Cities and Memory - remixing the world

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Recorded by Simon Proffitt.

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Reimagined by Antriksh Bali.

"What pulled me to this recording was the fact that while most other spaces / sounds seemed to be based more towards closed spaces (however big they might have been), I imagined this place to be more ‘open’. That was one factor. Another factor was the audio had these bass under-tones to them and it just painted a bleak picture, something that I thought could really work with from the perspective of how I look at sounds. The audio in particular was more mechanical / industrial in nature and I feel more comfortable working with sounds of that nature.

What struck me as prominent throughout the recording was this undertone of a sound throughout that sounded like a nearby airplane. I started trying to model some of the sounds I could hear in the recording using software analog synths. While initially, the idea was to model everything with analog synths, due to certain limitations I had to get a bit creative. I approached the entire reimagining in the form of layers. Having started with a realistic bass sound that was somehow similar to the plane in the distance, I decided to imagine what things would sound like from the perspective of the distant plane. Furthermore, on doing a bit more research about where this was recorded, I realised that it was something like a war memorial. I felt that this setting was perfect to demonstrate with sounds, the horrors and destruction that often accompanies war. As I added more layers, I added in more elements that were new and more dissonant and eventually ended up with a track that is more “fantastical” in nature, rather than realistic. To sum up, my idea was to depict what a fighter plane going into war hears (if not realistically or externally, you could also assume some of those sounds could be things soldiers might hear internally or in the world around them during a war)."

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Recorded by Leon Muraglia.

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Reimagined by Hazal Elif Yalvac.

" I selected this Vigeland Mauseoleum. I have always wanted to visit it to hear it in real time. I was in Norway in 2014 September, visiting Oslo as well, seeing the legendary Vigeland Park. And I also had the chance to visit Bergen back in 2015, August.

I didn't have the chance for Vigeland Mauseoleum during any of my visits. But I wanted to take this opportunity to reimagine the sound of a space that I've never seen before.

Norway is home to some of Planet Earth's most attractive natural beauties as well as a unique deep history of Vikings. As one of the most peaceful countries of our planet, it inspires me a lot. I wanted to imagine a conflict of a legend that, in my story, used to take place in this Mauseoleum. Here, Norse Gods and evil forces are depicted in this piece.

First of all, the resonance effects I designed through use of both granular and long textural delays represent the roaring of Gods.

Apart from designing such sounds, I also tapped into a simplistic technique of additive synthesis on the human-like choir sound at the end of the original recording by simply adding frequency-shifted sounds also through ring modulation, which I wanted to turn into an absorptive acoustic space, getting bigger with decays and diffusion as well as through the freeze effect.

I attempted to tap into a wide range of frequency spectrum. I therefore included noisy and glitchy textures as well. However, I thought that such sounds I designed through pulsar synthesis, as coined by Mr. Curtis Roads, should fit into this atmosphere of such venue as Vigeland Mauseoleum that can offer a great acoustic space. To this end, I tried to avoid an artificial sound design for such milisecond sounds, which could also create great spaces, but in this case, I wanted to achieve a consistency and coherence of sounds. So, I designed this as a response to lengthy textural drones.

I also tapped into subtractive synthesis by using filtering techniques mostly including low-pass filtering.

While the delay resonances represent roaring of Norse Gods, they resolve into a voice-like drone which represents death as an indication of respect for those beloved ones we lose/lost. In this case, Gods might have been fighting against dark forces. Those dying are commemorated but dark forces do not leave, which are represented through noisy textures after the resolution of drones. Still, a peaceful darkness is there because no matter what, the evil ones will be fought against, as represented with the low-pass filter drone resolution at the end."

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Reimagined by Jamie Lawson.

"The piece is an early exercise in automated compositional procedures using Max/MSP. Sequencing, low-pass filters, delay and signal degradation through sample rate changes are all determined via semi-random computational procedures. This process aims to place compositional emphasis on the careful selection of sound sources."

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Recorded by Stuart Bowditch.

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Reimagined by Aimee Chapman.

"I chose sound 64 because I was drawn to the constant through-line of the voice, the way in which it was both driving and constant then suddenly lilting and melodic. I wanted to capture the same surprising evolving sound in my piece, so I sliced the vocal sounds into rhythmic elements and also created pads and synth sounds from the original recording to build and flesh out the piece."

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Recorded by Maria Papadomanolaki.

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

Recorded by Stuart Bowditch.

Part of the Sacred Spaces project - find out more at http://www.citiesandmemory.com/sacredspaces

We chose this piece because it was located in Iceland, a place whose culture and art we love very much.

We took the harmonic aspect of the church organ and processed it through several different effects (delays, dirtortions, reverse) to make it into a whole new ambient piece.