This is the text of a talk I gave during the Soundscapes Late event at the National Gallery in London on 4 September, 2015. You can also download and listen to a recording of the talk on my SoundCloud page. Continue reading
I have a new album of museum sounds that has just been announced for release on 1 July 2014 by the 3Leaves label. If you’re at all interested in listening to museums, this album is an hour of nothing but. Below is the short text I wrote to promote the album on the 3Leaves website; the CD comes with a much longer essay detailing its making. The album is currently available for pre-order, and you can hear a ten minute preview on SoundCloud.
“For as long as I can remember, I have been fascinated by museums — not just as places of looking and learning, but also of listening. To me, the soundscape of a museum resonates with the active sounds of history, the nexus between a museum’s contemporary sonic world and the historical objects housed within it. In my view, these sounds exist in the realms between documentary and drama, awe and aura.
This is the second installment of an ongoing series of psychogeographic sound maps of museums. Several hours of source recordings chronicling my interactions with and observations of every public space in the museum were secretly captured during the spring and summer of 2013, using only the built-in microphones of an Olympus LS-10 portable digital recorder. These sounds were then edited down to a highly composed, but unprocessed, hour-long impossible journey through the Art Institute of Chicago’s original building and its 2009 Renzo Piano-designed Modern Wing addition.”
This essay was commissioned by Meri Kytö and originally published in the World Forum for Acoustic Ecology News Quarterly’s Research and Projects column (v.11 n.1, Jan-Mar 2014).
Museums, although thought of as silent spaces, can be surprisingly noisy when listened to attentively. A large portion of my practice as an artist involves listening to museums, where the sonic collisions between present and past create what I have previously referred to as the active sounds of history (Kannenberg 2012, 8). While I am not suggesting we can listen to the past directly by looking at objects, I believe that contemporary sounds in museum spaces are experientially charged and transformed by their physical contact with the tangible cultural heritage of the past. This transformation is in part reliant upon the accepted authenticity of museum objects: Continue reading
For the better part of a decade, I’ve been recording the sounds inside of museum spaces. While some of these recordings have been published either online or on CDs, an ideal situation would be for the recordings to be put on display in a public place, where people could listen to them, engage with them, discuss them, and hopefully find as much beauty, escapism, and poetry in them as I have. But what type of public space would be the best fit? Continue reading