Cities and Memory - remixing the world

"My piece is based on the old Knock Knock joke punchline, “Orange you glad I didn’t say banana,” and  the childhood habit of repeating words at nauseum. 

"As I listened to the recording I was drawn to the muffled sounds, of conversations and objects just out of reach and to the inadvertent memories that orange trees conjure in my own mind, of a childhood climbing them and being stuck by the thorns."

Piece by Sarah Knudtson as part of The Orange Garden project by Cities and Memory, in which multiple artists create a new composition using the same original field recording as source material and inspiration - see the whole project at http://www.citiesandmemory.com/orangegarden

"The piece starts completely naturally with footsteps and gradually moves to a strict quantised time, before relaxing into natural sound. All elements are created from the source material with no external instruments. I used the footsteps, water, jet, busker (reversed), birdsong and bells. I wanted to use the natural sound of the footsteps as a semi-rhythm and bring in the water on the exact beat but with the natural a-rhythmic sound. 

This should create a vague sense of a beat. The solo water part then distracts but also encourages the mind to find a beat, where none exists. Footsteps, water , reversed busker and jet appear before the busker solo part implies a 'harmonium' sound and presages the footsteps and water in precise quantised time. 

Shortly after we return to free natural time with the bells, played twice forward and once in reverse, sounding remarkably similar. The bells end the piece as in the original."

Piece by Sandy Monteith as part of The Orange Garden project by Cities and Memory, in which multiple artists create a new composition using the same original field recording as source material and inspiration - see the whole project at http://www.citiesandmemory.com/orangegarden

"Their is a rhythmic quality to the recording, in the sense that events happen quite regularly (even when not considering the guitar) which makes the whole recording some sort of a frame for a composition. 

Thus, I used the first 3 minutes of the recording, treated it with a bunch of effects and used it as a grid to add some synth, with similar textural qualities and harmonics coherence."

Piece by Simon Cacheux as part of The Orange Garden project by Cities and Memory, in which multiple artists create a new composition using the same original field recording as source material and inspiration - see the whole project at http://www.citiesandmemory.com/orangegarden

"Of all the sounds from the garden I found the fountain to be the most appealing - fountains and fontanelle are so evocative of Rome. And then there were the birds and the busker and the tourists…

The piece I have made was inspired by the shifting patterns of water falling in the fountain and the ebb and flow of people in the park. The jets become altered bird sounds which in turn become altered sounds of the fountain and ultimately the fountain itself. 

Against this the sounds of people, falling in love, singing, showing off, undergoing a continuous and varied alteration, while at the same time preserving them. Hence the title - topology of an anthropic landscape."

Piece by Richard Gadd as part of The Orange Garden project by Cities and Memory, in which multiple artists create a new composition using the same original field recording as source material and inspiration - see the whole project at http://www.citiesandmemory.com/orangegarden

"What do you get if you give one field recording to a host of audio artists and sound reimaginers from around the world?

A hundred different tracks, styles and reinterpretations.

What do you get if you give a beautiful field recording of the Orange Garden in the eternal city of Rome to Museleon?

You get a bunch of fruit flies buzzing around a lone orange in the said Orange Garden. Yes, all created from the one field recording using midi techniques, editing, sound shaping and including sampling the jet fighters.

Engage deeply you asked....I did, and my various fruit flies are enjoying the warmth and orange glow of their beautiful surroundings."

Piece by Odette Johnson as part of The Orange Garden project by Cities and Memory, in which multiple artists create a new composition using the same original field recording as source material and inspiration - see the whole project at http://www.citiesandmemory.com/orangegarden

Fragments  takes the original recording and tries to convey the essence of the listeners experience by focusing on the small things – tone, melodic textures and fragments of sound. 

I began by listening several times to the recording and picking out the bare essentials – the recording has several parts but is mostly dominated by the busker so that is where I started. I like to take small amounts of sound and make something bigger – a beat, a drone or a melodic line - from a fragment of sound. Here I focused mainly on the song, and was fascinated by the way the man’s voice rose and fell on certain words and thought that I could use that to create both rhythm and texture. The guitar melody was a very evocative sound and I decided I wanted to use it, but I did not want to recreate the song, instead I wanted to get the essence of it. I found a section of guitar with the lulling underscore and created a loop – but I found that actually the best way to deal with all the sounds was in very small sections – therefore creating fragments (this is how I got my title).  Finally I decided to use the footsteps, the plane and water fountain to bring it all together.

Piece by Jessica Rowland as part of The Orange Garden project by Cities and Memory, in which multiple artists create a new composition using the same original field recording as source material and inspiration - see the whole project at http://www.citiesandmemory.com/orangegarden

“All Time Is Time” is a contemplation on selective memory and controlled forgetting, where details of a fragment of experience are exaggerated, heightened, broken, obscured, suspended and eventually lost in the mind’s flow of time.

Piece by Gabriel Edvy as part of The Orange Garden project by Cities and Memory, in which multiple artists create a new composition using the same original field recording as source material and inspiration - see the whole project at http://www.citiesandmemory.com/orangegarden

After the hustle and bustle from the market, there is nothing better than a great hike rambling up the hillside over the old town. Up the mountain, stone walls zig-zag their way up to the crumbling ruins of a castle which lead up to San Giovanni Fortress. 

Visiting the fortress allows you to see the beautiful Old Town from above as well as the imposing mountains surrounding it. The walls are truly a breathtaking example of how nature and man can intersect harmoniously. 

The ruins of Kotor Fortress are located 280 metres above the sea level and have served as an impenetrable shield for centuries. The hike can be quite challenging especially for a climb in the sweltering heat, however it is extremely rewarding once you get to the top and are able to enjoy the panoramic view of the surrounding area and Kotor Bay below. 

Climbing up the rough cobblestones on my way to the highest viewpoint, I was able to hear the beautiful song of birds in the background with the panoramic sounds of the old town at large. The best way to fully appreciate the 1350 steps later and I was at the top, feeling the beauty and intersecting harmony of the sun setting over the whole bay. It was very romantic, a great moment to share with someone. 

Recorded by Rafael Diogo as a city sound guide for Cities and Memory - see more at https://citiesandmemory.com/city-sound-guides 

We all have our dreams about special places and it feels like my past self had the dream to visit the little seaside town of ​Perast​, an abandoned renaissance by the sea with the most beautiful retreat in Kotor Bay. 

Perast is the right place to sneak away from the crowds at the marina where dozens of cruise ships arrive every day. 

Today, Perast is mostly an abandoned town, with barely 350 people inhabiting the narrow streets and numerous, mostly, baroque palaces that form the richness aesthetics along the liminal Kotor Bay. On this binaural recording, the listener can naturally feel the gentle swell in the late hours of the afternoon as the waves splash on the shore and blend naturally to the sunset fading out on the mountain silhouettes. This beach is covered by dark sand and is approximately 1 km long and approximately 25 meters wide and generally has a moderate tidal surge. Perast seems to be this liminal place, a magical place, a jewel of a natural tradition that we should not miss. 

The quiet and the serene sound of the sea creates this atmosphere that keeps reminding you that there is no better way to cool off than a swim. 

Recorded by Rafael Diogo as a city sound guide for Cities and Memory - see more at https://citiesandmemory.com/city-sound-guides 

Usually as soon as I arrive in new destinations, fresh street markets are the first thing I seek out. I enjoy all the colours, tastes and smells of the fruit, fish and cheeses. 

Here in Montenegro I just love the popular coastal recipes made with sun-dried figs, olives, cheese, and huge pink tomatoes slow-cooked down to sauce. My favourite daily veggie treat is "Sir iz ulja", soft cheese preserved in olive oil and mixed with distinct herb flavours such as rosemary or marjoram.  

Lined up along the coast of the Bay of Kotor and under its Medieval walls, this tiny and picturesque market brought me the authentic local favour I was hoping to capture. The resulting binaural recording is a dynamic and lively soundscape, in which you can hear the vendors ​engaging the customers by inviting them in with cheerful greetings. 

Recorded by Rafael Diogo as a city sound guide for Cities and Memory - see more at https://citiesandmemory.com/city-sound-guides