Cities and Memory - remixing the world

Cities and Memory - remixing the world

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Cities and Memory - remixing the world episodes

  • Robotic voices from the Rialto
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Jose Sonosfera.
    "I used three base recordings from which I chose the words in italian, spanish and portuguese languages; the pieces were cut and the sounds from words of these three languages assembled with each other, with no particular order, I made a "collage" of those sounds;
    the next step was cut all the silence and apply sound effects."
    2 min
  • A veces el pasado y la memoria son parte de la realidad
    Sociedad Portuaria de Cartagena de Indias, Colombia. By Roberto Carlos Perez Guerrera
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    "…A veces el pasado y la memoria son parte de la realidad. Sólo a veces…
    [Agradecimientos a COLECTIVOSOMA – OctavoPlástico - los cassettes - los archivos fonográficos y a las horas - a las muchas horas de escucha]"
    7 min
  • Cocorico bells
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Paul Collins.
    "This sound piece uses a field recording from the tiny village of Brinay, Cher in the centre France, overlayed with church bells recorded on Museum Island (Museumsinsel) in Berlin.
    On the weekends, we would go down to my wife’s family pile, le Chateau de Brinay, for what would invariably and against all hope and expectations, turn into an exhausting stay. Every morning in the early pre-dawn, the local rooster would begin crowing just below my window, setting all the other birds on the property to a-honking, cooing, chirping, squawking. I would lie in bed and wonder bitterly how my newly adopted country could have actually taken on the rooster as their national symbol and it’s grotesque crowing (cocorico!) as the onomatopoeic expression of their patriotic pride. I would finally fall back into a fitful sleep, dreaming of wringing its supercilious neck. And then the bells would start in, calling the ever -diminishing faithful to mass at the little 11th century church on the property; l’ Eglise St Aignan de Brinay.
    Dada, a direct bi-product of the ridiculous horrors of the First World War, was a full frontal attack on nationalism and its symbols, and on the Church, which, on all sides, embraced the war as holy, despite its being a civil war amongst Christians (see Philip Jenkins; The Great and Holy War: How World War I Became a Religious Crusade. 2014).
    My method in this sound piece is a direct reference to the paintings of Françis Picabia, where one pictorial element is overlayed, or superimposed on another element, thereby creating a more complex and somewhat jarring whole. Two elements has proven, in my own work as a practicing artist, to be the ideal combination for the creation of simple and cohesive pictures.
    The first track of Cocorico Bells is a straight-up recording of domesticated birds wandering around the Chateau. The idyllic sound of water flowing under a foot bridge is interrupted by the hideous crowing and honking of fowl. "
    5 min
  • Bells of Museum Island, Berlin
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Paul Collins.
    "This sound piece uses a field recording from the tiny village of Brinay, Cher in the centre France, overlayed with church bells recorded on Museum Island (Museumsinsel) in Berlin.
    On the weekends, we would go down to my wife’s family pile, le Chateau de Brinay, for what would invariably and against all hope and expectations, turn into an exhausting stay. Every morning in the early pre-dawn, the local rooster would begin crowing just below my window, setting all the other birds on the property to a-honking, cooing, chirping, squawking. I would lie in bed and wonder bitterly how my newly adopted country could have actually taken on the rooster as their national symbol and it’s grotesque crowing (cocorico!) as the onomatopoeic expression of their patriotic pride. I would finally fall back into a fitful sleep, dreaming of wringing its supercilious neck. And then the bells would start in, calling the ever -diminishing faithful to mass at the little 11th century church on the property; l’ Eglise St Aignan de Brinay.
    Dada, a direct bi-product of the ridiculous horrors of the First World War, was a full frontal attack on nationalism and its symbols, and on the Church, which, on all sides, embraced the war as holy, despite its being a civil war amongst Christians (see Philip Jenkins; The Great and Holy War: How World War I Became a Religious Crusade. 2014).
    My method in this sound piece is a direct reference to the paintings of Françis Picabia, where one pictorial element is overlayed, or superimposed on another element, thereby creating a more complex and somewhat jarring whole. Two elements has proven, in my own work as a practicing artist, to be the ideal combination for the creation of simple and cohesive pictures.
    The first track of Cocorico Bells is a straight-up recording of domesticated birds wandering around the Chateau. The idyllic sound of water flowing under a foot bridge is interrupted by the hideous crowing and honking of fowl. "
    3 min
  • Cockerels in Brinay, France
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Paul Collins.
    "This sound piece uses a field recording from the tiny village of Brinay, Cher in the centre France, overlayed with church bells recorded on Museum Island (Museumsinsel) in Berlin.
    On the weekends, we would go down to my wife’s family pile, le Chateau de Brinay, for what would invariably and against all hope and expectations, turn into an exhausting stay. Every morning in the early pre-dawn, the local rooster would begin crowing just below my window, setting all the other birds on the property to a-honking, cooing, chirping, squawking. I would lie in bed and wonder bitterly how my newly adopted country could have actually taken on the rooster as their national symbol and it’s grotesque crowing (cocorico!) as the onomatopoeic expression of their patriotic pride. I would finally fall back into a fitful sleep, dreaming of wringing its supercilious neck. And then the bells would start in, calling the ever -diminishing faithful to mass at the little 11th century church on the property; l’ Eglise St Aignan de Brinay.
    Dada, a direct bi-product of the ridiculous horrors of the First World War, was a full frontal attack on nationalism and its symbols, and on the Church, which, on all sides, embraced the war as holy, despite its being a civil war amongst Christians (see Philip Jenkins; The Great and Holy War: How World War I Became a Religious Crusade. 2014).
    My method in this sound piece is a direct reference to the paintings of Françis Picabia, where one pictorial element is overlayed, or superimposed on another element, thereby creating a more complex and somewhat jarring whole. Two elements has proven, in my own work as a practicing artist, to be the ideal combination for the creation of simple and cohesive pictures.
    The first track of Cocorico Bells is a straight-up recording of domesticated birds wandering around the Chateau. The idyllic sound of water flowing under a foot bridge is interrupted by the hideous crowing and honking of fowl. "
    6 min
  • All Of Suburbia Makes A Nice Cup Of Tea After A Long Day
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Camilla Fanning. "I imagined the arrival home in all of suburbia of all the people living there, getting though their front door, dumping their bags, and rooting around for the fixings to make a nice cup of tea.
    As they search in their ordinary suburban kitchen however other random sounds intrude, released as cupboards and drawers are opened. All of the people all at the same time also grumble or sigh, until finally they get to sit down after a long day.
    The DADA movement inspired an absurdist approach with montaging of diverse elements."
    4 min
  • Suburban kitchen, Dublin
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Camilla Fanning. "I imagined the arrival home in all of suburbia of all the people living there, getting though their front door, dumping their bags, and rooting around for the fixings to make a nice cup of tea.
    As they search in their ordinary suburban kitchen however other random sounds intrude, released as cupboards and drawers are opened. All of the people all at the same time also grumble or sigh, until finally they get to sit down after a long day.
    The DADA movement inspired an absurdist approach with montaging of diverse elements."
    4 min
  • Feira da Vasco da Gama, Porto Alegre
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Isabel Nogueira. "The techniques I used are collage, overpainting, chance and sound poems. I worked cutting parts of the field recording and modifying them by chance, reversing some other parts, making collages and overpainting (oversounding, in this case)."
    4 min
  • Madurai, India, 1979
    Part of our Dada Sound project (February 2016) - see more at http://www.citiesandmemory.com/dadasounds
    By Tom Miller.
    " I made the original field recording late at night in the streets of Madurai, India on the 28th of February, 1979. Sounds captured include street singers, bicycles, cars, a nagaswaram (south Indian double-reed instrument) and thavil (barrel-shaped drum) duet outside the walls of the Meenakshi temple, voices of children and adults (including a passerby commenting on the tape recorder), microphone handling noise, wind, footsteps, and a cow eating a pineapple. All of the sounds heard are generated from the original field recording with no added source material.
    Dada methods employed:
    Chance – random elements encountered on a midnight walk through city streets
    Cut-up – the original field recording has been spliced, glitched, and re-sequenced
    Collage – the sounds of the field recording are layered into a multitrack mix
    Assemblage – resultant drone and combinatorial effects from applying reverb and resonance filters "
    6 min

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Cities and Memory remixes the world, one sound at a time - a global collaboration between artists and sound recordists all over the world.