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    <title>Field Notes: A Beginner’s Guide to Soundwalks | Bandcamp Daily</title>
    <dc:date>2025-10-24T04:27:19+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1966, the musician and artist Max Neuhaus met with some friends on the corner of Avenue D and West 14th Street in Manhattan. He stamped the word “LISTEN” on their hands and led them toward the East River. Without a word, the group went past a humming power plant, across a rumbling highway, over a windy pedestrian bridge, and back through the busy Lower East Side. As a percussionist, Neuhaus worked with composers like John Cage, who integrated sounds from the outside world into their pieces, but he suspected that the audience was more intrigued by the shock of the unexpected than they were willing to consider the sounds on their own merit. Neuhaus repeated his walk for the general public in a series of “Lecture Demonstrations,” explaining that “the rubber stamp was the lecture and the walk the demonstration.” These walks were a way to open the ears of participants, to give aesthetic validity to a world that was sometimes noisy, chaotic, and overwhelming.

Neuhaus didn’t know it yet, but he was one of the first leaders of a soundwalk. In the 1960s, performance artists were questioning the constraints of institutions and increasingly taking their work to the streets, blurring the boundaries between art and experience. His “Listen” series evolved from a tradition of conceptual art in which scores were written to be performed by anyone at any time. Take, for example, these instructions from Yoko Ono’s 1962 Map Piece: “Draw an imaginary map. Put a goal mark on the map where you want to go. Go walking on an actual street according to your map.” Or Milan Knižak’s Walking Event, from 1965: “On a busy city avenue, draw a circle about 3m in diameter with chalk on the sidewalk. Walk around the circle as long as possible without stopping.” By adding the simple command to listen, Neuhaus transformed his participants into both performers and audience members at once, directing their attention to the sonic environment of their everyday lives.

The term “soundwalk” was not formalized until later, with the World Soundscape Project at Vancouver’s Simon Fraser University. In the late ‘60s and early ‘70s, R. Murray Schafer, Barry Truax, and Hildegard Westerkamp began studying noise pollution in their city, leading to the 1973 publication of the book and record set The Vancouver Soundscape. A key part of their research was the soundwalk, which Westerkamp defined as “any excursion whose main purpose is listening to the environment.” She goes on to instruct her readers how to become listeners: “Wherever we go we will give our ears priority. They have been neglected by us for a long time and, as a result, we have done little to develop an acoustic environment of good quality.”

Soundwalking exists at the intersection of art, field recording, urban studies, and acoustic ecology. Perhaps the most important reference point, however, is Pauline Oliveros’s practice of Deep Listening. Oliveros’s 1974 text Native succinctly describes the ideal state of a sound walker: “Take a walk at night. Walk so silently that the bottoms of your feet become ears.” This focus on mindfulness has attracted an increasing number of people to the discipline. A soundwalk is a chance to take our eyes off our screens and our headphones off our ears, a tantalizing opportunity in an increasingly distracted world.

Viv Corringham, a vocalist and sound artist who has been practicing soundwalks for 25 years, says that “soundwalks allow our busy eyes to take a break and relax their gaze; this encourages a different focus of attention, allowing everyday sounds of the place to resonate within us.” Since she began her own practice of soundwalking, Corringham has observed how the field has evolved as it has gained popularity. “The basics remain the same but new approaches have arisen, often rooted in environmental concerns or in ‘decolonial’ listening that questions dominant Western understandings of sound.” A soundwalk is fundamentally inclusive, yet also political: Anyone can participate, but the nature of that participation is determined by factors such as location, gender, disability, and many others.

This means that you, too, can start soundwalking, right now. “Just go outside and listen. Remember that you are part of the soundscape too,” Corringham advises. “Notice whether you can hear the sounds of your own presence. Through our walking feet, we can listen to the song of the journey, to traces of previous walkers, to stories from the earth, to echoes of ancient origins, and to our own memories and associations. The essence of a place is revealed to the feet that move through it and listen.”

Soundwalking is an embodied practice, historically experienced firsthand; if a specific walk were to be shared, it was usually through written instructions, maps, or in-person events. However, artists have increasingly incorporated recording into their soundwalking practice, finding exciting ways to share their own experiences through sound. Below is a selection of recordings that demonstrates the many directions that a soundwalk can take."]]></description>
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    <title>Immerse yourself in the sounds of the Arctic (Wired UK)</title>
    <dc:date>2012-02-20T23:33:30+00:00</dc:date>
    <link>http://www.wired.co.uk/news/archive/2010-01/27/immerse-yourself-in-the-sounds-of-the-arctic</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adams, Plaid and Persen combined the poem with electronic music and the ambisonic field recordings to produce a piece titled Nord Rute -- the first in a four-part collection of performances about indiginous peoples titled The Compass Series, which merge poetry from Valkaeapää, music from Plaid and ambient audio from Adams. Nord Rute is a narrative account of the Sami people's annual migration.

The resulting performance is described as a "three dimensional psycho-acoustic experience" and an "ambisonic narrative evocation". During a performance the floor is covered with reindeer pelts and surrounded by speakers that create a plane of sound within which blindfolded audience members can immerse themselves in the atmosphere of the journey across the frozen wastes. To enhance the experience, there'll be absolutely no heating -- blankets will be provided and schnapps will be served instead."]]></description>
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