Ceraso (2019)

Ceraso (2019)

This “album” contains student-composed audio tracks that represent the multiple, multisensory experiences—visual, sonic, olfactory, textural, and gustatory—of various prepared meals. Video, images, and textual description provides means of engagement beyond hearing / listening.

In this webtext, Lambke stitches together interview audio, field recordings, and soundscaping-as-curation—the latter featuring multimodal transcription—to highlight Kansas City’s traditions of sonic / civic engagement.

Lambke (2020)

Hammer and Sieber (2020)

This narrative of the Schuylkill River applies listening methods to explore the relationships between the river and “relationships to human-based production and waste.” Also riffing on the genre of album, Hammer and Sieber invite participants to drag fieldwork photos around on an interactive webpage, listen to the sounds of the river as filtered through listening objects, and understand the storying of the Schuylkill through locating oneself in geographical space.

Hammer (2018)

Hammer’s work here features guided listening instruction to highlight connections between sound design, violence, and disorientation. In addition, the multi-windowed screenrecording present in the video production presents multiple channels for sensory engagement.

Soto Vega (2020)

Soto Vega's "creative-critical, multimodal curation of scenes" deploys maps, videos, alphabetic text, and other semiotic channels of meaning-making to speak to geopolitical flows of power, traditions of Puerto Rican resistance, and plena-as-activism. 

Loyola (2018)

Losoya’s (meta)performance subverts and synthesizes interview, podcast, and musical genres in what initially starts as an audio essay but unfolds into sonic work that’s much more experimental and performative. Also, there are lots of footnotes and song lyrics written on a paper bag!