[This is an edited version of the July 28th blog post on my MySpace Music profile, and a follow-up to the July 9th post here.]

On July 1st I began work on new project called the World Listening Project. It was formed by small group of musicians and sonic artists under the initial goal of collecting field recordings from every country in the world and then presenting them on a web-based sound map for the Chicago Calling Festival (October 1–11, 2008). The festival director, Dan Godston cited R. Murray Schafer’s ideas and the World Soundscape Project as inspiration, as well as the work of Bernie Krausse of Wild Sanctuary. We’re excited have Bernie’s providing his ideas and support to the World Listening Project as we begin.

On the left is a proposed logo for the WLP, designed by Noé Cuellar.

Many sound mapping sites and interfaces exist on the web, among those I’ve noted often are SoundTransit, Locus Sonus Audio Streaming Project Map, and the recent Mississauga Sound Map. With this in mind our initial mission, as stated above, is now under discussion. Rather than being solely a field recording and sound map website, a broader range of practices, areas of investigation, and modes of presentation are being considered. The discussion on revising the WLP’s mission is public. Your participation may help if you subscribe to the World Listening Project’s (Yahoo! Group) listserv.

Among the ideas for project may include research and initiating geo-tagged audio projects, such as on Freesound.org. The WLP can promote investigations into the meaning, methods, and relations of information gathering through sound. We are also registering a non-profit organization to support this effort. Happily, we have many noteworthy artists and thinkers participating in this discussion. And, the membership of the listserv continues to grow.

I can mention many more fields of knowledge and practice that the World Listening Project can encompass, but I’d like to keep this post brief. Your participation can play a important role influencing the future of practices involving sound and listening in and of the world. If you wish to learn more about the discussion, or even join the worldlistening Yahoo! Group, please visit this link: http://launch.groups.yahoo.com/group/worldlistening/

On Friday, May 2 SAIC’s Waveforms presented videos and performances by students from the Sound Department at the School of the Art Institute of Chicago. Gretchen Hasse from Gearwire came and interviewed many of the students in my Instrument Construction course, who opened the evening with an ensemble performance on their new instruments.

The video interviews are being completed now, and the first one up in the series is with Jenna Caravello, who worked all semester on her original acoustic instrument, the Celloharp. As you might guess from its name, this is a hybrid instrument. Jenna’s persistence and resilience in the face of so many kinds of challenges during its design and construction earns my respect and admiration.

The second video is an interview with Chris Burke who took Shawn Decker’s Programming For Sound course this spring. Chris dug deep into Max/MSP and Jitter software, and Ed Bennett’s ArtBus card, to come up with the Interactopus, a hardware interface for the real-time control of sound and video housed inside a warm, flexible fabric body.

Please visit this web page again and soon, as I announce more of Gretchen’s interviews with some of my outstanding student artists and their wonderful instruments.

My article “The Springboard: The Joy of Piezo Disk Pickups for Amplified Coil Springs” is available now, published in Leonardo Music Journal, Volume 17, by the MIT Press. This year’s issue offers a wealth of articles by Bert Bongers, David Toop, and Peter Blasser, with artists’ statements by Richard Lerman, Brett Ian Balogh, César Dávila-Irizarry, Vic Rawlings, James Fei, Neil Feather, Robert Poss, Kyle Lapidus and Tali Hinkis, hans w. koch, Laura Emelianoff, among many more. Due to the overhwelming response to the call-for-articles an online suplement has been added to accommodate submissions that could not fit within the print version (90 pages) of the journal. For more info, see the Table of Contents: http://www.leonardo.info/isast/journal/toclmj17.html

The journal’s companion CD compilation, “The Art of the Gremlin: Inventive Musicians, Curious Devices” curated by Sarah Washington, features 17 tracks by over 18 electronic artists and instrument inventors. Among them are Norbert Möslang, Haco, Leonardo Di Crappio, Rhodri Davies, Knut Aufermann and Tetsuo Kogawa, and Toshimaru Nakamura.