Quiet Mark has brought together a selection of leading
International Sound Artists to showcase the creative possibilities of sound
WEST STREET STORY: COME TOGETHER
Martyn Ware’s original 3D Soundscape was installed during the White Night Festival in the heart of Brighton’s clubland as an experiment to see if clubbers’ behaviour would change when exposed to this street soundscape. This pioneering experiment commissioned by the Noise Abatement Society and Brighton and Hove Council, was hailed a success by police, council and residents as it proved quite a contrast to the usual raucous disharmony so frequently experienced in these lively urban areas through the night, with all those present feeling a calming ‘connection’ For more information contact firstname.lastname@example.org
Born in 1956 in Sheffield, UK. After leaving school worked in computers for 3 years, in 1978 formed The Human League. Formed production company/label British Electric Foundation in 1980 and created the group Heaven 17 the same year. Martyn has written, performed and produced two Human League, two BEF and nine Heaven 17 albums. As record producer and artist has featured on recordings totalling over 50 million sales worldwide - producing Tina Turner, Terence Trent D’Arby, Chaka Khan, Erasure, Marc Almond and Mavis Staples, etc. Founded Illustrious Co. Ltd. with Vince Clarke in 2000 to exploit the creative and commercial possibilities of their unique three-dimensional sound technology in collaboration with fine artists, the performing arts and corporate clients around the world.
Martyn produces and presents a series of events entitled ‘Future Of Sound’ (21 so far) in UK and around the world and has created sonic architectural works at the British Pavilion at the Venice Architectural Biennale in 2006 amongst many others. Watch Martyn’s interview on window below.
Prolific sound artists Janet Cardiff and George Bures Miller have helped define the genre with a generation of innovative and experimental works. They represented Canada at the 49th Venice Biennale with Paradise Institute (2001), a16-seat movie theatre where viewers watched a film, becoming entangled as witnesses to a possible crime played out in the real world audience and on the screen. The artists won La Biennale di Venezia Special Award at Venice, presented to Canadian artists for the first time and the Benesse Prize, recognizing artists who break new artistic ground with an experimental and pioneering spirit. Cardiff and Bures Miller have recently had exhibitions at the Art Gallery of Alberta (2010), Fruitmarket Gallery, Edinburgh, Scotland (2008) the Miami Art Museum (2007) Vancouver Art Gallery (2005), Luhring Augustine, New York (2004), Contemporary Arts Center, Cincinnati (2003), Art Gallery of Ontario (2002), National Gallery of Canada (2002) and Oakville Galleries, Oakville, Ontario (2000)
TREVOR COX SONIC WONDERS
Sonic Wonders is a guide book to our Sound World. Browse a normal travel guide and you’ll read detailed descriptions of wonderful places to visit and enjoyable experiences to have. Modern lives are dominated by what we see, and so normal travel guides describe beautiful vistas, eye-catching art and iconic architecture. But the sounds of many places we visit are part of the experience. And in some cases, what we hear is more important than what we see.
Increasingly, people are going to capture the World’s sonic wonders, whether deliberately by recording what they hear on a mobile phone, or almost by accident, as the soundtrack on a video recording. This isn’t meant to be about music or accents, although music and speech will be important for some sites.
Trevor Cox is Professor of Acoustic Engineering at the University of Salford and President of the Institute of Acoustics
Hildegard Westerkamp is a composer, radio artist and sound ecologist. She presents soundscape workshops and lectures internationally, performs and writes. Her compositions have been performed and broadcast in many parts of the world. The majority of her compositional output deals with aspects of the acoustic environment: with urban, rural or wilderness soundscapes, with the voices of children, men and women, with noise or silence, music and media sounds, or with the sounds of different cultures. By focusing the ears' attention to details both familiar and foreign in the acoustic environment, Westerkamp draws attention to the inner, hidden spaces of the environment we inhabit.
Bill has worked for the past 30 years creating installations that use sound as a sculptural medium to interact with and transform our perceptions of visual and architectural settings. These have been installed in public spaces and museums around the world including San Francisco, New York, Paris, London, Berlin, Venice, Sydney and Tokyo. His sound sculptures use the human and/or natural environment as a living source of musical information. He assumes that at any given moment there will be something meaningful to hear and that music, in the sense of coherent sound patterns, is a process that is going on constantly. His methodology has been to create networks of simultaneous listening points that relay real time acoustic data to a common listening zone (sculpture site). Since 1976 he has called these works sound sculptures.
Sound artist and facilitator Esther Springett works at the junction between art, education and curation. Her work is often site-specific and explores different approaches to art and sound making leading to social interactions and creative collaborations. She is interested in art practices that question our perception of ‘community’, how it is formed and continually represented. Most recently she has been exploring the potential for sound and story exchange within groups – working collaboratively to reclaim and rediscover the places we inhabit. Check out the London Road Sound Map for Brighton created by the local community at www.londonrdsounds.co.uk