Soundwalk 
Walking piece details
| Duration | 75 minutes |
| Cost | Free |
A binaural immersive experience with six soundscapes composed to highlight relationships between realism and perception of different sonic markers or events occurring throughout the year. It questions how we listen to what we’re seeing, and what we’re seeing is it being heard?
Join me for a binaural soundwalk exploring and listening to soundscapes inspired by the spaces surrounding the Peace Wall.
What you need: Mobile phone + headphones/earphones.
Instructions: Go to one of the 6 locations on the map (listed below), walk into the circle, and audio will play (can press pause/play also). Each recording lasts 3 mins to allow you to then listen to the space.
Locations:
1.St. Gall’s Ave (bottom)
2.St. Gall’s Ave -Bombay St (Green field)
3.Bombay St – Kashmir Rd
4.Cupar Way – Lawnbrook Ave
5.Cupar Way (middle)
6.Cupar Way – Conway St
According to CAIN: “Peacelines, or peace walls, are physical barriers between the Protestant / Loyalist community and the Catholic / Nationalist community in certain areas in Northern Ireland. The walls are usually constructed of concrete, stone, and / or steel, and can be over 6 metres tall. The ‘official’ peacelines grew out of barricades that the local communities erected themselves during periods of intense conflict in 1969 (and in later years). When the British Army was deployed in August 1969 it replaced the existing barricades with barbed-wire barriers of its own. It had been hoped that these would only be needed temporarily. However, the barbed-wire barriers were replaced with more permanent structures and over the years new peace walls have been erected and older ones extended in length and height. The peacelines represent the most visible form of the ‘sectarian interfaces’ between the two main communities in Northern Ireland.” (Ulsteracuk, 2019)
If you would like to fill out a quick survey about your experience today please click the link: https://forms.office.com/r/kTe0EMWstu
The project was first conceived in 2019, as part of my Masters in Research (MRes) final project for the Sonic Arts Research Centre (SARC) at Queen’s University Belfast.
