MediaLab at the
2010 Whitstable Biennale
The Language of Place
sound walks + sound symposium
Sunday 19 June [10am - 6pm]
4 + Performance Space
Horsebridge Arts and Community Centre Whitstable CT51AF
to Whitstable 10am – 12.30pm
Artist-led sound walk around Whitstable
with an emphasis on hearing the environment.
Language of Place 2pm – 6pm
More and more artists are working with sound and environment and we
offer a full programme of talks, recordings and listening opportunities
that focus on this unique, creative exploration of the world we inhabit.
Cusack is an internationally respected sound artist, musician
and field recordist with
a special interest in environmental sound and acoustic ecology. His
presentation will reference the Favourite Sounds Project, Sounds from
Dangerous Places, the Positive Soundscape Project and Future Soundscape
commission by Chris Watson and Yannick Dauby.
Leadley is intrigued by the relationship between environmental
sound and language. He will be talking about his installation, the Sounding
Shore, which is also part of the biennale satellite programme.
Savage has a research-based practice which explores the place
between public spaces, town planning, constructed landscapes and the
human story: the lived lives and personal narratives connected to those
She will talk broadly about her work including
A Guide to Getting Lost, which is being presented at the biennale.
Whitley will explore his working practice as an artist and
sound recordist in relation to his investigation of the Saeta Flamenca,
the religious song of Andalusia.
Introduction: Marcus Leadley
Listening session 1: vintage soundscapes – listening
to the past
1. Etudes Aux Chemins de Fer (2’48”)
Pierre Schaeffer (1948)
2. Williams Mix (3’ 10” edit)
John Cage (1952)
3. Bridgehampton Road Races (3’35”)
Sports Car club of America (1957)
4. Present Time Exercise (2’33”)
William S. Burroughs (1971)
Jennie Savage www.jenniesavage.co.uk
Marcus Leadley www.marcusleadley.com
Listening session 2: listening to the present
1. Impressions of Whitstable #1 (5’46)
Marcus Leadley (2010
2. Bridport-West Bay Soundwalks
Allan Upton (5’17”), Adam Baker (5’15”) and
Adrian Newton (5’34”) (2010)
Duncan Whitley www.shotgunsounds.com
Q&A/discussion (lead by David Rogers)
Listening session 3: Future Soundscapes
York 2030 (10’30”)
Chris Watson 2009
Saturday 19 [2.30 - 6pm]
and Sunday 20 June [10am - 12.30pm]
Horsebridge Arts and Community Centre Whitstable CT51AF
Chant involves the response by a choir to a soloist’s verse. Originally
this would have taken the form of a response by the congregation to
the leader or cantor. In the 9th century, it became an elaborate musical
form demanding trained soloists and choir. The Gradual, Alleluia, and
(for a time) the Offertory of the Mass were responsorial chants.
‘responsoria’ became a vehicle for polyphonic settings,
the polyphony being reserved for the soloists’ portions of the
chant. The body of the chapel, the body of a prepared guitar, resonate.
Voice, floors and doors are also sounded in response to architecture,
history and ambience.
Chapel, Abbotsbury, Dorset.
- Matrixmix and Turbomix
ivon oates www.ivonoates.co.uk
Rampisham Transmission Station in Dorset transmits digital, short and
medium wave radio from broadcasting stations internationally.
are recordings taken internally through the building, the switching
control rooms and transmitter halls where incoming signals are processed
and routed to external high frequency aerial curtain arrays.
a matrix of aluminium ducted cable feeds with hydraulically operated
switches connect when transmissions are broadcast. Below them elusive
residues of sound, seeming to switch arbitrarily, can be heard.
Rob Mullender silentlight.blogspot.com
The audio is a mix comprising two types of material – acoustic,
and ‘photophonic’, or light generated. Both are generated
by a long-string instrument, constructed over the week at the PVA MediaLab
you hear are a kind of string mediated feedback loop. The photophonic
sound was generated by shining lasers across the strings and onto photodiodes.
The laser-light generated is then amplified and recorded. This piece
was constructed for the purposes of testing a mechanism – the
‘work’ is the audio (and video) which resulted from running
this mechanism and documenting it. It is conditioned by the environment
in which it is constructed, which is both a source of frustration and
comfort, and is a primary attribute of many types of artworks that produce
The piece “gate(s)” was composed in residency at
PVA MediaLab using location recordings from different places in Dorset:
West Bay, Abbotsbury, Portland and the radio station of Rampisham. It
is a continuation of research towards composition in interaction with
the environment, in which predetermined walks are giving structure to
the resulting piece.
and fragmented landscape of Dorset eventually shaped this work into
four fragments, between which the sound of gates keeps coming back,
as a motif along the footpath.
Walk - Field Recordings
Sunday 7 March 2010 - Three artist-led, participatory sound
walks from Bridport to West Bay led by:
oates: ‘a light touch with sonic waves...’
explores a visual interpretation of sound using marks and words to trace
where and what is heard, overlapping them into a delicate, multi -layered
Rogers: ‘human intervention’
exploring the intervention we make within nature. The natural environment
accompanied by man-made sound. www.electricbackroom.org.uk
Stevens: ‘everyday sounds’
everyday recorded sounds that often go by unnoticed, the location’s
ambience and underlying rhythms are experienced. www.51degreesnorth.net/joe
material from the sound walks by:
Adrian Newton - Marcus Leadley - Allan Upton and Adam
Compositional works from recorded sounds in nature.
response to Listen to Whitstable: