Sounding Cities Festival

Our proposal is to increase awareness of the importance of our local and global soundscapes and our role in their experience and design. As listeners, we are also responsible for the shape and beauty of our own soundscape. Therefore, we must open our ears.

Through workshops, performances, concerts, soundwalks and sound installations we intend to transform Viseu into an acoustically conscious city. For this time, it will be a special place of intersection between art, science and life.

Raquel Castro

ELIANE RADIGUE

Cobra Mist

Cobra Mist explores the relationship between the landscape of Orford Ness and the physical traces of its unusual military history.

Credits

A film by Emily Richardson
Camera John Adderley
Sound Recordist Chris Watson
Composer Benedict Drew

Synopses

Cobra Mist captures the enigmatic atmosphere of an abandoned military landscape.

Cobra Mist explores the relationship between the landscape of Orford Ness and the physical traces of its unusual military history.

Cobra Mist explores the relationship between the landscape of Orford Ness and the traces of its unusual military history, particularly the experiments in radar and the extraordinary architecture of the Atomic Weapons Research Establishment. The place has a sinister atmosphere, which the architecture itself begins to reveal and the sense of foreboding is accentuated through the film’s soundtrack.

- See more at: http://www.animateprojects.org/films/by_date/films_2008/cob_mist#sthash.UdVtdUZc.dpuf

Tellus #11 The Sound of Radio (1985)

Contributing editors: Karen Frillman and Karen Pearlman 

The call centre diaries, part 1

The Call Centre Diaries will be a semi regular series detailing my experiences as a precarious worker. To kick things off I’m going to share my experiences of working at Manpower, a major UK recruitment agency. Hopefully this won’t just touch on my experiences as a worker but also how the environment fostered in the kind of companies that thrive in economies structured around temporary contracts is adversely affecting the lives of both their own workers and the unemployed they are supposed to be finding work for.

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History of Electronic / Electroacoustic Music (1937-2001)

About the History of Electroacoustic Music - UBUWEB

When I started uploading the collection, in 2009, I was an undergraduate student of a composition class at the university's studio for electroacoustic music. Our professor made this collection, I believe, from his particular library, picking up some works that he found important. So there was this pile of CDs for us to hear as a kind of assignment. Because I could not be at the studio all the time I ripped the CDs to my computer so I could hear them at home. It was a natural thing then to start sharing it via the famous rapidshare, although it was not an all altruistic idea: the donwloads got me points that allowed me to get an account for downloading other shared material.

After I was done uploading I asked if someone could build a torrent so the works could be shared more easily. I didn't know if it was done or not until a friend of mine tells me that ubuweb published the collection. It was a very pleasant surprise since I, like many, admire a lot the work done in this website.

So I'm very proud and happy to see this here. I just want to clarify two things since it seems that my iniciative became some sort of legend, which is very funny. First, my college is a kind of a center of the most tradicional, western avant-gard electronic music, so I certainly agree that it leaves a lot of people outside, but leaving outside people working at the bounds of this tradition, and the area of Europe-America, was expected. I'm not saying that it's fair! Second and last, although woman are certainly an exception, I don't believe it was intentional to have few works by woman, it has more to do with the way our society and the tradition this music represent works.

Enjoy listening! 

-- Caio Barros, São Paulo, Brazil 2011