My Radius Episode 63, “SoundTent at Camp Sherwin” (2015) was among the works featured in EXTREME WEATHER, an exhibition at Murmur Gallery, Atlanta, from December 3 – 28, 2015, curated by Meredith Kooi.
I am working on the international scientific committee for Invisible Places | Sounding Cities, a symposium on sound, urbanism, and sense of place happening 18–20 July, 2014 in Viseu, Portugal. The call for submissions was announced January 13.
Three sections will be featured with a keynote by Jean-Paul Thibaud from CRNS at CRESSON for the section on Architecture and Urban Planning. Keynote speaker Brandon Labelle heads the section on Urban Sounds, Identity and Sense of Place, and Salomé Voegelin is our keynote speaker for Sound Art As Public Art. The symposium enjoys the support of a large arts festival called Jardins Efémeros in association with several other institutions and organizations, including the World Forum for Acoustic Ecology. The conference includes numerous soundwalks, concerts—including my own solo performance—sound installations, and a solo concert and workshop by Francisco López.
To make a map is to create a visual register of place.
To actively use a map is to make connections and perceptually join people, places and ideas together. ‘Mapping’ is an attempt to represent multiplicity. To give form to concepts, ideas, journey’s, even time. An audio map is the playing out of sounds, ideas, field recordings, footage and imaginings from geography this creates a new topography- a new map. A map that connects sounds to place and then forges connections between places. This process is empowering. It connects people and ideas; situations that seemed singular become multiple.
The broadcast has been organised into sections:
‘Territories’ Individual, community, locality, corporate, global, bought into conversation.
‘Convergence’ The intermeshing of birdsong, a human voice, a car, a factory, a glitch, a shopping mall, an airport a train station, their convergence as audio portrait of place and human experience.
‘Psycho geography’, Time emerges through place. ‘Reflexivity’ Thinking about the idea of the field recording, the meaning of a walk or journey. ‘Dis orienteering’ The field recording as starting point for abstraction or manipulation.
I am creating a new electroacoustic composition to be performed solo in Soundfest, a showcase of indoor and outdoor sound installation work and performances. It happens all around the Amherst College campus. I perform “Similaria” in the Mead Art Museum. Soundfest features the work of Tim Eriksen, Jake Meginsky, Steph Robinson, Wendy Woodson, Phil Dupont, and myself. Read more about Soundfest here:
Beginning in January I will be an artist-in-residence at Amherst College. I was selected by faculty at Amherst College to be a Copeland Fellow in their colloquium on “Art in Place/the Place of Art.” The Copeland Fellows for the spring semester also include saxophonist Matana Roberts, filmmaker Catherine Masud, and choreographer Idan Cohen.
The Copeland Colloquium was established in 1971 by Morris A. Copeland, Class of 1917, and his wife, Mary, with the intent “to bring together people of diverse backgrounds and different perspectives to engage with faculty and students at Amherst College in a way designed to promote the cross-fertilization of ideas.” The Copeland Fellows, who often participate in colloquia and other programming on campus, bring to the College a variety of perspectives and interests, enriching the Amherst community.
Jay Needham and Eric Leonardson perform Chronography: Animal 22:00 Friday, July 27Internationales Musikinstitut Darmstadt (IMD)
603qm Alexanderstr. 264283 Darmstadt (Atelier Elektronik)
This event happens within the Soundscape Composition program featuring Hildegard Westerkamp, and is organized in cooperation with the 46. Internationale Ferienkurse für Neue Musik Darmstadt 2012 (46th International Summer Course for New Music 2012) and The Global Composition: Conference on Sound, Media, and Environment.
Chronography: animal is a live electro-acoustic work based on field recordings that Jay Needham gathered in Antarctica in 2009. For this work, antique gramophone horns have been re-purposed and are now used as amplified instruments, percussive bells that resonate, clang and chime. It is the traveling of these sound machines into the wilds that initially fascinated Needham and eventually lead him to create sound sculptures that often times blur the line between musical instruments and scientific apparatus. For listeners, the work is intended as an audible exploration, a pseudo–scientific demonstration where the sounds of ship propellers, penguin colonies and ice fractures gather to express an epistemology of field recordings and the role that sound technologies have played in exploration and musical performance. Chronography: animal is conceived of as a bridge to connect practices of improvised music and sound art that evokes a sense of place.
Hildegard Westerkamp: Kits Beach Soundwalk
Jay Needham: Chronography: animal (Uraufführung)
A live sound art work for re-purposed gramophone horns and Antarctic field recordings
Performers: Eric Leonardson, Jay Needham
Hildegard Westerkamp: Gently Penetrating beneath the sounding surfaces of another place
Hildegard Westerkamp: Attending to Sacred Matters