THE WORKSHOP IS FULL!
Attention technophobes and technophiles: This free interactive workshop series is open to researchers at all levels of sound study or audio production experience, from zero to advanced. Over three Saturdays, we will explore practices of listening, field recording, sound-making, visualization, soundwalking, and audio processing. The soundwalk takes place on Saturday April 1 and departs from the EV building.
Listening techniques contribute to mindful sensory experience and environment-based reflexivity for personal, research, and artistic projects. Field recording and digital editing are also useful tools for documentary, sound art, film soundtracks, radio drama, and other media projects.
April 1, 15, and 22 at 10 am to 4 pm
Community and Differential Mobilities Cluster Space,
EV Building, Room, 11.655,
Concordia University SGW, 1515 Sainte-Catherine St. W.
Registration is required to ensure enough equipment for everyone. Register early as space is limited. Preference will be given to registrants participating in all 3 sessions.
Coffee and snacks will be provided, but please bring a lunch.
Contact the organizer: firstname.lastname@example.org
April 1 – Critical listening, field recording, and soundwalk performance
On the first day, we will cover some spatial-acoustic properties and ways of listening/sensing, including contemplations of aurality in ecology, urban studies, phenomenology, spatial critiques of power, and prosthetic encounters in the field (re-mediating listening experience through technology and portable media).
We then move on to discuss microphone basics and how microphones ‘hear.’ After some hands-on practice with the recorders, we will go over basic audio file management.
We will introduce some field recording practices, including personal experiences, samples, tips, and tricks.
Soundwalk: The day concludes with a soundwalk and short debriefing. A soundwalk is a creative and meditative spatial practice similar to a Jane’s Walk, but with a collective focus on sonic experience and immersion. Please note: the soundwalk lasts for about an hour, and the route will be planned in advance with differential mobilities in mind. Please contact the organizer to discuss any needs or to request more details about the route.
April 15 – Noise-making, visualization, and digital sound processing
In week two, we will discuss acousmatic (concrete) qualities of sound, including approaches to visualizing and expressing tactility of sound. There are many creative approaches to mapping and graphing the layers and movements of sounds.
We will practice producing different types of sounds, improvising with various textures, materials, and voices. These techniques can be applied to Foley work (for soundtracks/sound effects) and music-making.
Participants will be introduced to popular software such as Logic and Audition, as well as free software options like Audacity. As we work with the programs and explore their applications, we will incorporate critical evaluation of the constraints and norms of these tools.
April 22 – Composition, process, and finalization
The final session begins with some approaches to composition and narrative form; what are some ways to think about shaping the sounds we have produced and observed? We will consider conventions and structures in sound design (to use or challenge) and discuss concepts of of acoustic semiotics and sonic imagery.
During this session, we will sample and discuss some work by environmental composers and sound artists. What range of forms and techniques are people using?
Software demos this week will cover electroacoustic sound shaping and some key digital effects processes. Four shaping techniques are introduced: time stretching, pitch shifting, reverb, and equalization, with time for exploring other tools. To conclude, we will cover some final mastering challenges such as compression and exporting, as well as constraints of formatting for web sharing.
Helena Krobath is a Master’s student in Media Studies at Concordia. She researches phenomenology of place and situated experience, using field recording, soundwalking, historiographical research, and art to instigate spatial critique and sensory autoethnography. Her research-creation thesis examines how rural public space intersects with settler identities in her hometown of Mission, British Columbia and considers the role of sensation in the occupation of space.