60 Minute Cities: Montreal | 60分钟，我的城市- 蒙特利尔
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机器机械转动，由人操作着，时而快速运转，时而平静，时而连贯，时而断断续续，多是两者交织着/机器可以在不同温度下维持运转，将人在空间上移动，或者转移到城市的不同地方/自然元素，比如风和冰雹，推攘着声音的临界值，而随之而来的是寒冷和潮湿，让人想找个地方躲进去，推着人们回到室内/声音穿透安静的地方，却被掩盖在普通的城市景观里的低频声音之下，或者消失在繁忙的餐厅和酒吧的嘈杂里；这些声音传递的价值可能被喧吵的机器削弱，也可能被声音工效增强/
我们在时间和空间移动，声音展现着关于我们所处的环境的信息/我们根据这个信息即兴创作，也出于曝光的习惯，即使没有一个声音信息和之前的声音完全一样/录音捕捉了这些声音环境，作为日后回听这些声音的保存记录，到那时录音师的主观体验被听众的理解取代，更多的叙事得以呈现/细究什么是难忘的或重要的事情时，仔细聆听可以发掘出一些隐藏的声音/这些环境由机器、天气因素和有机体构成，在找寻有机体的频率生态时，我们期望在一个有限的听觉空间里听到它们的声音/例如，为了在城市空间存活下来，鸟类必须适应它们生活环境里的声音，穿过那些机器发出的噪音的拦截/要存活下来，它们的声音必须要被听见，获得一种有别于其他任何声音的生态/
长久以来，我热衷于讲述故事：读故事、写故事，或者是为特定受众重新创作故事/有时候我用原声吉他和自己的嗓音，有时候用一支笔和一张纸，或者像这次，用一个录音机，给自己一个叙事，开始创作/在学习城市声音景观创作的时候，我开始着迷于有机体和他们所处环境的关系/此次60分钟城市项目让我把这些遇见的和声音的互动做成具体作品/此外，我也有机会反思我所处的空间，探索组成这些空间的细枝末节和整体方向/这本专辑里的录音是我在蒙特利尔经历的记录，我在这里出生，曾经搬离，后来又回来，我成年后的大部分时间都在这里度过/这些录音记录了我的经历：徘徊在地铁站，听着电梯运转的声音和灯具的嗡嗡声；暴雨天躲进杂货店，或者和我母亲一起去商场吃早餐；站在路缘偶然听到一群鸟的鸣叫；在家里听到立在街边的指示牌被咆哮的大风拍打/收录这些声音的时候，我几乎都是静止站着的，融入周围环境里，成为手中录音机的一个延伸/我想要创作一些可以把听者在固定时间移动到特定地方的东西，也就是在蒙特利尔的冬天里，人们可能会遇见的各种各样的音景和叙事里。
Machines churn automatically, are operated by people, run urgently or calmly, consistent or syncopated and often both / They can sustain temperatures for instance, or mobilize individuals up floors or to different parts of the city / Natural elements such as wind and hail push through the threshold of hearing while side effects such as cold and dampness create a need for shelter and push people indoors / Voices pierce through quiet places, but are buried under the low frequencies inside average cityscapes, or lost inside the swarm of many voices sounding at once in busy restaurants and bars; its communicative value can be compromised by loud machines or enhanced by acoustic ergonomics /
As we move through time and space, sounds reveal information about the environments we find ourselves in / In the moment, we improvise based off of this information; we also act out of habit of exposure even no sound information is identical to the last / Recording captures these sound environments, allowing for a freer listening at a later point, where the subjective experience of the recorder can be lost to the interpretation of the listener and where many narratives are possible at once / Hidden sounds can be unearthed during a careful listening as we latch onto what is memorable or significant / These environments are composed of machines, weather elements and organisms, the last of which, in search of their frequency niche, aim to be heard within a limited auditory space / For example, to be able to survive in urban spaces, birds must adapt to the sounds in their environment and pierce through the barrage of noise created by machines / To survive, they must be heard, and essentially access a niche unlike any other sound /
I’ve found deep enjoyment in story telling for as long as I can remember: reading them, writing them, recreating them for an audience / Whether I use an acoustic guitar and my voice, a pen and paper, or in this instance a recorder, I anchor myself to a narrative, and run with it / While studying the composition of urban soundscapes, I became intrigued by the relationships between organisms and their environments / By jumping into this 60-minute project recording, I was able to transform these sonic interactions I encountered into artifacts / Furthermore, I was able to reflect on the spaces I often found myself in, and explore both the small details and the global directions that make up these environments /
The recordings in this album are testaments to my experiences in Montreal, a place in which I was born, from which I moved, but later returned to and spent most of my adult life in / In these recordings, I find myself lingering at metro stations listening to escalators churning and lights buzzing, in a grocery store during a storm or in a mall going for breakfast with my mom; on the curb of a street listening to an unexpected flock of birds; home while a street sign clamors against a pole in howling wind / I stood still for nearly all these recordings, blending into the environments as an extension of my recorder / I wanted to create something that could transport the listener into specific places at precise times, inside the varied soundscapes and narratives that one might encounter during a Montreal winter //
关于艺术家
Joey是居住在蒙特利尔的作曲人和音响设计师，活跃于多个领域，包括电影、戏剧和舞蹈制作。他用声音给叙事增色，创作自己的故事，平时他整天浸泡在充满噪音和电子音的实验室里，里面的每个物件都像是一件乐器。他感兴趣的领域包括解码音景的组成、研究城市景观的趋势以及试验une niche fréquentielle，即一种频率生态，他也将据此展开他的下一个故事。他有时也参加一些工作室和课程，或者和其他艺术家进行深入合作。他也喜欢带着他的录音机，在街头或废弃的走廊游走。
Joey is a Montreal based music composer and sound designer, working in a wide variety of fields including film, theatre and dance. Using sound to facilitate narratives and create stories of his own, he spends most of his days immersed in a laboratory of noise and electronics, where every object is a potential instrument. His areas of interest include decoding the compositions of soundscapes, researching trends in cityscapes, and experimenting with the idea of une niche fréquentielle, or a frequency niche from which his next story will unfold. He can be found attending workshops and classes, in the middle of deep collaborations or roaming streets and deserted hallways with a recorder in hand.
Soundcloud: https://soundcloud.com/zaurrini