Sound Gallery
Ricardo Mestre
Created on June 5, 2023
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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
- what did you like the most?
- how do you evaluate your participation?*
- what dificulties did you felt?
- would you change anything?
- 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
- record the sounds
- the majority (78,8%) said I participated*
- finding and thinking about the sounds
- nothing
- 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
- working with photofilters
- the majority (61,9%) said I participated*
- no dificulties
- nothing
- 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