Every day for the next few weeks, we’ll be taking you on a tour of our Utopia project, examining in a little more detail how some of the individual artists considered their approach to the project, and what they were thinking about when designing their own little part of Utopia. We begin, sensibly, with grid reference A1, which was tackled by Tim Waterfield and Steve Burnett.
Some birds have even managed to nest in the ceilings and rafters of some parts of the palace. Towards the exit of the Alcazar, you can clearly see several families of birds nesting in the ceiling of a long colonnade, the chicks demanding food incessantly, their chirps and tweets echoing along the reverby space.
One of the most frequently-asked questions we get from musicians, artists and curious visitors approaching Cities and Memory for the first time is ‘how do I go about reimagining a sound?’ or ‘what does remixing a field recording actually mean?’. It’s a perfectly valid question, of course – one person’s interpretation of what this could […]
This is the one sound that kept following me around seemingly wherever I went. After a long walk through Altona on a rainy afternoon, with nothing but nondescript general street sounds to be heard, I stumbled across a political protest against the ISIS terrorist group: hundreds of people in a crowd listening to speeches broadcast […]
Wow, where did September go? I’m heading to Hamburg in a few days, which will be the major focus of Cities and Memory throughout October, but before then here’s a summary of the best sounds we’ve heard on the site last month. It’s been a UK-heavy month, with just England and Italy represented, but a […]
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"As this wave from memories flows in, the city soaks it up like a sponge and expands. A description of [the city] as it is today should contain all [the city's] past. The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the bags, every segment marked in turn with scratches, indentations, scrolls."
- Italo Calvino, Invisible Cities
Grand Prix winner and Coup de Coeur winner, Académie Charles Cros
