Full screen

Share

Show pages

Ricardo Mestre, NOVA University / CESEM
CREATING A SOUNDSCAPE DIGITAL EXHIBITION WITH MIDDLE SCHOOL STUDENTS TO PROMOTE MODERN SOUNDWALKS
SOUND GALLERY
Want to make interactive content? It’s easy in Genially!

Over 30 million people build interactive content in Genially.

Check out what others have designed:

Transcript

SOUND GALLERY

CREATING A SOUNDSCAPE DIGITAL EXHIBITION WITH MIDDLE SCHOOL STUDENTS TO PROMOTE MODERN SOUNDWALKS

Ricardo Mestre, NOVA University / CESEM

SOUNDSCAPE

  • All sounds available in the world that are related to different contexts and origins.
  • serve as a means of communication, sharing information, and contributing to the well-being of society and other ecosystems.

murray schafer (1977/1994)

SOUND GALLERY

project - master's in musical educationschool internship 20 middle school studentsage between 11 and 13 portugal

Ricardo Mestre, NOVA University / CESEM

SOUNDwalk

  • Empirical method of auditory exploration of the sonic environment, in varied locations, used also for the understanding and perception of human daily practices

Hildegard Westerkamp (2001)

EXHIBITION

VISUALAUDIODIGITAL

EXHIBITION

AUDIO visual DIGITAL

EXHIBITION

turning sound visible

praatPaul Boersma and David Weenink (1992)spectrum - tempofrequency - intensity

sound of student's name

EXHIBITION

turning sound visible

photofiltersEFFECTSDISTORTIONSFILTERS

EXHIBITION

turning sound visible

tecnical art

EXHIBITION

sound gallery

audiovisualdigital

EXHIBITION

sound gallery

audio

self sound portraitssound instance (mestre, 2023)

EXHIBITION

sound gallery

audio

self sound portraitssound instance (mestre, 2023)

EXHIBITION

sound gallery

audio

sound instance = daily life soundscape

EXHIBITION

sound gallery

audiovisualdigital

EXHIBITION

sound gallery

DIGITAL exhibitionARTSTEPS APP

free download

EXHIBITION

sound gallery

EXHIBITION

sound gallery

audiovisualdigital

EXHIBITION

sound gallery

SOUND GALLERY

methodology

Ricardo Mestre, NOVA University / CESEM

etnography

SOUND GALLERY

methodology

Ricardo Mestre, NOVA University / CESEM

inquiry

  1. what did you like the most?
  2. how do you evaluate your participation?*
  3. what dificulties did you felt?
  4. would you change anything?
  5. what did you learned ?

* Options: I participated a lot / I participated / I participated little / I did not participate

SOUND GALLERY

results (audio)

Ricardo Mestre, NOVA University / CESEM

inquiry

  1. record the sounds
  2. the majority (78,8%) said I participated*
  3. finding and thinking about the sounds
  4. nothing
  5. life is made of sounds

*I participated a lot (7,1%) / I participated little (14,3%) / I did not participate (0%)

SOUND GALLERY

results (visual)

Ricardo Mestre, NOVA University / CESEM

inquiry

  1. working with photofilters
  2. the majority (61,9%) said I participated*
  3. no dificulties
  4. nothing
  5. i have to be patient

*I participated a lot (14,3%) / I participated little (19%) / I did not participate (4,8%)

SOUND GALLERY

final considerations

Ricardo Mestre, NOVA University / CESEM

new tools for sound qualities assimilationintroduction to sound artpromoting new perspetives on sound representationexpading horizons on visual artistic creationpromoting self validation and self recognition based on the work results and cooperation

REFERENCES

Ricardo Mestre, NOVA University / CESEM

Adams, M., et al. (2009). Soundscapes: An urban planning process map. In Internoise Innovations in practical noise control. University of Salford.Fernström, M., Taylor, S. (2014). The creative soundwalk. City Sonic Walk Metitation/Sounding No 1. Acoustic Communication and Soundscape Design. At: Vancouver, BC, Canada.Frehse, F. (2008). Erving Goffman, sociólogo do espaço. Revista Brasileira de Ciências Sociais, 23(68), 155–156.Goffman, E. (1959). The presentation of self in everyday life. Garden City, NY: Prentice Hall.Kato, S. (2014). Soundwalk, Digital Media, and Sound Art.Klein, J. (1988). Who am I? Dorset, Element Books. Kniveton, C. (2017). How can the art making process foster a stronger sense of self? [Master's thesis, University of Northern Colorado].Kolber, D. (2002). Hildegard Westerkamp's Kits Beach Soundwalk: Shifting perspectives in real world music. Organised Sound, 7(1), 41-43.Levack Drever, J. (2002). Soundscape composition: The convergence of ethnography and acousmatic music. Organised Sound, 7(1), 21-27.Mestre, R. (2023). 'Sound Instance: Art, Perception and Composition through Soundscapes'. World Academy of Science, Engineering and Technology, Open Science Index 193, International Journal of Cognitive and Language Sciences, 17(1), 10 - 14.Nakahodo, L., Quaranta, D. (2013). Soundwalk: Práticas artísticas de Caminhadas Auditivas e a ressignificação da Paisagem Sonora. In XXIII Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música.Oliveros, P. (2006). Deep Listening: A Composer's Sound Practice. (2nd ed.). Music Library Association, 62(3), 715-718.Rudi, J. (2011). Soundscape and listening. In Joran Rudi (Ed.), Soundscape in the Arts (pp. 185-194). NOTAM.Schafer, M. (1994). The soundscape: Our sonic environment and the tuning of the world (1st ed. published in 1977). Destiny Books. ISBN: 978-1-59477-668-7.Westerkamp, H. (2001).Westerkamp, H. (2001). Soundwalking. Sound Heritage, 3(4), 27-30.

OBRIGADO FOR YOUR ATTENTION!

Ricardo Mestre, NOVA University / CESEM

Next page

genially options