Walking Festival of Sound 2022

Online screening
Thursday, October 20 to Sunday, November 20, 2022

소리 그림 거울 / 18min 50sec, single channel video, HD, color, sound, 2022

Mihye Cha collected a number of images and sounds she discovered while strolling a particular area of central Seoul. She paid careful attention to the ecology of nature and of artificially restored or made environments. In the accumulated images and sounds, points of assimilation, differentiation, blending and superposition emerges, resulting from climate, environmental factors or just pure chance. Focusing on the relationship between images and sounds, actual distance and the sense of distance, this piece imagines and examines the space between an “invisible” image and one that is visible and between sounds heard and “sounds” unheard.

Mihye Cha focuses on the ways in which different objects from different worlds relate atypically. Paying attention to the blurring points of seemingly rigid standards and boundaries, the artist sheds light on the fragile or feeble-looking objects that form parts of the world. She features voices that are not spoken in the learned language, uncontrollable or unpredictable events, and the will or vitality of existence that is not fully visible, through video, performance, and installation.

작가는 서울 도심의 한 지역을 산책하며 자연적 생태 및 인공적으로 조성되거나 복원된 생태를 체험하고 발굴한 이미지와 소리를 축적한다. 그렇게 모아진 이미지와 소리에는 기후, 환경적 요인이나 우연의 작용 등으로 인한 유사, 차이, 교차, 중첩의 지점들이 포착된다. 작업은 이와 같은 이미지와 소리 사이의 관계, 거리와 거리감에 주목하고, 나아가 보이는 이미지와 보이지 않는 이미지, 들리는 소리와 들리지 않는 소리 사이의 여백을 상상하고 실험한다.

차미혜는 서로 다른 세계의 다양한 개체들이 비정형적으로 관계 맺는 방식에 주목한다. 단단해 보이는 기준과 경계들이 모호해지는 지점에 관심을 갖고, 세계의 일부를 이루는 연약한 것들이나 미약해 보이는 개체들을 조명한다. 학습된 언어로 발화되지 않는 목소리, 통제나 예측이 불가능한 사건, 전면적으로 드러나지 않는 존재의 의지나 생명력 등을 영상, 퍼포먼스, 설치 등으로 형상화한다.

www.chamihye.com

August 20 – 29, 2022

Vancouver, Canada and Varna, Bulgaria have something in common: each is a coastal city, each is highly developed but also somewhat second-tier compared to its bigger geopolitical industrial urban centres. Water, somehow, frames city life and the experience of being there. This Sonic Urban Walkthrough will be a partnership with Varna’s Social Teahouse: a unique social enterprise that provides urban engagement opportunities for disadvantaged youth. This project involves a set of soundwalking and field recording workshops with youth in Varna, with the aim of creating a set of audio documentaries about their sonic point of view.

Milena Droumeva is an Associate Professor of Communication and Sound Studies at Simon Fraser University specializing in mobile technologies, sound studies and multimodal ethnography. They have a background in acoustic ecology and work across the fields of urban soundscape research, sonification for public engagement, as well as gender and sound in video games. Milena’s current research combines livability with urban soundscapes research, including sonification of socially relevant data.

Various (diffusion piece)

Focusing on radio waves, Radio Shower attempts to listen to electromagnetic waves with frequencies lower than 3 GHz. This work explores the ecosystem of sounds from this particular range of frequencies which are widely used for ham radio communications, aviation communication, broadcasting, wireless computer networks, and satellite signals. It is on repeat but, through generative algorithms, it plays differently every time. This performance can be viewed as a computer improvisation. The artist hopes it will become part of the ecosystem of wherever it is played after it leaves his hands.

JSuk Han With his interest in generative art and mono-ha, Jsuk Han works with sculptures, installations, and sound performances using physical rules or systemized machinery. Jsuk received his MFA in Sound from the School of Art Institute of Chicago and completed a BA in Sculpture and Media Art in Seoul National University. Recent exhibitions include Feedbacker: Ambiguous Borderer at OCI Museum of Art, Seoul (2021); Wired Score at Seoul Citizens Hall Sound Gallery (2021); New Media Art special Exhibition at Seoul Arts Center (2021); and Follow, Flow, Feed at the Arko Art Museum, Seoul (2020). He collaborates with artists from different fields to widen the scope of his practice.

라디오 파에 초점을 두고 전자기 스펙트럼의 일부분을 차지하고 있는 3기가 헤르츠 미만의 전자기파를 들어보고자 한다. 이 영역대를 잘 들여다보면, 아마추어 햄 무선통신, 항공 주파수, FM/AM라디오, 와이파이, 인공위성 신호 등 도시를 감싸는 여러가지 소리들이 생태계를 이루고 있다. <라디오 샤워>는 제너레이티브 알고리즘으로 구성되어 있는 시스템을 통해 매번 다른 연주 세션을 사람들과 공유한다. 컴퓨터의 즉흥연주로 볼 수도 있는 이 연주가 작가를 떠나, 연주될 될 그곳에 생태계 그 자체로 존재하기를 바란다.

한재석은 제너레이티브 아트(Generative Art)와 모노하(Mono-ha)에 대한 관심과 영향으로 물리적인 규칙들이나 시스템화된 기계장치들을 사용하여, 조각과 설치, 사운드 퍼포먼스 작업을 해왔다. 서울대학교 조소과를 졸업하고 시카고 예술 대학에서 사운드아트 전공 석사를 졸업하였다. 《피드백커: 모호한 경계자》(OCI 미술관, 서울, 2021), 《연결 악보》(서울 시민청 소리 갤러리, 2021), 《뉴미디어아트: 내일의 예술전》(예술의 전당, 2021), 《내가 사는 피드》(아르코 미술관, 2020) 등 다수의 단체전과 개인전에 참여했으며 최근에는 다양한 분야의 아티스트들과 협업하여 작업의 영역을 넓히고 있다.

www.instagram.com/chrshn/

Friday, June 17, 2022; 3-5pm PDT

Opening event, presentation and conversation between Seoryang Kim and Seihee Shon, independent curator and member of the curatorial team of WFoS 2022

Seoryang Kim / Sounds of the City in Euljiro (Seoul)
Exploring the sonic environment, Seoryang Kim walks through the Euljiro, an area in central Seoul with both natural features and busy industrial estates. An audience is invited to join part of her journey, from Cheonggye-cheon Stream to a nearby metro station and along the alleys packed with small ironworks and printing shops around Euljiro Saga Street. It is an opportunity to experience, perhaps for the first time, the sounds and rhythms being produced in this quarter deep inside the city. All that is required is attentive listening. The artist provides participants with her stereophonically composed sound works from field recordings of four particular locations on the route. Participants will have a chance to enjoy soundscapes directly captured by their ears as well as these compositions from a headphone or earphone. This soundwalk will be documented and a video will be premiered for opening of the festival.

This event concluded with a Q&A with Seoryang Kim and curator Seihee Shon.

Seoryang Kim explores cities in Europe and Korea, observing closely both social and natural phenomena and documenting sounds. In her practice she attempts to reinterpret cities through hidden sounds she encounters and discovers in daily life. Kim has exhibited soundscapes of many cities including Berlin, Tokyo, Busan, and Seoul and runs a YouTube channel ‘Sounds of the City’. She studied sound art with Professor Christina Kubisch at Saar College of Fine Arts, Saarbrücken, Germany.

<도시의 소리 을지로 (서울)>은 김서량 작가가 서울 도심에 위치한 을지로 일대를 걸으며 소리 환경을 탐구하는 사운드워크 퍼포먼스이다. 작가는 일부 구간을 관객들과 함께 걸으며 청계천, 지하철역사, 철공소와 인쇄소가 밀집된 을지로 4가 주변 골목으로 안내한다. 작가는 경로 중 네 지점의 현장음을 미리 녹음한 후 입체적으로 재구성한 사운드트랙을 제공한다. 관객들은 직접 귀로 듣는 현장음과 헤드폰 혹은 이어폰을 통해 작가가 녹음한 현장음을 듣는 두 가지 경험을 모두 할 수 있다. 이 사운드워크 퍼포먼스의 기록영상은 페스티벌의 오프닝에서 첫 상영된다.

김서량은 유럽과 한국의 여러 도시를 탐색하며 우리 주변에서 일어나는 사회, 자연현상들에 주목하고 소리를 수집하는 작업을 하고 있다. 일상 속에 숨어 있는 소리들을 찾아내고 이를 통해 도시를 재해석하는 데 관심이 있다. 베를린, 코펜하겐, 도쿄, 부산, 서울 등 국내외 여러 도시의 사운드스케이프를 전시했으며 현재 ‘도시의 소리’ 유튜브 채널을 운영하고 있다. 독일 자브뤼켄 국립조형예술대학교 사운드아트 전공 디플롬 졸업, 마이스터 슐러 최고과정을 이수했다.

Sunday, November 27, 2022 | 2pm
Place: Departing from the Vancouver Public Library Atrium – Central Branch (350 W. Georgia Street, inside the main building entrance)
FREE

Helena Krobath and Brady Marks’ soundwalk will map improvised explorations of public space together with interactive narrative and sound art to build a speculative gaming and storytelling experience. Designed for an iconic Vancouver location, but playable anywhere in the world.

MEH: The Museum of Extratemporal Harkening is an experimental soundwalk that blends real-world exploration together with scripted audio fiction, soundscape composition, and elements of game play. Conceived and created by Helena Krobath and Brady Marks, it also features fiction by speculative author Tash McAdam.

We invite guests to experience the story and fictional museum together, while moving at their own pace through the architectures and sounds of Vancouver Public Library.

Technology Requirements:

• Bring your own device that can scan QR codes and play audio (e.g., a cellphone or tablet)
• Bring your own earbuds or headphones
• Free city wi-fi is available at VPL as an alternative to data
• Note: if you want to participate and do not have a device, we may be able to lend you one. Please email meh@newmusic.org if you would like to participate but don’t have a device.

Accessibility:

• A text-only version of audio content will be available for hard-of-hearing participants
• The location (VPL) is fully wheelchair accessible
• Exploration of the site will be at participants’ own pace
• Contact meh@newmusic.org if you have accessibility questions.

Helena Krobath is an artist, editor, and educator drawing on sensory experience and recomposition to consider presences, environments and narratives. Helena is the sound designer and audio post producer for Invisible Institutions podcast. Her electroacoustic fictions and radio art have been recently presented by Arts Assembly, Publik Secrets, and NAISA (New Adventures in Sound Art), among others, and her audio essay on hearing political economic realities during COVID-19 was published in the Journal of Design and Culture’s special issue on Covid Materialities. Helena has led soundwalks with Vancouver Soundwalk Collective and Vancouver New Music since 2015 and developed workshops on audio storytelling, including for Nuxalk Radio in Bella Coola, Megaphone Magazine in Vancouver, and VIVO Media Arts Centre.

Brady Ciel Marks is a sound artist, computational artist, DJ and educator. Brady is concerned with our technological entanglement, and creates media configurations that express a middle way between technological fetishism and dystopian fantasies. She works with technology, against technological thinking and for marginalised voices using sound, and light. Brady holds a M.Sc. in Interactive Arts from Simon Fraser University (SFU) and has recently been teaching at Emily Carr University of Art+Design in the New Media Sound Art area. She has long hosted the Soundscape Show and podcast on Vancouver’s Co-op Radio. Brady was born in shadow of Table Mountain, Cape Town South Africa and is now perched in a home on the unsurrendered lands of the šxʷməθkʷəy̓əmaɁɬ təməxʷ (Musqueam), Skwxwú7mesh-ulh Temíx̱w (Squamish) and səl̓ilwətaɁɬ təməxʷ (Tsleil-Waututh) peoples, but thrives on queer party dance floors.

Supported by British Columbia Arts Council, Vancouver New Music and Walking Festival of Sound.

Online plus in-person event on Friday, September 23, 2022; 4–7PM (PT)

BC Centre Round Lecture Theatre, House of Learning, Thompson Rivers University (805 TRU Way on McGill Road, Kamloops, BC)
Free, drop-in – no registration required.

Additional online screening of Surfacing: On Thursday, October 20, 10am (PT), 7pm (CET), Walking Festival of Sound – Artist Walks hosted a screening of Surfacing, a soundwalking performance by Daniela O’Fee, Kamloops-based artist, composer and educator.  The screening was followed by a Q&A session with the artist.

Daniela O’Fee’s Surfacing features a solo soundwalk performance through the campus of Thompson Rivers University in Kamloops, British Columbia. Situated on the unceded lands of Tk’emlúps te Secwépemc, the university’s structural design honours Indigenous gathering practices and harmonizes with the surrounding native landscape. Re-connecting as a former music instructor and fine arts student, the artist traverses the campus topography during a deserted evening to echo the anthropause that quieted the space throughout early pandemic periods. Using deconstructed piano parts and music artifacts in unexpected interface with surfaces, the resulting resonances suggest a symbolic repatriation of these materials to their terrestrial condition. Dismantling ambulation norms, idiosyncratic interventions result in distorted rhythms, welcoming altered perspectives on listening positionality and diverse modes of navigation. Layering the local history of settler resource extraction and the mass production of colonial music objects, the hushed campus becomes a palimpsest upon which to consider how deep listening can be a mode of reconciliation. This video will be available online on the Walking Festival of Sound website.

You are also invited to join O’Fee for Culture Ecologies of Sound and Place: Highlights from Walking Festival of Sound 2022, an in-person event on September 23 at Thompson Rivers University House of Learning in Kamloops, BC.

Walk through or sit a while to discover a cultural confluence of sound and walking practices that reimagine how we navigate our shared environments with highlights from this year’s Walking Festival of Sound. Experience a rotating program of multi-media soundscape compositions from Seoul, Vancouver, Stockholm, and Newcastle including a performance recorded at Thompson Rivers University in Kamloops on the traditional unceded lands of the Tk’emlúps te Secwépemc within Secwepemcúl’ecw. Walking Festival of Sound 2022 is curated by an international team and sponsored by Vancouver New Music and Arts Council Korea. This event is kindly supported by Thompson Rivers University Alumni Association and Thompson Rivers University Office of Sustainability. Your visit at this drop-in event can be flexible.

Pay parking on campus is until 5 pm. There is no need to arrive on time or stay the duration.

This event is also part of BC Culture Days.

Daniela O’Fee arrives at soundscape work after an extensive career in piano performance to re-tune her listening practice and re-assess sound as a social and ecological resource. Studies in the areas of sculpture and intermedia at Thompson Rivers University further her late-career investigation of wood bending, obsolete media, decommissioned musical instruments, field recording, extended piano techniques and graphic scores. Her work Tuning in, Tuning out for Solo Listener is included in the University’s permanent art collection. Daniela holds a Bachelor of Music degree from the University of Victoria where she was the winner of the school’s concerto competition. She actively contributes to her local arts community in Kamloops for which she earned the BC Culture Days Ambassador prize and is currently nominated for the Mayor’s Performing Artist of the Year award. Daniela shares her work with galleries, artist run centres, music organizations and independent radio programs throughout British Columbia, Canada.

www.danielaofee.com

Ongoing
Podcast series available at https://www.tree-museum.com/deer-tour

The Deer Tour takes listeners through 8 episodes of musically enhanced audio stories, anecdotes and reflections on settler colonial and indigenous relations to deer that explore wider questions of human-animal relationships, with a focus on the impact of colonization on the deer’s forested home. Speakers such as Fawn Daphne Plessner (S,DÁYES/Pender Island resident), Earl Claxton Jr. (WSÁNEĆ First Nation) and Jeff Corntassel (Cherokee Nation) share stories that open up an examination of the aesthetics and politics of human exceptionalism and its implications for deer communities. Themes such as kinship with more-than-human beings, (political) membership, treaties with animals, the notion of sanctuary, trophy hunting, killing and illness are explored. The tour is accessible virtually, but is also situated on S,DÁYES/Pender Island, which is within the unceded territory of the WSÁNEĆ First Nation. As an audio experience that is mindful of the legacy of human and animal relations within WSÁNEĆ territory, the Tour aims to enact one of core values of WSÁNEĆ Law: “That the origin of the living things of this world are our ancient relatives, and that they must be treated with respect.”

Fawn Daphne Plessner is an artist and academic. Her art practice centers on “doing politics” in the form of public art interventions that engage with the politics of place, and enacting, through art, a commitment to W̱SÁNEĆ First Nation Law and community in the place of her residence. Her art interventions incorporate deep research, writing, visual and text-based art, “aesthetic journalism”, and currently, audio/sound works that combine storytelling, social and political analysis, and experimental music. Her academic work includes a recent book titled ‘Doing Politics with Citizen Art’, published by Rowman and Littlefield Int., under the series title ‘Frontiers of the Political’.
https://www.tree-museum.com/

The Deer Tour is supported in part by funding from the Social Sciences and Humanities Research Council.

in collaboration with Jacek Smolicki
야섹 스몰리키와 협업

Saturday, September 3, 2022; 8pm (GMT+9)
Registration TBC

During his performance in Seoul, Jin Sangtae brings the electromagnetic fields that Jacek Smolicki transmits in real time from somewhere in North America into the theatre where he performs and into the objects that he plays. Each in their own way, the performers occupy the space where collision and merging occur.

Jin Sangtae plays non-musical objects that he collected and transformed into musical instruments. He connects and combines hard drives and other items such as laptops, radios, car horns, and electronics to use them as a main instrument. Since 2015 he has continued a composition project Year in which, every day, he uploads a one-minute composition he has recorded using his mobile onto the web. He founded ‘dotolim‘- a small space for improvised music – and has run the dotolim concert series since 2008. He was also an organizer of the festival ‘dotolimpic’ in 2012, 2013, and 2017.

www.popmusic25.com

Jacek Smolicki is an interdisciplinary artist, designer, and researcher. His works bring historical, critical and existential dimensions to listening, recording and archiving practices in human and more-than-human realms. Besides working with historical documents, archives, and heritage, Smolicki develops other modes of sensing, recording, and mediating stories and signals from various sites, scales, and temporalities. His work is manifested through soundwalks, soundscape compositions, diverse forms of writing, experimental para-archives, and audio-visual installations. He has performed, published, and exhibited internationally (e.g. In-Sonora Madrid, Moscow International Biennale for Young Art, AudioArt Kraków, Ars Electronica, Linz, and Historical Museum of Bosnia and Herzegovina, Sarajevo). Smolicki is currently an international postdoc researcher at Linköping University (funded by the Swedish Research Council), guest researcher at Simon Fraser University in Vancouver and Harvard University.

www.smolicki.com

진상태는 야섹 스몰리키Jacek Smolicki가 북아메리카 어딘가에서 실시간으로 전송하는 전자기장을 그가 공연 중인 공간 – 서울의 한 극장 – 과 연주하는 물체의 면으로 끌어들여 다시 구성하는 퍼포먼스를 한다. 두 퍼포머들은 각자의 방식으로 부딪치고 채워지는 공간을 점유할 것이다.

진상태는 자신이 수집한 사물들을 발음체로 전환시키고 그것들을 공간에 재배치하는 퍼포먼스를 한다. 해체된 하드디스크와 노트북, 라디오, 자동차 경적 등 여러 사물들을 연결하고 조합해 주 악기로 사용한다. 2015년부터는 매일 핸드폰으로 1분씩 녹음하여 만든 곡을 웹에 공개하는 ‘Year’ 프로젝트를 진행하고 있다. 기획자로서는 2008년부터 즉흥음악 공간 ‘닻올림’을 설립해 현재까지 연주회를 이어오고 있으며 페스티벌 ‘닻올림픽‘을 2012, 2013, 2017년 기획, 진행했다.

The work plays notes and sounds found in two specific places – MMCA Residency Goyang where I stay at the moment, and Newcastle University where I have never been, so for me it is an imaginary place. Since the outbreak of the pandemic, our mobility has been greatly limited. Physical distance engenders more room for imagination, and even an image on the Internet or media can evoke a burst of nostalgic sentiment. Those places where I ‘stay’ and where this work will be shown are places of coincidence. I imagine “notes” of those landscapes that I might encounter by an unknown, invisible microscopic network. Sounds heard from a place, and notes that I imagine, appear and disappear along the travelling waves as if they were playing a symphony. (from the artist’s notes)

Hye-Soon Seo incorporates everyday sounds, language, noise, silence, and human voices to create sound pieces that play on our senses of hearing and seeing. Through installation and video, her practice provokes new ideas and challenges our perceptions of the world. Her work takes the viewer/listener to an imaginary place. She majored in Plastic Arts (MA) and Object Design (BA) at the Ecole Supérieure d’art des Pyrénées and had six solo exhibitions at institutions and galleries including Kimchongyung Museum (Seoul, 2018) and Gallery Chosun (Seoul, 2021). She has also participated in numerous group exhibitions including Offraum8 (Düsseldorf, 2019).

<그 시간이 흐르고, 심포니>는 현재 작가가 머물고 있는 한국의 고양 레지던시와 가본 적이 없는 곳 – 그래서 상상의 장소이기도 한 – 영국 뉴캐슬 어폰 타인의 뉴캐슬 대학 주변에서 발현되는 다양한 ‘음’, ‘소리’를 함께 들려준다. 팬데믹 이후 국가 간의 이동이 예전만큼 자연스럽지 못한 상황에서 물리적 거리는 때로 상상의 공간을 만들고 인터넷이나 미디어 이미지를 통해 본 장소에는 아련한 황홀감마저 더해진다. 내가 머물고 있고 또 작품이 전시될 각각의 장소는 작품 제작을 위해 계획하지 않은 우연의 장소들이다. 나는 계획과 선택이 아닌 비가시적이고 이해되지 않는 어느 미세한 연결망에 의해 이동하고 맞닥뜨리게 되는 풍경 속 ‘음’을 상상한다. 우연히 마주한 장소에서 발견한 소리들과 정신적, 상상 속 공간에서 찾은 ‘음’과 ‘소리’들이 마치 심포니처럼 파동의 연결망을 따라 나타나고 또 사라진다. (작가의 노트 중에서)

서소형은 주변에서 들리는 소리, 언어, 소음, 침묵, 목소리 등을 오브제로 이용해 청각과 시각의 감각을 탐구하는 사운드 설치, 영상 작품을 만든다. 우리의 생각을 환기시키고 세상을 바라보는 인식에 작은 파동을 일으키고자 하며 관객들을 청각적 조형 기호들과 연결되는 사유와 상상의 공간으로 초대한다. 서소형은 김종영 미술관(서울, 2018), 갤러리조선(서울, 2021) 등에서 6회의 개인전을 했으며, «Offraum8»(뒤셀도르프, 2019) 외 다수의 단체전에 참여하였다.

www.hyesoonseo.com

Monday, August 15, 2022; 4-6PM PT
Soundwalk and Listening/Recording Workshop
Led by Jenni Schine & Giorgio Magnanensi

Wednesday, August 17 to Friday, August 19, 2022
Exhibition

Bere Point, Malcolm Island, BC

‘Ask the Mountains’ is a multi-disciplinary collaboration (with sound artist, Jenni Schine & visual artist, Sylvie Ringer) that creates interdisciplinary and immersive installations in both urban and rural communities that reference the atmosphere and landscape of North Vancouver Island and Malcolm Island, BC, Canada. The project works with composer Giorgio Magnanensi and his speakers (or “resonators”) made from salvaged wood. The artists are mentored by the Arrivals Legacy Project, a transformational exploration of Ancestry, ceremony and root cultural practices for artists and creators for change. This August, 2022, Ask the Mountains will return to Kwakiutl, Mamalilikala, and ‘Namgis territories (Malcolm Island) to re-evaluate their body of work with site-specific audio recordings documented by the local community. There will be a free Soundwalk and Listening/Recording Workshop for community members to learn field recording techniques and listening practices. This will be a mind (and ear) opening experience led by Jenni Schine and Giorgio Magnanensi. Open to all North Island residents!

Jenni Schine is a sound artist and researcher. Her hope is to make art that is ecologically accountable and builds relationships in a reciprocal manner. A big fan of public engagement, Jenni has extended her work into art installations, film, radio, and soundscape compositions. As an educator, she uses art and teaching as a conduit to connect artists with scientists. Jenni serves as the Soundworks Associate Editor of the BC Studies Journal and a Director of the Western Front artist-run-centre. She grew up in the traditional territories of the šxʷməθkʷəy̓əmaɁɬ təməxʷ (Musqueam), Skwxwú7mesh-ulh Temíx̱w (Squamish) and səl̓ilwətaɁɬ təməxʷ (Tsleil-Waututh) peoples (Vancouver, BC), where she is currently based.

www.jennischine.com

Giorgio Magnanensi Born and raised in Italy, Giorgio Magnanensi currently lives in Roberts Creek on the Sunshine Coast of British Columbia. His diverse artistic practice includes composition, conducting, improvisation, circuit–bending and video art. From the early 80’s to date he has been working as a composer, conductor, educator and performer in Europe, Japan and Canada. He is artistic director of Vancouver New Music, Laboratorio Arts Society and lecturer at the School of Music of The Vancouver Community College.

www.giorgiomagnanensi.com

August 5, 12 + 19, 2022
Various locations
Register through Eventbrite (links below)

Welcome to a series of soundwalking workshops. We will meet to walk together, listen to, and talk about different aspects of soundscapes that surround us in our daily life but which often remain unnoticed or ignored. Participants will learn about various listening approaches and creative sound recording technologies that can open our ears onto those imperceptible realms. We will walk through selected parts of the city, turning our ears to their past, present and, potentially, future soundscapes. Each walk will comprise performative listening sessions, discussions, and reflections on readings to be circulated prior to each event.

Each soundwalk can host max 15 participants, so make sure to complete your registration via links below.

Soundwalking Workshop I / Intertidal Zones. Ecotonal Listening
August 5, 10am

During this first workshop we will visit some of the intertidal zones surrounding so-called Stanley Park, the unceded territory of Coast Salish People. Besides acknowledging the past soundscapes of this land – those absent and still resonant today – we will listen to the troubling entanglement of the marine organisms that inhabit those zones (limpets and barnacles among others) with noises from the bay.

Read more and register here: https://www.eventbrite.com/e/392055647997

Soundwalking Workshop II / Soundmarks and Sound-scars. Palimpsestic Listening
August 12, 10:30am

We will begin by listening to the Gastown Steam clock from diverse positions and via different sound technologies. This creative and critical inspection will become a departure point to reflect on how mechanical vs cyclic organization of time affects our sonic sensitivities. We will also discuss other public soundmarks which are sounds of particular significance to local communities and cultures.

Read more and register here: https://www.eventbrite.com/e/392069750177

Soundwalking Workshop III / Trees and Logs. Arboreal Listening
August 19, 11am

At this workshop we will begin by listening to the beached logs and driftwood scattered along Wreck Beach. We will approach their sounds as echoes of the colonial past that persistently haunt and inform local landscapes and soundscapes in Vancouver. We will walk along the coastline tuning with those echoes while also turning our ears to other stories that the trees of the nearby Pacific Spirit Park have to tell.

Read more and register here: https://www.eventbrite.com/e/392073962777

Jacek Smolicki is an interdisciplinary artist, designer, and researcher. His works bring historical, critical and existential dimensions to listening, recording and archiving practices in human and more-than-human realms. Besides working with historical documents, archives, and heritage, Smolicki develops other modes of mediating stories and signals from various sites and temporalities. His work is manifested through soundwalks, soundscape compositions, diverse forms of writing, experimental para-archives, and audio-visual installations. He has performed, published, and exhibited internationally (e.g. In-Sonora, Madrid, Audioart Festival, Krakow, Ars Electronica, Linz, Moscow Young Art Biennale, Museum of Bosnia and Herzegovina, Sarajevo) and currently holds an international postdoc position at Linköping University (funded by the Swedish Research Council), Simon Fraser University in Vancouver and Harvard University (with support from Fulbright Commission). He is a co-founder of Walking Festival of Sound (www.wfos.net). More on www.smolicki.com

The series is offered as an accompanying event to the Walking Festival of Sound 2022 which takes place in Vancouver and Seoul. More info about the festival on www.wfos.net