Travel beyond our auditory field and hear how the ever evolving partnership between walking and field recording form the foundation of Cecilia Tyrrell’s practise; a place from where soundscape design, sound walking and video installation are conjured.
Have you ever stood within a landscape and wondered what unheard sounds might be present around you? Whether it be life in the undergrowth, or further afield, to experience varied frequencies echoing in the air. This is the catalyst to artist, Cecilia Tyrrell’s experience of listening, our walk listen cafe guest.
• This in-person course hosted by Open City Docs is for beginners looking to work creatively and develop their skills in field recording to produce their own soundscape composition. We will look at fundamental theoretical and conceptual debates in the area, the basics of field recording, acoustic ecology and soundwalking, how to get started with Reaper
In March 2026 (20-21), the IMS Study Group Auditory History is organising its inaugural conference. The Call for Papers is now open: auditoryhistory.musicology.org/conference We are looking forward to proposals dealing with historical sound(s) in different forms, across time and space, and especially those considering them in a multisensorial context, engaging with critical theories and reflection on
• Over eighty international presenters will contribute a diverse range of insights across peer reviewed presentations, workshops, sound and video works. Topics including acoustic witnessing, technology and ethics, critical fieldcraft, multi-sensory listening, memory, archives and more will forge unique and timely interventions into the changing methods, aesthetics and debates that infuse the field. Registration starts at 09.30 each
• the [video]flâneur
The artist walks like a „Flâneur“ through the city. He does not have a turtle with him (as the original Parisian Flâneur of the 1830‘s used to); later, he does not write stories, he does not write poems. He has only a video camera. He takes shots of the city; he takes shots of the “life” of the people of the city, sometimes he also shoots “himself” (…without camera moves, without zooming, without special lighting, with original sound, without permission); Later he chooses and combines the scenes, Installs and presents them online, offline, on site or off site, always under different contexts.
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