Dates : 22.02 to 27.03.2021 (3h x week)

From intimate kitchen sounds to public transports, from ambiant field recordings to readings, from live music improvisation to electromagnetic waves and balloon explosion loops, we tried to explore the slow field of the in-between, where two soundscapes in two different time slots, are meeting. In this hybrid form, you were be able to listen to a unique live mix of both locations and listen to the sonic similarities or differences. The online event was streamed on the 27th of March 2021, from 10:30am to 12:30am (CET).

In order to collaborate with each other, we have set up a soundmap from both cities, where you can also listen to some recordings made by the participants. This first asynchronic exchange was allowing us to discover the sonic identity of the cities and explore the sounds we want to stream or not.

You can explore the soundmap here :

Participants (ZH)
Fionna Brunner
Njomza Dragusha
Koko Michael Eberli
Tim Wettstein
Dino Radoncic
Alissa Estivariz
Chih Ying Lin
Marie Nest
Bettina Weder Schneide
Valerie Xianqi Dai
Anat Nazarathy (Flute)
Noa Mick (Saxophones)

Participants (HK)
Xiao JiaHui, Nancy
Ho Wing Ka, Katy
Cho Sum Yuet Shera
Chiu Pit Ho, Patrick
Liang Dengyun, Max
Lam Shan, Lynna
Wang Jie Elaine
Edward Sanderson

Team (ZH/HK)
Patrick Müller
Mélia Roger
Cedric Maridet

Listen to an extract of our mix soon here.
All our streams were hosted on the Locus Sonus platform.
We thank Peter Sinclair for his precious help on the mixing patch, and the World Wide Wind radio for hosting our live mix!

Field recording as an intention

Dates : 2-5 September 2020
Mélia Roger & Antoine Chessex – ZHdK – Master Transdisciplinary Studies

The course focused a practical approach to field recording articulated with a discursive practice to address sound and listening. The participants were from heterogeneous backgrounds including experienced musicians, or sound artists, but also people having very few, or no experience with sound at all.

From basic recording technics and mic comparaisons to soundwalks and listening critics, the participants were asked to develop their own discourse about the recordings they had to do within specific themes.