Sound Matters Framework

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Sound Matters: a framework for the creative use and re-use of sound - Field Recordings and Speech

Project

Homepage: http://soundmattersframework.wordpress.com
Blog Feed: LINK
Twitter: @ximesonic
Organisation: CRiSAP
Organisation: London College of Communication
Organisation: University of the Arts London


Sound Matters is a research project that brings together an interdisciplinary community working in the creative use and re-use of sound specifically field recordings and speech.

Ximena Alarcón and Cathy Lane aim to create together a framework that facilitates the interrogation and relational playback of sound in its own terms. They envision the framework as a ‘Listening-Led Environment’.

In the initial stages Sound Matters is identifying needs and coping strategies of UK and international interdisciplinary researchers, artists, students, archivists and librarians, working with non-musical sound material, specifically field recordings and speech, in their research process and creative practice.

Phase 1: From April to June Sound Matters engaged the community in three stages: Stage 1 – Interviews and technical review, Stage 2 – Online participation and Stage 3 – Co-design workshop.

Here you can watch a video about the first phase of the project: https://vimeo.com/133219234

SoundMattersVideo.jpg

Phase 2: From August to November Sound Matters proposes to develop a prototype that links the processes of 'Relational Playback' - Archives/Collections from Researchers - and 'Interrogation' using Open Source existing technological frameworks such as: Jamoma, Mukurtu, Essentia RT and Freesound API. For this we will: Stage 1 - Conduct a survey with Sound Matters community to confirm and summarise findings of the first stage (August), Stage 2 - Co-design workshop involving community and developers, to write together specifications of the processes needed to work with field recordings and speech (September), Stage 3 - Prototype Development (October-November). In a paralel manner, the researchers will continue the activation of the community with the online resources: http://soundmattersframework.wordpress.com and the virtual wall with the extended framework at Mural.ly, which you can watch live here: http://mur.al/bLZlVkD5

Phase 3: From January to June Sound Matters proposes to have two Case Studies that use the framework, using Filed Recordings and Speech, and render the final outcomes through different interfaces e.g.: screen based, or physical interfaces (for installations).

Original Framework FrameworkSoundMatters.jpg


Expanded Framework (conceptual, methodological and technical) based on interviews, technical review, and comments from community:

Frameworkmuraly.jpg


Technical Proposed Framework for Prototype: Framework Technical2.jpg


Collaborators using Field Recordings, Speech and Archives

Isobel Anderson, Sound Artist and PhD student, Sonic Arts Research Centre, Queen’s University Belfast; Catherine Clover, PhD student RMIT University Melbourne; Dr Rupert Cox, Senior Lecturer Social Anthropology, University of Manchester; Peter Cusack, Artist and musician, researcher from CRiSAP, London College of Communication, University of the Arts London. Favourite Sounds; Prof. John Drever, Acoustic Ecology and Sound Art, Goldsmiths, University of London; Dr Michael Gallagher, Musician, Lecturer and Researcher in Human Geography, Manchester Metropolitan University; Clay Gold, Sound Recording Artist; Dr. Ron Herrema, Composer, Developer and Generative Artist; Dr. Holly Ingleton, Cultural Worker and Feminist Sound Studies Scholar; Prof. Cathy Lane, Composer, Sound Artist and Researcher, CRiSAP, LCC University of the Arts London; Sian Mogridge, Hackney Archives; Sukanta Mujumdar, The Travelling Archive; Dr. Katharine Norman, Independent Researcher and Composer; Tullis Rennie, PhD Research Student, Sonic Arts Research Centre, Queen’s University Belfast; Dr. Tom Rice, Lecturer in Anthropology, at University of Exeter; Dr. Adam Parkinson, Researcher at Embodied Audiovisual Interaction Group, Goldsmiths, University of London; Dan Scott, PhD student CRiSAP, UAL; Mark Peter Wright, Artist-Researcher, CRiSAP, LCC University of the Arts London; Andrea Zarza, Independent Researcher, Curator of World and Traditional Music, British Library; Dr. Carlos Falci, Associate Professor at the School of Fine Arts at Federal University of Minas Gerais, Brazil, Visiting Fellow IAS Warwick University.

Technical Advisors and support

Dr. Frederic Font, Music Technology Research Group link=http://www.mtg.upf.edu/, University Pompeu Fabra; Trond Lossius, Bergen Center for Electronic Arts http://www.bek.no/front?locale=enoct - Norway; Chris Baume, BBC R&D, http://www.bbc.co.uk/rd/blog/2015/05/spoken-words-and-their-timings, and University of Surrey; David Moffat, Centre for Digital Music (C4DM) Research Group at Queen Mary University of London