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2017

Strathroy Stories

1572953419.1564346915.09CFD8B1-281A-469F-ACE4-885E54948351
Multiple locations

Sub-collection

immersive

Sub-collection · 67 items

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Mosses and Marshes Art Trail

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Sound wandering in Granada

It is the soundscape with which Laura Apolonio and myself, Mar Garrido, participate in the Sur Aural festival in its 2020 edition. The work investigates the relationship between sound and memory, connecting experiences, voices and paths of the city of Granada.

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Sub-collection

immersive

Sub-collection · 67 items

Related

Sound walk

Treasure Hunt for the Imagination

This award-winning audio walk in Edinburgh’s Shore explores nine historical and personal secrets of Leith’s maritime area, spanning from the 1918 pandemic to the year 2120. The 1.5-mile route takes about an hour to complete and features immersive sound elements at designated stops.

Alexandra Bell
Walking piece

Lewes Castle

An immersive binaural audio guide using geo-location to guide visitors around Lewes Castle and the associated Barbican House & Museum.

Joseph Young
Sound walk

Mosses and Marshes Art Trail

The Fenn's, Whixall and Bettisfield Mosses Sound and Sculpture Art Trail, launching 3rd July 2021 through October, offers a 3-mile immersive walk combining soundscapes from UK and Australian wetlands with sculptures exploring measurement and landscape themes. The trail features headphones-triggered audio via the Echoes app, integrates wildlife recordings and poetry, and is part of the Mosses and Marshes art project led by Andrew Howe and Kim V. Goldsmith.

Andrew Howe Kim V. Goldsmith
Sound walk

Sound wandering in Granada

It is the soundscape with which Laura Apolonio and myself, Mar Garrido, participate in the Sur Aural festival in its 2020 edition. The work investigates the relationship between sound and memory, connecting experiences, voices and paths of the city of Granada.

mar garrido Laura Apolonio
Sound walk
"Strathroy Stories" is an immersive sound piece that investigates space and place through adolescent memories from Strathroy, blending real and virtual elements to create a Schizophonic listening experience. It examines memory as a dynamic intersection between archival record and living narrative.

“Growing up in Strathroy was like growing up anywhere else. Drinking beer, fishing, murder, suicide, drinking beer.”

“Strathroy Stories” is an immersive, spatialized sound piece that explores space and place through a series of adolescent and teenage memories of people, places, and events. This work explores the notion of memory as a dynamic, malleable construct that falls somewhere between archival and living narrative.

This piece is intended to enable a hybrid listening experience where the listener will be at times unable to distinguish real from virtual, thus creating a sort of Schizophonic experience.

Credits

Hosted by: radio aporee ::: miniatures for mobiles

APA style reference

Vieira, T. (2017). Strathroy Stories. walk · listen · create. https://walklistencreate.org/walkingpiece/strathroy-stories/

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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