[STR 015] WLD 2014 – Transition

One point to another, space traveling to space, mind going nowhere, going everywhere. Sound is motion, time; it reflects the universe’s ephemeral essence. All things pass because all things sound. We experience a world that is constantly vanishing, fading away, yet still emerging in the exact moment of dying. Sounds are walking within other sounds, making a journey not of places, not of people, but of frequencies and resonances. We always listen to the echo that is made between the points, like if sound was just the memory of the imaginary, a mere developing of nature’s transition.

Photo by Stéphane Marin.


  1. Correspondence (Transition #1), by Bunú (Belfast and Rio de Janeiro) – Correspondence (Transition #1) is a an excerpt from a larger work entitled Correspondence that combines recordings from two different cities: Belfast and Rio de Janeiro. The composition explores unexpected similarities and variations in spatial density between two disparate sonic environments. The recordings open a dialogue, constructing a composition that maintains a sense of presence and initiates transitions between spaces not normally associated with either location.
  2.  55°14’30”N 6°22’56”W, by Pablo Sanz (Northern Ireland, UK) – Recorded in the coast near Ballintoy (Irish: Baile an Tuaigh), Northern Ireland, UK.
  3. Riding my rusty bike to the store and back, by Kyle Hinton (Calgary, Alberta, Canada) – This recording happened when I wrapped a gorilla pod to my bike with a Zoom H4N field recorder.
  4. Soundwalk in Rossio, by Marcus Neves (Brazil) – Binaural soundwalk from Largo San Domingo to Rossio Square, in Lisbon (Portugal). The sounds of the meeting point of african immigrants in Downtown of Lisbon. Recording in 17 April 2014. 
  5. Collage 4 “Landscape”, by Juan Carlos Vásquez (Cali, Colombia) – Piece composed for the Hilltown New Music Festival, July 2013 at Castlepollard, Co. Westmeath in Ireland. Inspired by Pierre Schaeffer’s quote “Sound is the vocabulary of the nature”, and created by manipulating and processing a field recording taken in Cali, Colombia. After careful analysis of each individual sound in terms of frequency content using specialised equipment, a clear relationship was discovered between the different sound sources (mainly different types of animals). Then, a careful expansion and composition process was followed in order to discover hidden textures and timbers within such a balanced sonic landscape. Collage 4 was also part of the “Symposium on Acoustic Ecology” organised by the University of Kent (November 2013 – United Kingdom), “Kinokophonography” festival at the New York Public Library for Performing Arts (February 2014 – United States) and featured on “A Listening Room”, a sound-art focused gallery located in Helsinki (Finland).
  6. Urban Sonified Data: Electromagnetic Field Research, by Gladys Ching (London, UK) – This collection of field recordings explores the distribution and understanding of invisible, inaudible and intactible artificial electromagnetic field within urban space, subconsciously manipulating human behaviour through electronic devices. This boundless topography cannot be thoroughly nor adequately experienced through visual means. With use of an induction loop device, this intangible yet omnipresent landscape can be directly translated into an ambient soundscape. As shown in the documentary film of my field research in London (vimeo link above), a sound was formed through the device when electromagnetic interference occurred. This interference happens when electromagnetic field from an external source interferes the movable conductor in my device, in turn causing mechanical vibrations- sound. This collection of sonic information reveals studies of human movements and the rhythm of communication between electronic devices all around the city. In this case, what kind of information can this soundscape analysis provide us?
  7. Double ender diesel motor, by Christopher Rygh (Norway) - Recorded at Risør Wooden Boat Festival, aug. 2013. Wooden double enders with diesel motors are a trademark for Norwegian summer time by the sea.
  8. Wether rain, by Mike Haley (Wilmington, USA)
  9. Plaza de las hierbas, by Andrés Jurado (Bogotá, Colombia) – Field recording of the herbs market in Bogotá. The place is a special market that only opens on monday and thursday nights from 10 PM till the sunrise. What we listen is the sound of some activities and objects, voices and names of sacred plants that they have been trading there from long time ago (Achiote, albahaca, yukon, orozuz, estragon, sauco, paico, etc…). This market is located in the heart of the Bogotá downtown. Shamefully we cannot record the amazing smell.
  10. Venetian soundscape, by Riccardo Fichera (Venice, Italy) – This composition was created during a workshop inherent in venetian sounds and soundscapes. All sound were recorded in Venice with a Soundfield microphone and digitally edited.
  11. My air-conditioner’s noise, by Seicho suru kigi (Greece) – I finally decided to record its noise in January because I like it and consider it interesting! Of course it’s in high volume because the original track was low!!! I did some editing too! The recording was done with my Zoom H1 mic.
  12. Bewilderment!, by Valerio Zanini (Italy) – This work aims to represent with sounds a state of bewilderment, as suggested in the title. The composition was made with processed sounds recorded in Venice with a SoundField microphone: glass sounds of the island of Murano, sounds of the environment and voices taken from “Campo Santa Margherita”. Originally it would be a sound file for eight loudspeakers, here there is a 2-channels version. The work was premiered on January 13, 2012 in the “Fondazione Giorgio Cini”, Isola di San Giorgio, Venice.
  13. DC Subway Train Int, by Mitchell Lestner (Washington DC, USA)
  14. Encounter/Clash, by Pietro la Rocca (Sicily, Italy) – Recorded in the 2014 at Alimena  (small hamlet in the middle of the Sicily during the San Giuseppe day (1 May) recorded from the roof in the center, you can ear the sounds of the entire community. The encounter / clash between the various sounds creates a natural schizofonic composition.
  15. Midmorning in the back yard, by Travis Janssen (USA) – Recording Notes: Sounds captured in a back yard at the edge of a residential area, located a couple houses in from a busy thoroughfare near a large supermarket and a fire station. In addition to common sounds, this recording features a child’s improvisational metal whisk rhythms on a plastic kiddy pool with filled with dried grass clippings. 
  16. Cow’s orchestra, by Nicola Casetta (Italy) – Binaural recording of cows happily grazing in a natural arena. Monte Catria, Apennines of Marche region. Raw field recordings.
  17. Vi-ré-voltes, by Stéphane Marin (aka Espaces Sonores) (France) – From aerobatics of birds above our head to hammering thistles tossed by the wind. These windy environments were collected in may 2014 at the eco-museum of salt marshes in the Ré Island (Charentes Maritimes – France).
  18. Balcony beats, by Nagy Viktor (Hungary) – Raw recording, with a bit of volume boost and cut above 15khz. An early morning trash car routine, taking everything from the selective trash collector units.  
  19. Paseo gótico, by Pedro Montesions (Spain) – Soundwalk through different streets in the Gothic district, in Ciutat Vella (Barcelona). On Monday, 14 july, around 12:15.

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