Sound Gallery

Ricardo Mestre, NOVA University / CESEM

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

SOUND GALLERY

murray schafer (1977/1994)

• 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.

SOUNDSCAPE

Ricardo Mestre, NOVA University / CESEM

project - master's in musical education school internship 20 middle school students age between 11 and 13 portugal

SOUND GALLERY

Hildegard Westerkamp (2001)

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

SOUNDwalk

VISUALAUDIO DIGITAL

EXHIBITION

AUDIO visual DIGITAL

EXHIBITION

sound of student's name

praat Paul Boersma and David Weenink (1992) spectrum - tempo frequency - intensity

turning sound visible

EXHIBITION

photofilters EFFECTS DISTORTIONS FILTERS

turning sound visible

EXHIBITION

tecnical art

turning sound visible

EXHIBITION

audio visual digital

sound gallery

EXHIBITION

self sound portraits sound instance (mestre, 2023)

audio

sound gallery

EXHIBITION

self sound portraits sound instance (mestre, 2023)

audio

sound gallery

EXHIBITION

sound instance = daily life soundscape

audio

sound gallery

EXHIBITION

audio visual digital

sound gallery

EXHIBITION

free download

DIGITAL exhibition ARTSTEPS APP

sound gallery

EXHIBITION

sound gallery

EXHIBITION

audio visual digital

sound gallery

EXHIBITION

sound gallery

EXHIBITION

etnography

Ricardo Mestre, NOVA University / CESEM

methodology

SOUND GALLERY

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

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 ?

inquiry

Ricardo Mestre, NOVA University / CESEM

methodology

SOUND GALLERY

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

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

inquiry

Ricardo Mestre, NOVA University / CESEM

results (audio)

SOUND GALLERY

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

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

inquiry

Ricardo Mestre, NOVA University / CESEM

results (visual)

SOUND GALLERY

new tools for sound qualities assimilation introduction to sound art promoting new perspetives on sound representation expading horizons on visual artistic creation promoting self validation and self recognition based on the work results and cooperation

Ricardo Mestre, NOVA University / CESEM

final considerations

SOUND GALLERY

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.

Ricardo Mestre, NOVA University / CESEM

REFERENCES

Ricardo Mestre, NOVA University / CESEM

OBRIGADO FOR YOUR ATTENTION!