Podcasts about environmental sound

We're all going to be affected by the same outcome. When I went up to Svalbard (Norway), I went with the intention of also capturing the beauty and the terror of the reality of these changes and how they can be at once fascinating to listen to, but also devastating to the environment.You've just heard an excerpt from composer and environmental sound artist Mary Edwards' Everywhere We Are is the Farthest Place composition, an ode to the transforming Arctic landscape, climate vulnerability, elemental sensuality and Terrestrial Space Analogues. Mary kindly shared a compilation mix from this soundscape composition with me to provide an example of her work that you'll hear throughout this episode. Mary holds an Interdisciplinary Master of Fine Arts in Sound and Architecture from Goddard College, and has been awarded residencies and commissions around the world. I met Mary for the first time at the World Forum for Acoustic Ecology's Listening Pasts/Listening Futures Conference in Florida in March 2023 and was immediately struck by the originality of her art and her positive energy, generosity and curiosity. We spoke by Zoom on May 24th, 2024 when we were both recovering from an unseasonable cold snap. We talked about her interdisciplinary arts and listening practices that encompass notions of temporality, impermanence, nostalgia and the natural world. For example:Listening is an inherent part of what I do. It's not just creating sound and music, but raising awareness. If we listen more intently to our environment, we can understand the health of our environment.Welcome to the wonderful and engaging sonic world of Mary Edwards. Mary recommended the follow :Silent Spring and other writing on the environment and Sea Trilogy by Rachel CarsonSilence: A Social History of One of the Least Understood Elements of Our Lives by Jane Brox (note: during our conversation Mary accidentally called her Suzanne Knox)The work of composer Sven Libaek see https://theroundtable.bandcamp.com/album/the-music-of-sven-libaek *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on June 7, 2024

If you've ever felt stumped as to what to do with all those field recordings you've been making… Or like experimental music sometimes lacks a human touch… this episode is a must listen because Isobel is joined by Cathy Lane, an artist, composer and academic inspired by everyday experiences and, in particular, how ‘hidden histories' can be investigated from a feminist perspective. Inside, Cathy shares so many gems from her vast experience and knowledge as one of the most highly regarded artists and academics in her field.Cathy has worked with composed sound for the last three decades and has developed a practice that combines oral history, archival recordings, spoken word and environmental recordings in formats ranging from gallery installations to books, essays and concert presentations. A Professor of Sound Arts at University of the Arts London and directs Creative Research in Sound Arts Practice (CRiSAP), Cathy shares how this work is also deeply influenced by her beginnings in grass-roots community-run learning spaces.This episode is a real treat so get comfy and plug in!EPISODE HIGHLIGHTS{00:00} Intro{05:08} How Cathy got started using music technology{09:29} Cathy on the women-only groups she was involved in, and the acceptability of these spaces.{14:55} Her PhD and access to technology{18:59} What is electroacoustic music?{27:06} Cathy's PhD thesis, on using space in composition{34:47} Using field recordings in composition to convey meaning{38:37} Her discovery of field recording{45:07} Cathy on her piece, Am I Here?{51:43} Cathy on her piece, Here We All Are{59:41} Using field recordings as part of the compositional process{01:09:09} Cathy's technology setup{01:16:05} Episode SummaryCheck out Cathy's Website >> Cathy's CRiSAP profile >> Find Cathy on Facebook >> Say hello to Cathy on Instagram >>Boss it in the recording studio

The exhibition Animals: Art, Science and Sound at the British Library (until 28 August 2023) reveals how animals have been documented across the world through history. Cheryl Tipp, Curator of Wildlife and Environmental Sound, explores how people have tried to capture bird song – from using musical notation in the 17th century to the first commercial recording three centuries later, and the recording of the last Kauaʻi ʻōʻō songbird in Haiwaii. Swifts are summer migrants, flying thousands of miles, only pausing to breed in Europe. Their screeching cries and darting flight might be the sight and sound of summer evenings, and yet we know relatively little about their lives. In One Midsummer's Day the naturalist Mark Cocker goes in search of the elusive swift, and finds a whole natural world of connections. The ecologist Tim Blackburn also discovers the hidden rules and interconnectedness of nature in his study of moths. His book, The Jewel Box, celebrates the diversity he finds within the moth trap on the roof of his flat. But also exposes a glimpse of a larger landscape, beyond the world of lepidoptera. Producer: Katy Hickman

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.07.13.200949v1?rss=1 Authors: Traer, J., Norman-Haignere, S. V., McDermott, J. H. Abstract: Sound is caused by physical events in the world. Do humans infer these causes when recognizing sound sources? We tested whether the recognition of common environmental sounds depends on the inference of a basic physical variable - the source intensity (i.e. the power that produces a sound). A sources intensity can be inferred from the intensity it produces at the ear and its distance, which is normally conveyed by reverberation. Listeners could thus use intensity at the ear and reverberation to constrain recognition by inferring the underlying source intensity. Alternatively, listeners might separate these acoustic cues from their representation of a sounds identity in the interest of invariant recognition. We compared these two hypotheses by measuring recognition accuracy for sounds with typically low or high source intensity (e.g. pepper grinders vs. trucks) that were presented across a range of intensities at the ear or with reverberation cues to distance. The recognition of low-intensity sources (e.g. pepper grinders) was impaired by high presentation intensities or reverberation that conveyed distance, either of which imply high source intensity. Neither effect occurred for high-intensity sources. The results suggest that listeners implicitly use the intensity at the ear along with distance cues to infer a sources power and constrain its identity. The recognition of real-world sounds thus appears to depend upon the inference of their physical generative parameters, even generative parameters whose cues might otherwise be separated from the representation of a sounds identity. Copy rights belong to original authors. Visit the link for more info

The thing about good design, is that it’s pretty much invisible it’s just there. And no one does good design quite like Disneyland. It’s pretty impressive how the Disney Parks…Read the postOur Favorite Soundtracks

This episode called Look and See something beautiful explores:1. The power of music2. Differences between environmental sounds and Music.3. How Sound can affect our emotions physical, emotionally, spiritually and by association.4. Learning Styles and Music.5. Understanding the language of Music6. Want to know more.

Two intrepid cyclists try and fail valiantly to travel from Peterborough to Prince Edward County.