordings" for SDC 2013 as a pdf for free via SDC or buy the publication with 13 booklets via the Sound Development City shop.

#SDC2013 #book

1 - Proposal

Jeaux Sans Frontières JFS #2 at Sound Development city summer expedition

2007 was the year of the publication of Jogos Sem Fronteiras #1(JSF#1) on the camps of europe. Its main subjects were south-north migrations and „the others“ produced by the mechanisms of exclusion represented by the Schengen borders. In 2007, when Jogos Sem Fronteiras #1 was produced, the global financial crisis was just starting. Today, more than five years later, this crisis has evolved into a deep crisis of representational democracy and new borders seem to be born inside Europe and even inside each country.

2011 was the year of the occupations of the squares (OWS in the US, Plaza del Sol in Spain, Rossio in Lisbon) and we think that that which gave rise to those occupations was already going on and is not finished yet- at the contrary. We are thinking of a multiplicity of practices of resistance that can be materialized in bodies, songs, gestures, actions, videos, or in the everyday work of actual seminal places (websites, associations, galleries, cafés), practices that all of a sudden have joined or come together in another configuration, the space of the square, a space that wouldn’t be possible with the intensity it achieved if these previous practices weren’t already there, at work.

As they were already there, they also continue in multiple forms in many places and molecular aggregations.

In our opinion it is imperative to not look at recent events in a epiphenomenal way, focusing exclusively on the squares themselves, as if these events were “irrational”, came out of nowhere and went back to noplace (the very name “Arab Spring” seems to imply that the Spring is outside the historical time). We should instead try to understand them in continuity, alongside a myriad of encounters, practices, actions – that we call ’zones of resistance and practices of invention’. That’s why we have asked artists, theoreticians and activists to contribute to our magazine and to use their own languages to address these issues.

With Jeaux Sans Frontières #2 (JFS #2 ) we intend to point out the singularity of local practices, the interwovenness of struggles in a globalized world, and to emphasize the continuity between what was going on before 2011 and what is going on now. The magazine will therefore have a local focus regrouping contributions from one city plus a part with contributions from different countries such as Morocco, USA, Italy, Switzerland etc. The magazine as a physical object will be made to travel, to bring those experiences from one place to another and to discuss them.

#SDC2013