Tag: everyday sound


Dublin SoundStamp
Den Haag SoundStamp
Prague SoundStamp
Bray SoundStamp
Athy SoundStamp

Extract from SoundStamps (below) featured in Recording Life In Sound (SARU 2019).

Fi.Ona is a scenographer (experiential designer) with a focus on the audible: She is a Sonic Scenographer – a builder of performative worlds out of media, details and fuller informations of the every-day, collecting moments and rhythms in space. Fi.Ona originates in Ireland, and has lived in various places there and overseas in the US. Now she resides in the Netherlands, where she is entering the final term of her Masters of Fine Art Scenography in HKU (fine & performing arts school) with specialisation in spatial audio.

www.researchcatalogue.net/view/601086/601087 www.soundcloud.com/fiodotna

Sena Karahan

Extract from Sound Map Postcards // Flip-soundmap-book (below) featured in Recording Life In Sound (SARU 2019).

Sena Karahan is an architect and scholar who finished her MA at Istanbul Bilgi University Cultural Studies Master Program, her thesis looked at Social Reproduction of Space and Soundscapes. Sena trained as an architect at the Faculty of Architecture Mimar Sinan Fine Arts University, Istanbul. Before engaging with academia she worked as an architect at the architecture studio SMA, Selin Maner Architects, and later in the field of sustainable design. She travelled in South America for fourteen months from Argentina to Colombia. Her interest in the relation of sound and space was the key figure of design projects on her architectural training, affecting her journey and understanding of cultural and experienced space.

Kathryn Tovey

Post Walk Eating

Extract from Walking with another (below) featured in Recording Life In Sound (SARU 2019).

Kathryn Tovey grew up in the North East of England, now living and working in Lancaster where she graduated from Lancaster University in BA Fine Art. She has also studied and exhibited in Bendigo, Australia and is currently working on interactive performances with arts organisation GRAFT. Her work brings together site specific performance, video documentation and installation in layered works that invite the audience to reflect on human relationships with the natural world. She is often found working outdoors with her cocreator Caleela.

Lucía Hinojosa

Constellation Sound Memory

Extract from Forgetting (1993) (below) featured in Recording Life In Sound (SARU 2019).

Lucía Hinojosa (Mexico City, 1987) is an interdisciplinary artist, writer and editor. Her practice develops through a series of conceptual, ephemeral gestures and performative trajectories as a method of investigation that results in a corpus of visual, sonic, and text- based works. She studied Visual & Critical Studies at SVA in New York City, and did the SOMA two-year program in Mexico City. Her work has been exhibited at various galleries and art spaces like Sector 2337 (Chicago); Grice Bench Gallery (Los Angeles); Centro de la Imagen (Mexico City); Anthology Film Archives (New York); Chalton Gallery (London). In 2013 she co-founded diSONARE, an independent editorial project. Her writing has appeared in different publications in Mexico and abroad.

Aisling Davis

Water West Yorkshire
Train Approaching
Water West
The Saga
Creature Coming In For A Look
Big Waves
Alien Fight On A Radio

Extract from Uisce (below) featured in Recording Life In Sound (SARU 2019).

Aisling Davis is a multi-instrumentalist, artist, sculptor, and writer from West Yorkshire. Her work navigates history, topography, and anthrozoology. With bands ‘Inland Taipan’ and ‘The Capoeira Band’, she has recorded at Abbey Road, composed for film, and written for orchestra. As of May 2019 she became managing director of Braille Pottery Ltd, a company dedicated to the production of ceramics for the visually impaired. Past exhibitions include: Ice-Cream for Crow, Captain Beefheart exhibition, 2017. Soundtrack: The Acting Class, winner of Best UK Feature at the Labour Film Festival, 2017. Psychedelic Adventures of Clean machine, Fabric District International, 2018. The Resurrection of Geoffrey Firming: Bluecoat Gallery Liverpool, 2018. TURF: Scale Gallery, 2019.

Hannah Dargavel-Leafe

Descending landscape
Rolling bass

Extract from Conduit (below) featured in Recording Life In Sound (SARU 2019).

Hannah Dargavel-Leafe is an artist working in sound, sculpture and drawing who has exhibited both in the UK and Internationally. She has performed at Whitechapel Gallery and Iklectik, London, exhibited at CAVE Gallery in Leeds and released sounds on a limited edition vinyl through Calling Cards Publishing and a tape through Sacred Tapes. In 2018 she was a research associate in sound at The Slade School of Fine Art. From June 2019 she will be publishing sound mixes through British Earways. www.hannahdargavel-leafe.co.uk

Richard Bentley

Sweep (stereo Contacts)

3.15pm 25th April 2019
This transcription of sweeping was made at the beginning of the project and captures something of the interplay of sound and ‘thought-sound’ typical of my sweeping practice.
Underlying the internal monologue (in italics) and the more transitory sounds transcribed (in parentheses), is the sound of the bristles on laminate floor, the occasional knock of the broom against the skirting boards and the squeaking of its plastic handle. The low humming, whirring, clunking and squealing of the washing machine in the kitchen, is heard at first from the hallway then louder as I enter the dining room and kitchen. Its sound appears and disappears from the soundscape as it progresses through its washing cycle.
Sound of the sweeping
Not much dust
It’s where I hoovered
What’s that on the floor?
Umm, lots of cat hair.
(Broom knocks into microphone stand leaning against the wall under the stairs)
Oops. Don’t want to knock that over.
This floor hasn’t been swept for a while.
Just noticing how bent my back is.
Lots of cat hair. It’s very difficult to sweep.
Brush the door off.
Cat hair gets stuck to the bottom of the broom and drifts around in the air currents.
Just remembering the tea leaves I spilt from the caddy on my way out, as I sweep them up.
Is that a finger nail? Hmm.
I put the washing machine on, it’s always whirring.
(Broom knocks into the underside of the unit)
Umm, difficult to get underneath…some of the units.
Umm, there’s a hair pin. Should I pick it up? Should do really.
Oh…a spider? Nah.
(washing machine starts up again)
Washing machine again.
I’ll close the door to stop the draft coming through.
(loud clanking sound of door shutting and reverberating around the kitchen-come-dining room.)
Oh, gotta move this heavy chair.
(The broom handle bounces on the wall as it is leant against it. Loud, scrape of heavy chair being dragged along the oak-effect vinyl flooring)
Wow, loads of cat hair under there. Some stuck to the bottom of the chair leg.
Kids will be home from school soon.
Try and get this done before they get home, it’s just easier.
Gonna have to stop and take all of this cat hair off.
(brushing halts and is closely followed by sound of rustling, picking-off matted cat-hair from the bristles)
This floor’s done well. Karndean I think it’s called.
Expensive, but it’s done a good job.
Oh. Someone has left some shiny old paper under the unit.
It’s probably one of the kids.
I don’t think Sarah uses those.
Oh, a dandelion.
From Sarah’s lino cut.
What will I find under here?
Oop, I don’t know, but I can’t move it.
Oh, I think it’s the table cloth, cover.
Wow, there’s a lot of rubbish, a lot of dirt and dust today.
Oh, my back hurts.
Probably why the bottom of my socks are a mess.
I think Zen monks have special slippers they wear.
I wonder if they stop the dirt sticking to the bottom?
That’d be helpful.
Thinking about the project. (wondering how accurately I can capture my thoughts by speaking them)
There’s all sorts of hair, and dirt, underneath the radiator.
(sound of drilling noticeable in the distance)
I wonder if the speed at which I do this and the very methodical approach is something I’ve learnt from being at home, my mum doing that. Very methodical.
(stop to clear-off hair stuck to the brush)
Someone is doing some sawing or drilling outside.
Oh, forgot to pick up the cat food and water. Oh what a mess! Eat pretty messily these cats.
The thing with wearing these binaural microphones is that the cable gets in the way. I should have really tucked it in to my t-shirt… put it underneath.
I wonder if the recording level’s OK?
(washing machine starts up again)
There’s a lot of washing in there.
(Sound of drilling in the distance, noticeable when the washing machine stops)
That drilling again. I wonder what’s going on?
Swishing again. Quite a nice sound. Gentle. It has a softness about it.
(Broom knocks against the skirting under the kitchen units)
Is there a rubber part on the end of this broom? Sounds like it.
Haven’t done this for a long time.
It’s uh, really, really dirty. I suppose it was the Easter holidays.
I’ll have to clean that skirting or whatever they call it, under the units.
It’s always messy… where we prepare the food.
Better not tread in the pile I’ve just swept up.
Bran Flakes. Gor’, there’s all sorts in here.
What time is it. Half-past three. Kids’ll be home in ten minutes.
Must remember Phoebe’s appointment for parents evening.
Right, now can I put this in the compost bin? Yeah, I think it’s…. it’s all…
Cat hair and dust and food – it’s all organic.
(Sweeping pile of dirt into the dustpan. Rustle of a piece of plastic wrapper pulled from the dirt)
I’ll take that plastic bit out.
(Sound of emptying the dustpan into the compost bin)
The compost bin lid’s broken.
Phew, I’m done. Bit of a pain in my back after doing that.
Wash my hands I think.
(Sound of running water, depressing the hand-soap pump, squelching of lathering soap, rinsing hands under tap. It stops, exposing the whirr of the washing machine again)
Right! Put the chairs back. Think we’re done.

Extract from Sweep (below) featured in Recording Life In Sound (SARU 2019).

Richard Bentley is a musician and sound artist whose work explores the relationship between listening; quiet and stillness; field recording; listening exercises; prose composition and other contemplative arts practices. He is a practice-based researcher with the Sonic Art Research Unit at Oxford Brookes University. His current work includes a CoCreation community engagement secondment with European Alternatives in Paris and a four-month long project ‘Small Silence’ which explores the value of quiet spaces to local people in Reading, UK. Richard releases music on the Buried Treasure record label and has developed bespoke audio products for clients such as The Woodland Trust, Crisis, Intelligent Health, The Roald Dahl Museum, Nature Nurture and a host of community arts organisations. Richard is also an Associate Artist with the Jelly arts organisation based in Reading and Associate Lecturer in audio production at both Oxford Brookes and the University of West London.

Recording Life In Sound

Make an effort to exhaust the subject, even if that seems grotesque, or pointless, or stupid. You still haven’t looked at anything, you’ve merely picked out what you’ve long ago picked out.

(Georges Perec; Species of Spaces; 1974)

On a rainy day in Oxford more than ten years ago Felicity Ford and Paul Whitty set up a project with the aim of recording everyday life in sound – to resist the overwhelming tide of visual images of the everyday and to meet it with the abundant soundings of vending machines, luggage carousels, toasters, escalators, boilers, garden sheds, wheeled luggage. We followed the writer Georges Perec’s instruction to exhaust the subject, not to be satisfied with a cursory glance, not to be satisfied to have identified what we already knew – what we had already heard – but to look again or in our case to listen, to keep listening, to listen long after it would probably have been more sensible to stop. That project was Sound Diaries.

This project celebrates ten years of Sound Diaries with contributions from twelve artists who responded to our open call;

We are interested in everyday sounds and sounding contexts from cutlery drawers to bus stops to self- service checkouts. Projects can take many forms but should focus on documentary recording of everyday sound.

Sound Diaries expands awareness of the roles of sound and listening in daily life. The project explores the cultural and communal significance of sounds and forms a research base for projects executed both locally and Internationally, in Beijing, Brussels, Tallinn, Cumbria and rural Oxfordshire.

We have invited twelve artists to create new projects and you can hear the artists present their work on July 13th 2019 at The Jam Factory in Oxford. Admission is free and all are welcome.

Here’s the programme:

11:00 – 11:20 Richard Bentley Sweep

11.25  – 11.45 Hannah Dargavel-Leafe Conduit

11.50 – 12:10 Kathryn Tovey Walking with another

12.45- 13.05 Aisling Davis Uisce

13.10 -13.30 Jacek Smolicki Inaudible Cities

14:10 – 14:30 Atilio Doreste Muffled Sounds

14.35 – 14.55 Beth Shearsby

15.00 -15.20 Lucía Hinojosa Forgetting 1993

15.45- 16.05 Fi.Ona SoundStamps

16.10 – 16.30 James Green Sounding 24h

16.35 – 16.55 Marlo De Lara aural investigation of everyday britain

Open Call Artists Announced

We had an amazing response to our Open Call with many fantastic and innovative project proposals – thanks to everyone who responded. The successful artists are:

Richard Bentley
Hannah Dargavel-Leafe
Aisling Davis
Atilio Doreste
James Green
Lucía Hinojosa Gaxiola
Sena Karahan
Marlo De Lara
Fiona AR Patten
Kathryn Tovey
Beth Shearsby
Jacek Smolicki

The successful Artists visited audiograft festival in March to introduce and discuss their projects and we are looking forward to welcoming them back in July to present their work and to launch the SARU publication celebrating ten years of the Sound Diaries project.

Watch this space for more information about our event in July and the publication!

February 28th

In 2009 I contributed a project to Sound Diaries awkwardly titled Unspectacular February. We had just published a series of recordings from the first minute of 2009 full of fireworks, excitement, and new beginnings and so it seemed like we should follow this up with something from the everyday business of being. The result was a series of one minute recordings capturing the everyday activities of the kitchen – the sound of the dishwasher, kettle, fridge, toaster, cutlery drawer, microwave and the more distant sounds of the house – television from the next room, footsteps upstairs, the washing machine in the shed. I thought that I should mark the passing of ten years by doing this again. I’m in a different kitchen now but many of the objects are still the same.

It’s the final day of unspectacular February. I’m sitting on the sofa catching up with yesterday’s recording, the tumble-drier is switching itself on and off, I’m tapping at the laptop keyboard, there is nothing happening except the sound of nothing happening.

(February 28th 2019 nothing happening)