Inspired in the Jamoma framework I visited the Bergen Centre for Electronic Arts – BEK in Bergen – Norway, with the support of Erasmus staff exchange at the University of the Arts London. I received the collaboration from Trond Lossius, and we worked together envisioning possibilities for the creation of interfaces to access to archives of field recordings and speech, and work creatively with them. I had the opportunity to understand more the Jamoma platform, and we shared and clarified conceptual and technical frameworks for the use of sound recordings that reside on Internet-based archives, exploring also their accessibility. We started a prototype using Jamoma and Freesound API, and will engage in collaborations which will allow us to continue with the prototype and explore interfaces for Relational Listening.
Also I offered a talk about my artwork and received nourishing feedback from students and artists from diverse disciplines at Bergen. Comments around the patterns of working with time and technologies, and the issues of privacy involved in my different works, were food for thought.
Many thanks to Trond Lossius and Lars Ove for such a warm and engaging visit at BEK!
Here there is a link to the blog post in BEK’s blog of my visit
Sound Matters Framework in Mural.ly. Click on the image to view the framework.
The Sound Matters Framework is in development!
The framework illustrates a process, which involves methods, audiences, artworks and technologies already drawn from a number of sources. Sound Matters’ main objective is to create interfaces and software tools that facilitate and stimulate creative research processes for using field recordings and speech. These tools and interfaces are part of a whole system, the framework; this also includes sound files wherever they are housed (hard drive, Internet, sound archives, live streaming via the Internet or radio), and also non-sonic databases.
Our aim is that these shared interfaces and software tools will eventually facilitate and stimulate creative experiences for many disciplines (eg. history, sound art, geography, anthropology, archive studies, curation, creative computing, memory studies, visual arts), through a shared listening-led framework, specifically for new approaches to making, and re-making of cultural memory through sound and technology. This will open up field recording and speech sounds to new and, as yet, unimagined uses!
If you would like to contribute contact us on X.Alarcon[at]lcc.arts.ac.uk to receive instructions.