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When Life Gives You Lemons, Play Ball

A dugout conversation, a rented organ, a baseball game, and 90 lemons: sound artist Chris Kallmyer visited the Walker Art Center in June to make a plan for his July residency on Open Field. Earlier this month Chris Kallmyer met with two Minneapolis experts to map out his project, Baseball Day to Day, a sonic exploration of […]

of2014baseball-days-marketing_003A dugout conversation, a rented organ, a baseball game, and 90 lemons: sound artist Chris Kallmyer visited the Walker Art Center in June to make a plan for his July residency on Open Field.

Earlier this month Chris Kallmyer met with two Minneapolis experts to map out his project, Baseball Day to Day, a sonic exploration of baseball in the spirit of Fluxus. You may recall Kallmyer’s 2011 Open Field piece, the american lawn and ways to cut it, in which he invited members of the public to bring their reel lawnmowers to cut the shaggy field in concert. This year the everyday sounds of Americana take a sporty slant.

Chris Kallmyer and Larry DiVito discuss groundskeeping.

Chris Kallmyer and Larry DiVito discuss groundskeeping.

Field Day

On a baseball fact-finding mission Chris Kallmyer, Sarah Schultz and I had the pleasure of meeting with the Minnesota Twins’ Head Groundskeeper, Larry DiVito, to ask his counsel in the matter of building a regulation pitcher’s mound on Open Field. We met in his office, a dugout overlooking Target Field, with his crew dutifully grooming the pristine paradise beyond. DiVito is a baseball Zen master of sorts. He is kind, generous with his knowledge, and seems entirely at peace in the literal landscape of his making. In the end, plans were modified in scope to build a functioning baseline instead of a pitcher’s mound, but what we learned in that meeting has forever changed the way I think about baseball. I can’t share all of the details here but I will say that it involved lasers. The 40-foot baseline will be built on Open Field as part of the project Live Action Groundskeeping and will be mindfully tended to by Kallmyer and open for public play from July 9-17.

Target Field Mower

View of field maintenance from the bullpen at Target Field.

Larry DiVito showing Sarah Schultz pitcher's mound clay.

Larry DiVito shows Sarah Schultz the pitcher’s mound clay.

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Golden Kitty 2014: Cast Your Vote for the #catvidfest People’s Choice Award

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It’s time to cast your vote in the most important People’s Choice competition of the entire year. The coveted Golden Kitty Award for the internet’s best cat video is now on the line. You may know its short but storied history: During the first Internet Cat Video Festival, Will Braden’s Henri 2: Paw de Deux took home the Golden Kitty statuette. Last year, Grumpy Cat was awarded the top prize for her work in The Original Grumpy Cat. (FYI: We talked to Braden about winning the award and the process of choosing the nominees in this recent interview.)

Who will it be this year? After a year of watching hundreds of cat videos, reviewing your nominations, and considering the invaluable feedback of our panel of jurors, we present the five nominees for the 2014 Internet Cat Video Festival People’s Choice Award (in alphabetical order):

8 Signs of Addiction by Sho Ko

An Engineer’s Guide to Cats 2.0 – The Sequel by klusmanp

Gotcha! (Попался!) by ignoramusky

Jedi Kittens Strike Back by FinalCutKing

Milo Wanted Attention by jahzyoga

How to vote: There are two ways to vote for your choice for the Golden Kitty. You can either vote in the poll below OR you can vote on Twitter!

Follow @CatVidFest and use hashtag #goldenkittyaward, plus the name of the video to cast your vote! Try it!

Example: I vote for Henri 2: Paw de Deux #goldenkittyaward #catvidfest
(Obviously, Henri is not up for the award again this year.)

Voting closes on July 18 at midnight. The winners will be revealed at the 2014 Internet Cat Video Festival on Thursday, August 14.  And remember, just because you may not see your favorite video on this list, doesn’t mean that it’s not in the reel or we don’t have something special planned for it.

Until then, watch, deliberate, and vote!

Winter, we bid you farewell with a song

Track 1: Cabin Fever Winter is lingering on like a bad cold. While this will definitely go down as one of the worst subzero spells in recent history, there were some really fun moments in January and February that made the season more bearable. I’m referring to our series of Thursday night programs called Cabin […]

Lexa Walsh

Lexa Walsh and Jerry Brownrigg

Track 1: Cabin Fever

Winter is lingering on like a bad cold. While this will definitely go down as one of the worst subzero spells in recent history, there were some really fun moments in January and February that made the season more bearable. I’m referring to our series of Thursday night programs called Cabin Fever that invited artists to design and host events that were social, participatory, and slightly idiosyncratic—including a poetry and printmaking party, butter-making aerobics, B-movie bingo, and a collaborative song-writing session about the long northern winters called Fever Songs.

Oakland-based artist Lexa Walsh and local music hero John Munson (Trip Shakespeare, Semisonic, The New Standards) hosted Fever Songs, with support from artist Chris Larson who supplied the rustic cabin, musician Jerry Brownrigg, and sound recording engineer Richard Medek. It took a talented team to pull off a one-night-only recording studio and an engaged audience willing to put some time into composing a song. The lyrics people contributed were fantastic and covered a range of  emotion, from hostility to humor. Lexa, John, and Jerry were masterful composers as they instantaneously interpreted the texts into sound, choosing a punk flavor for one or a folky melody for another.  Enjoy the resulting tracks—proof that our creativity cannot be suppressed by a long Minnesota winter.

(Note: all songs were sung and performed by Lexa, John, and Jerry with help from some of the songwriters. Track 14, “Ukulele” was sung and strummed entirely by the songwriters, Anna Marie Vu and Dave Kaminski.)

Jerry on drums John Munson on vocals and guitar

Jerry Brownrigg on drums, John Munson on vocals and guitar

Track 2: Cold Outside

Baby it's Cold Outside

A group of students from Duluth surrounding Chris Larson's cabin

A group of students from Duluth surrounding Chris Larson’s cabin

Track 3: Days Are Getting Longer

Nights are Longer

Track 4: Dead Frog

Dead Frog

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Track 5: Die Right Here

Frostbite on my nose

Sound engineer Richard Medek busy recording tracks

Sound engineer Richard Medek recording tracks

Track 6: Fed on Potatoes

Potatoes

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Track 7: Frankie Boy

Frankie Boy

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Track 8: Hate Mix

HATE

Track 9: Minnesnowta Territory

The Cold Weather

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Track 10: Polar Vortex Polka

God Damn Polar Vortex

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Track 11: Sexy Long Underwear

Sexy Long Underwear

Track 12: South Pitch

South Pitch

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Track 13: Stinging Piggies

My Toe is Frozen

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Track 14: Ukulele

Tonight

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Track 15: Winter is My Favorite Season

I'm a Rebel

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Track 16: 24-Hour Nurse

Nurse

 

Cat Call: Nominate Your Favorite Videos for #catvidfest 2014

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It’s St. Patrick’s Day and we have an exciting announcement (in limerick form, obviously):

Since last year you’ve watched so many cats
We know, we’ve seen the YouTube stats
And now it’s your turn
To share faves or to spurn,
And we’ll post photos of kitties in green hats

Have a favorite cat video? Have a lot of favorite cat videos? Nominations are now open for the 2014 Internet Cat Video Festival, which takes place August 14 as a free community event at its original site, Open Field. Take some time to reflect on all the cat videos you’ve watched this year and select your favorites by May 1 to be considered for inclusion in this year’s event. Voting for the Golden Kitty (People’s Choice) Award begins on June 1, so we’ll be looking for your votes then as well!

You can find the nomination form right here.

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Photos found searching for “cat shamrock” and “cat leprechaun” on Google

#catvidfest

Feel the Churn in Style

Photo: Gene Pittman

Winter is in full swing, we ache for sun and dream of warmth while bundling in layers of clothing in an attempt to build a private sauna to protect against the cold. It’s the season of cabin fever, seasonal depression, and a time when whatever tans gained over summer are shamelessly gone, seemingly forever.

But at least this year we have the Olympics. Winter exercise might actually make this season manageable.  Except that generally when the Games are playing we don’t have to be outside, or exercising at all for that matter. Just a couch and a hot drink, perhaps, to stave away the weary cold days. It’s time we joined the Olympians with a little winter activity of our own, enjoying some aerobic exercise to ward off the winter blues. Thanks to Jimmy Fusil and Mike Wait of the art duo PopSoda, exercise isn’t just about burning fat, but also about making fat.  Enjoy those treats you guzzle down whilst gasping to the figure skaters who actually land a triple axle.  You churned it yourself!

2014 Olympian Opening Ceremony Outfits. photo credit: Ralph Lauren

Photo: Ralph Lauren

In preparation for this Thursday’s butter-making aerobics workshops led by PopSoda and amusingly titled Feel the Churn, I have decided to examine some fitness fashion because it turns out that workout gear has changed dramatically and it seems that exercise (and life for that matter) is a little bit more fun with some flair. With Olympics on the mind let’s start by being grateful for the fact that our athletic costumes have developed radically from the Ancient Greeks. Instead of competing in the nude, the U.S. Olympians have a magnificent cardigan designed by Ralph Lauren to parade in the opening ceremony.

Ancient Olympic Racing

Photo: http://schoolworkhelper.net

Thanks to some athletic clothing research, it turns out that we owe the 1950s thanks for synthetic fabrics like elastane, spandex and lycra. These fabrics began to alter clothing dramatically. No more itchy wool and cotton! Hello to breathable, stretchy fabrics. Yet, despite these new fabrics exercise wasn’t even that popular, especially when fat-jiggling belts were believed to inspire weight loss. Why sweat?

fat jiggling machine. photo credit: http://www.mariadicroce.com

Photo: http://www.mariadicroce.com

In response to the poor fitness of many army recruits, Dr. Kennith Cooper M.D. released his book Aerobics in 1968 which outlined the many ways to help increase fitness through aerobic exercise. Yet it wasn’t until the 1980s, with inspiration such as Olivia Newton-John’s music video for Let’s Get Physical that many Americans decided to take exercise more seriously, start sweating and don their finest leotards for some calf-burning action.

Dance Aerobics. Photo Credit: Oaks at Ojai

Photo: Oaks at Ojai

From step aerobics to dance aerobics, exercise became a fashion in and of itself. With Jane Fonda and Richard Simmons leading the nation, aerobic exercise took over. The leg warmers, the glitter, the skin tight leggings and leotards… it was all there. The images are classic, the looks undeniable.

Jane Fonda aerobics. Photo Credit: sportsphoto ltd./allstar

Photo: sportsphoto ltd./allstar

Richard Simmons Aerobics. photo credit:  Air New Zealand

Photo: Air New Zealand

Now it’s the 21st century. How does aerobics fit into today’s fashion trends? How do people decorate themselves for physical activity? It turns out the look is eclectic, with bright colors from the 80s to newfab running shorts and advanced micro-fiber technology to undeniably hipster throwbacks and more. Athletic outfits are as diverse as ever. Just check out what various individuals from the Walker chose to wear for their first attempt at churning butter.

photo credit: Gene Pittman

Photo: Gene Pittman

Aerobics with a contemporary twist. Get creative and come to Feel the Churn with some of your most ridiculous gear while sweating away the winter blues and making your very own sweet butter and find inspiration by watching Pop Soda’s butter aerobics somewhere much warmer. We’re excited, are you?

Written by Sheila Novak, artist and aerobic adventurist

 

Listening, Online and Off, with Sound Designer Mike Hallenbeck

The sonic power of phone books. The realm of the acousmatic. Binaural bicycle rides. These are a few of the concepts that came up in my correspondence with sound designer Mike Hallenbeck. With the Walker’s public observance of World Listening Day about 1 week away, my investigation into aural attention continues. As I gather insights […]

World Listening Day 2013 at the Walker Art Center

World Listening Day 2013 at the Walker Art Center

The sonic power of phone books. The realm of the acousmatic. Binaural bicycle rides. These are a few of the concepts that came up in my correspondence with sound designer Mike Hallenbeck. With the Walker’s public observance of World Listening Day about 1 week away, my investigation into aural attention continues. As I gather insights on listening from professional listeners in our community, I appreciated the opportunity to bend Hallenbeck’s ears for a few questions.

Mike, your writings and audiocraft emphasize sound’s profound variety, its function as a wordless language, and its influence on the imagination. Reflecting on your experiences, what listening prompts would you propose for World Listening Day to facilitate discovery through listening?

I suppose the thing is simply to ask oneself: “What do I hear?” Learn to break down what you’re hearing. What’s happening in high frequencies, mid-range, and lower frequencies? What’s tonal, what’s rhythmic, what’s harmonic? (Any soundscape, from a symphony to a forest to a racetrack, will usually include these elements.) How dense is it? How sparse? Where are things located in the stereo or surround field? What’s happening that you like, and what do you wish was different? This sort of question—”What does it sound like?”—might sound overly simple, but I find it to be central in sound practice. It helps determine how to appreciate and improve sound/music that you’re creating or evaluating, and helps one to respond to the world at large.

But the obvious rejoinder—and one I agree with—is that this isn’t an approach exclusive to sound, or indeed to any sense. Lately I’m asking myself more about the conversation between sound and vision, and to tell you the truth that’s something I’m still exploring in a very elemental sense. I work more and more with sound that responds to and collaborates with visual and/or narrative elements, so these days I’m far more concerned with the interaction of the senses than with sound on its own. To me the important thing is to cultivate a sense of awareness that involves all the senses, incorporating listening into one’s overall practice of mindfulness.

That makes sense—the integration of sound and sight are key to your work as a Foley artist. Like trompe-l’œil for the ear, Foley artists add sounds to recorded media that seem naturalistic but are in fact an artifice. Can you describe a surprising method or material you’ve encountered in Foley art?

Lately I’ve been pondering the unexpected sonic power of the phone book. When I did one of my first Foley assignments for film, I looked up some how-to videos online to figure out how to fake the sound of a punch. I found a video made by an eleven-year-old where he demonstrated how to replicate a punch sound by closing a phone book really hard. It didn’t work for the entire sound—I wound up mixing in a vocalization to add a little sharpness—but it got me pretty far along.

Recently I attended a panel discussion by some Foley artists where two of them shared techniques on how to simulate bodily impacts on a floor surface (other than throwing yourself on the floor, which I can confirm gets old real quick). Both suggested an article of clothing (one a leather jacket, the other some coveralls), but both recommended filling said clothing with—that’s right—phone books. So the idea’s got legs.

I’m looking forward to furthering my phone book savvy soon. I just hope they don’t stop making them, or else I’ll have to start using Henry James novels.

Speaking of books, your “Audiobook” posts on your Synching Ship blog resonate with me. Would you be able to suggest a reading along those aurally attuned lines for World Listening Day?

Sound is really hard to describe using language, but it can be done. Usually I’ll come across a deft description of sound only here and there in books, and the “audiobook” feature is a way to share it with others and (just as importantly) to remember it myself.

Something that comes to mind is “Cold Mountain” by Charles Frazier. The descriptions of music performance (the stuff performed by Jack White and company in the movie) are some of the most eloquent I’ve ever encountered. I recall “Company” by Samuel Beckett having some nice descriptions of quiet, subtle sounds, but that’s kind of a vague memory.

In your day-to-day appreciation of all things aural, especially environmental sounds, have you been earwitness to sounds that might be disappearing from our soundscape?

My own day-to-day is fairly banal, so I wouldn’t say there’s much change there. But the demands of consumer society appear to be destroying habitats of many species at a pretty rapid clip, which will silence a lot of creatures’ calls as they go extinct. Bioacousticians like Bernie Krause have demonstrated how nature’s sonic identity has been altered as human-made sounds intrude on the frequency spectrum.

I’m doing what I can to address the problem by typing a bunch of words on a computer screen.

The impact of human noise on the wild soundscape is a fascinating topic. In the Sculpture Garden, for example, birds might be developing an urban dialect and the chattering red squirrels are absent since their extirpation in 1909. Take a sonic snapshot of your environment right now. What sounds are you perceiving and are there any special meanings you make of them?

Unfortunately right now I’m listening to Pandora; I’ve created a station that will generate music choices extrapolated from the music of The Shadows. So far I’ve gotten The Esquires, Junior Brown, Link Wray, The Blue Stingrays, and Santo & Johnny (it turns out their track “Sleep Walk” is something I’ve wanted to know the name of for years). I imagine that’s not the kind of answer you were looking for though…

You’re right that I was “looking for” environmental sounds, but your answer aptly demonstrates the contemporary listener’s condition. We are constantly toggling back and forth between mediated and unmediated sound worlds, awash in a mix of “original” and “reproduced” sounds. For me, this calls to mind the work of R. Murray Schafer, the sound researcher whose birthday is honored by World Listening Day. Schafer examined how the Industrial and Electric Ages revolutionized our relationship to listening. He coined the term “schizophonia” to describe the split between original sounds and their copies. From your perspective, what is the delineation between original sounds and electroacoustic reproductions? Could there even be sounds that don’t easily fall into one category or the other?

The light rail train offers a nice example of schizophonia—the train emits electronically sampled sounds of the warning bells at a railroad stop, and—if memory serves—the whistle of a steam locomotive. It’s easy to assume these sounds are produced by actual physical processes, but in fact they’re “fake”. All that matters is that we get the message to be careful in the train’s vicinity.

Yes, a sort of sonic pastiche. The signals’ function is to be interpreted without hesitation, but when we pause to listen, there’s a more complex story behind them.

I guess what we’re talking about here is the realm of the “acousmatic”—an experience of sound merely as a reproduction through speakers, especially when it’s something created electronically in the first place (as with synthesizers, sampled drum loops and the like). The auto-tuned voice comes to mind—it’s gotten to the point where it’s not just an effect in pop and R&B anymore, but just, you know, kind of how voices are expected to sound, like it’s something singers learn as part of their vocal training. It makes me wonder how many people have portrayed Alvin and the Chipmunks over the years—since all you have to do is speed up somebody’s voice, it could be anybody.

It’s odd how technologies like that lose their novelty as we assimilate them into our sonic vocabulary. I’m curious if you can you offer some ways that the Internet has changed our relationship to listening? (For one thing, without the Internet, we’d never have your riotously funny (and schizophonic?) Rickroll chronicle.)

The Internet is a huge topic, since it manifests itself in so many ways. The first thing that comes to mind for me is that it’s ratcheted down appreciation of sound quality. Lo-fi is a new standard in video, and there have been studies that show younger people often prefer mp3s encoded at degraded bit rates to high-resolution audio. Ick.

However, the Internet has been huge in terms of transforming sound practice for the better. I’ll focus on the community-building aspect, which is pretty much universal for any group but has dovetailed especially nicely with sound art. Back before I did anything “practical” with sound, I had no idea just how many people out there were also interested in capturing audio signals “in the field” and curating concrete sounds as art. When I became aware of resources like the phonography listserv I discovered all these other folks out there who were into the same kind of stuff, all over the world—a small community, but a vibrant one. This led to the discovery of all this history, methodology, theory, technical advice, opportunity to share work… you name it. The floodgates opened. It was really transformative.

Your blog curates and draws attention to the language of sounds, sometimes foregrounding sounds produced for effect such as the blat, the beep, the artificial water tank, or Google-translated beatboxing. But you also unplug from time to time and listen to the world of “unmediated sounds.” Along those lines, how would you explore the Twin Cities to get a sense of its sonic texture?

I’d recommend a bike ride around Minneapolis in the summer. One of the things I like about biking is that while you’re traveling relatively quickly, which can be exhilarating, you’re not encased in anything and you’re traveling slowly enough to experience sensory intimacy with your surroundings. I like the crunches and crashes of the recycling stations I pass on North Second Street. When I pass the Metrodome there are sometimes kids skateboarding, and I love all the pock-crack impacts skateboards make. And generally speaking, the tactile crunch and grind of the bike tire against the street is pleasing to my ear as well.

Sure—like a soundwalk but on wheels rather than foot! One of my favorite Synching Ship posts was your binaural bike ride from Easter 2011. It’s delightful and demonstrative of how sounds ground our awareness in time and in space.

Mike Hallenbeck Photo: Amy Myrbo

Mike Hallenbeck is a composer and sound designer active in a variety of media. He adopts sounds both hither and yon, brings them home and helps them decide what to be when they grow up. He blogs at synchingship.blogspot.com and maintains a home page at juniorbirdman.com.

Scores for Art by Lightsey Darst

A dance critic, poet, and author of Find the Girl (Coffee House Press, 2010) and the forthcoming Dance (September 2013), Lightsey Darst was the first writer selected to participate in The Writers and Readers Library Residency Program, an initiative presented by Coffee House Press through a grant from the McKnight Foundation. Darst spent her residency in the Walker’s library for […]

A dance critic, poet, and author of Find the Girl (Coffee House Press, 2010) and the forthcoming Dance (September 2013), Lightsey Darst was the first writer selected to participate in The Writers and Readers Library Residency Program, an initiative presented by Coffee House Press through a grant from the McKnight Foundation. Darst spent her residency in the Walker’s library for several weeks in June and on one Target Free Thursday Night initiated an in-gallery writing experiment for visitors.

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We had a simple idea: let’s let viewers come up with new captions for the art. The idea morphed a bit, we added typewriters, and Scores for Art was born—an experiment in creative art captioning. Below, some of my favorites. Here are the instructions everyone saw. The reverse of the card gives a prompt; you’ll see there were a variety of these.

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I have no idea what work of art inspired this, but I want to wander around the whole Walker now with this phrase in mind.

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When’s the last time you played with a typewriter? Love the improvised punctuation here.

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I can’t read this at all, but isn’t it beautiful? Also, I love the idea that this is what the art does. Pure typewriter art.

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Some people took this prompt as an opportunity for critique. But I like thinking about what absences a work of art brings to mind. What artwork do you think prompted this?

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I almost suspect this person of playing to the house. But it’s the restart in the last few lines that gets me.

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This was me, I have to admit, testing one of the typewriters. I couldn’t figure out how to get the typewriter to go farther across the page. I was looking at Gary Simmons’ Us & Them.

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Doesn’t make sense, but we get it all the same, right? I love how art leaps these gaps.

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Slant rhyme on history/tenacity. Also, that last line.

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Wouldn’t this make a great caption? Also, I enjoy how the typewriter’s irregular strike made at least one of us briefly think this said “us” instead of “u”.

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e. e. cummings would be proud.

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Let’s!

 

 

 

Radio Producer as Earwitness: MPR’s Marc Sanchez on World Listening Day

Hearing is a sense. Listening is a skill. Attention is the catalyst that transforms hearing into listening. Just like any skill, our listening skills can be cultivated to approach excellence, and doing so requires a great deal of attention. In planning the Walker’s observance of World Listening Day on July 18, I turned to esteemed […]

World Listening Day 2013 at the Walker Art Center

World Listening Day 2013 at the Walker Art Center

Hearing is a sense. Listening is a skill. Attention is the catalyst that transforms hearing into listening. Just like any skill, our listening skills can be cultivated to approach excellence, and doing so requires a great deal of attention. In planning the Walker’s observance of World Listening Day on July 18, I turned to esteemed listeners in our community to get their take on aural attention. I corresponded with Marc Sanchez, a radio producer from Minnesota Public Radio, who shares his insights into listening for meaning, listening for a living, and listening for listening’s sake.

Marc, you started Minnesota Sounds, a project on Minnesota Public Radio that captures our state from an audio perspective. What was the most surprising Minnesota sound you’ve experienced?

Probably the most surprising sound came from the Stillwater lift bridge. There’s lots of traffic noise zooming back and forth, and the sound of warning bells clanging is constant as the bridge gets ready to be raised. That’s kind of what I expected to hear. What caught me off guard were the creaking, sticky sounds of the bridge itself. Grease is piled on to the thick girders that act as guides for the bridge to slide up and down. You can hear it at around 1:30 into this recording.

How about the most moving or evocative sound?

I don’t remember how I first heard about the chimes at St. Olaf College in Northfield, but their story is pretty powerful. Suspended in a timber-framed tower built by faculty members, the chimes are prominently featured in the main walkway through campus. The project began after the 2003 school year, when five students in that graduating class died before completing their studies. Each chime represents a student’s life that was lost since that time.

World Listening Day takes place on the birthday of R. Murray Schafer, a composer and sound researcher who coined the term “soundmark.” Derived from the word landmark, “soundmark” refers to a community sound which is unique and held in special regard by the people in that community. If you were to design an aural tour of Minnesota, what soundmarks would you include?

1. For some historical perspective, following the Dakota 38 + 2 memorial ride each December from Lower Brule, South Dakota, to Mankato, Minnesota.

2. Cracking ice is quintessential Minnesota. You can hear it everywhere, and it’s the kind of sound that becomes more distinct as you become more still.

3. Ships in Duluth. I moved here from California, where the ocean was a fixture I took for granted. Listening to the waves of Lake Superior lap against the shore brings that back for me.

4. The Sky Pesher. Walk across the grass from the World Listening Day event in the Sculpture Garden and immerse yourself in this installation. My colleague Rob Byers did a fantastic job of capturing Cantus performing here.

5. The State Fair is an explosion of sounds. My tip: get there as early as possible. That way your ears don’t have too many competing sounds to deal with.

Have you been earwitness to sounds that might be disappearing from our soundscape?

In a way, I suppose. Frogs at Carlos Avery [Wildlife Management Area] haven’t exactly disappeared, but their counts are being closely monitored by the DNR. The steam engines in Rollag will probably always provide a way for people to connect with the past, even if the present and future wants to run on clean energy. The fog horn that you can still hear at the Split Rock Lighthouse is only a pre-recorded replica of the original, which was taken out of commission in the 1960’s.

What about exciting new sonic phenomena on our horizon?

To my ears, there are always new sounds to hear or old sounds to hear in a new way — you just have to stop and listen.

Yes, speaking of stopping and listening, Schafer also talks about exercises to achieve “clear hearing,” or “clairaudience.” Are there acoustic phenomena that for you serve as a kind of “tuning fork” or baseline to hone your sense of hearing?

I have more of a relaxation technique than a tuning fork. It’s OK to close your eyes, take some deep breaths, and try to empty your mind of distractions. You’ll be surprised at how differently you start hearing the world after a minute or two.

Marc Sanchez making a field recording of a tiger

Marc Sanchez making a field recording of a tiger. Photo: Tom Weber

Take a sonic snapshot of your environment right now. What sounds are you perceiving, and are there any special meanings you make of them?

Newsroom chatter of editors and reporters talking through a story… Keyboards clicking… The hum of my hard drives… A squeaky door. For me, these sounds get interesting when I look out the window at the bright sunshine and a summer shower. I’d really rather be listening to the rain splat on the sidewalk.

What sound gave you the most challenging pursuit to record?

Probably the biggest challenge was overcoming my nerves and climbing into a pen that housed a pack of wolves. I’d been hearing their howls and observing them all morning, when Peggy Callahan from the Wildlife Science Center in Columbus, Minnesota, invited me to get up close and personal. There’s nothing like standing in the middle of a wolf pack as they run around, growling at their meal. Luckily, that meal consisted of rabbits being tossed into their pen and not me.

Do you have a listening regimen either in the field or when you edit a radio piece that lets you hear with fresh ears?

I like to hear pieces that I mix in multiple environments whenever possible. So, I might mix something by watching my level meters and listening on headphones, then move to a studio where I can listen through speakers. I also mix a lot of dialogue, so natural rhythms and breathing patterns in speech become important. I like to think of myself as a conductor when I’m mixing a story. My goal is to have everything sound so natural that you forget I was ever involved.

In Minnesota Sounds, you’ve encouraged listeners to submit environmental recordings with stories. What advice would you have for an eager and curious pair of ears, someone new to the all-encompassing aspects of listening?

These days there are so many devices for us to record with, so I would really encourage people to not feel like they have to wait for top notch recording gear. That said, if you’re going to use your smartphone, for example, try and monitor what you’re recording with headphones. And even better, use a pair of headphones that are closed-backed — in other words, not ear buds. Headphones will really allow you to hear what’s going to be on the final product. They’ll also let you hear when there’s a lot of unwanted wind noise, volume clipping (distortion), or handling noise (when your mic picks up unwanted sounds like your hands knocking into it or a table being bumped).

Being part of a community like the folks at World Listening Day or Transom, if you’re into radio, is a great motivator too. However fun your experience might be, going out to a remote area with a pair of headphones and a mic can be an isolating experience. Listening to other people’s sounds and stories helps to remind me I’m not alone out there.

Marc Sanchez is the producer and director for MPR News’ weekday program, The Daily Circuit. He has worked on a number of different American Public Media-distributed programs, like Marketplace Tech Report, Weekend America, American RadioWorks, and On Being with Krista Tippett. His radio career began working for Joe Frank and on KCRW’s Morning Becomes Eclectic. He has helped produce and report stories for This American Life, Freakonomics, and Soundprint, among others. In 2010, Sanchez started a project called Minnesota Sounds (now Minnesota Sounds and Voices), which captures Minnesota, from an audio perspective. You can also hear him as a monthly DJ on MPR News’ sister station, The Current, where he helps showcase homegrown talent on the Local Current stream.

A Listening Experiment

What would a scientist who studies hearing have to say on the subject of listening? I took the opportunity to find out as part of my planning for World Listening Day, a public program happening in the Minneapolis Sculpture Garden this July. On World Listening Day (WLD), listening for listening’s sake is celebrated across the […]

What would a scientist who studies hearing have to say on the subject of listening? I took the opportunity to find out as part of my planning for World Listening Day, a public program happening in the Minneapolis Sculpture Garden this July.

On World Listening Day (WLD), listening for listening’s sake is celebrated across the globe. Here at the Walker, a public observance of WLD will explore the soundscape of the Sculpture Garden. Typically, the Garden’s horticulture, sculptures, wildlife, and of course people-watching are perceived visually. WLD is a chance to attend to a different sensory modality and become immersed in the wonders of aural experience. In planning the Walker’s WLD, I’ve probed listening from a variety of angles—music, science, history, memory, and mindfulness to name just a few. Given WLD’s emphasis on environmental sounds and soundscape ecology, I set out to connect with people who not only thought about sound in a human context, but also considered the sonic lives of other animals. Enter Dr. Mark Bee.

Or rather, I entered his office. My hope: to borrow some ideas from his Animal Communications Lab and apply them in the Garden. But how? Over the course of our conversation, it became clear that Dr. Bee and his colleague Dr. Norman Lee would approach this question with playful creativity, a willingness to experiment, and a sense of humor. I hope you’ll join us on Thursday, July 18 to hear the entire story. Dr. Bee and Dr. Lee will be in the Foraging Circle  with a playlist of listening experiments that get us thinking about the ear of the beholder. For a sound clip, click this image to view a short video:salmon listen to Beyonce

World Listening Day features a variety of activities, all designed to motivate discovery through listening. Be an earwitness to music as it’s coaxed from the invisible by musician and composer Philip Blackburn. Contemplate the connections between listening and mindfulness on a Garden soundwalk led by Mark Nunberg, guiding teacher at Common Ground Meditation Center. Or pick up The Soniferous Garden, a pamphlet offering a number of self-paced aural experiences written by artist Viv Corringham.

Meet the Fritz Haeg Residency Interns

It takes a village or, in this case, a team of five talented and enthusiastic interns to help make a large-scale residency project like Fritz Haeg: At Home in the City work. Over the next few months Bridget Mendel, Will Gobeli, Katherine Lee, Brett Baldauf, and Björn Sparrman will bring their passions and knowledge for activities […]

It takes a village or, in this case, a team of five talented and enthusiastic interns to help make a large-scale residency project like Fritz Haeg: At Home in the City work. Over the next few months Bridget Mendel, Will Gobeli, Katherine Lee, Brett Baldauf, and Björn Sparrman will bring their passions and knowledge for activities like bee-keeping, bread-making, composting, textile design, and gardening into the mix of programs they’re helping to shape. They’ll also be posting updates to the Walker blog throughout the summer. Stop by the Foraging Circle in the Minneapolis Sculpture Garden during a Target Free Thursday Night to meet the team and talk about the art that abounds in the garden, in the wild, and in the home.

 

Bridget Mendel

Bridget Mendel

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Will Gobeli

Will Gobeli

My name is Will Gobeli and I am an Artist-in-Residence intern with Fritz Haeg’s projects. I will be working mostly with Domestic Integrities, but I will be hanging around the Foraging Circle and helped plant the Edible Estate. I am a recent graduate of the University of Minnesota’s Bachelor of Fine Art program in studio arts, focusing on ceramics and sculpture. My current interests lie in where art resides, and working on this project is an exciting investigation into the art of everyday life and the value of domestic literacy.

Klode Beach, Milwaukee

Klode Beach, Milwaukee

I am originally from Milwaukee, Wis. I grew up in the city in a neighborhood full of tall trees, not far from the beaches, rock piles, and endless horizons of Lake Michigan. Crafts have always been a big part of my life; both my mother and father were very DIY. I remember watching my dad make a tree swing out of rope and a 2×6 by throwing a rock tied to a piece of twine over a branch twenty feet in the air. My family also rented a small garden plot when I was very young. I remember weeding and watering and sitting in the shade of the conical trellis that we used to grow bird’s nest gourds.

These early experiences provoked me to explore other domestic skills later in life. When I was about 16, my family and I went to dinner at my mother’s friend’s house. They served rolls with dinner that were so delicious they changed my perspective on life. At the time they were, without a doubt, the best things I had ever tasted. They were simple and warm, with a delicate crust and wonderful texture. The moment I tasted those rolls, I knew I wanted to make bread.

My first try was disastrous. I scalded the yeast, killing it and crushing any hope of making fluffy rolls. The product of this attempt was something like a bland, half-baked scone with a chewy center.

I got better. I learned from cookbooks, friends, and family. By the time I was twenty, I was making beautiful loaves whose crispy crusts sang as they came out of the oven. My love of bread created a desire to know more about making it. I experimented, making a sourdough starter that was strong enough to make beautiful, airy sourdough loaves without any additional yeast.

Bread is fascinating to me. It is, in various forms, part of every culture on earth. As nomadic peoples settled down they began to use cultured grains as forms of sustenance, resulting in everything from dense, flavorful fasting breads to flaky phyllo dough. I’ve always been interested in what a bread says about a culture; do cultures that value bread differ from those that mass-produce it?

All of these questions and experiences provoked my interest in Fritz’s projects. My old interests of baking and gardening complemented and newer interests of art theory fell in line with the aims of Fritz Haeg: At Home in the City. I am looking forward to learning, foraging, crocheting, and getting to know the communities that this project brings together. Keep an eye out for what’s going on with the projects! There are many ways to interact with the project.

Hope to see you around the gardens!

- Will

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Katherine Lee

Katherine Lee

Katherine Lee is a fiction writer and textile artist from Chicago. Edible Estates and Domestic Integrities combine her enduring passions: creating and inhabiting the home space both indoors and out. In 2010, she started a handmade home textiles company, featuring designs including pigs,  pennants, and shouting hippos. Her work has been sold across the US and in Korea. She is also an avid gardener, and is especially interested in sustainable urban farming. She moved to Minneapolis in 2012 and is an MFA candidate at the University of Minnesota.

pillow pennant hippos

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In deed and word

we make ourselves,

and by choice deeds

and by choice words

we are as we are wont to be.

 

From minute to minute

and day to day

we choose to be;

and, thus, by being

are we thus perceived.

 

We choose as we believe

‘cause we believe ‘tis our beliefs

that choose our choice;

and thus it is that

we choose not, but just believe.

 

So it comes that I believe

the earth is ever holding me

and so I, as I am wont to do,

do choose to hold it too.

 

Plants in hand, and trowel too,

I thank the earth that gives all

and calling out I hear the call

that calls to give my all to you.

 

Brett Baldauf

Brett Baldauf

 

Coffee with the sunrise, eyes to new skies,

‘tis there we see what sight would hide:

belief becoming, all that we could make,

a community on earth that cannot break.

 

–Brett Baldauf

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bjorns-introduction

Björn Sparrman

Björn Sparrman

 

 

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