by Andrew Mitchell

Think of your most cherished memory. Consider the details which cause you to hold it dear, and then try to imagine it without sound. Seems difficult, huh? Well if artist Cade Bursell has her way, we may never again think lightly of the relationship between sound and image.

Bursell, Squeaky Wheel Artist-In-Residence and currently a media arts professor at Southern Illinois University, instructed the Sound Mapping and Creative Cartography workshop held this past November. Admittedly, I was unfamiliar with the artist and totally clueless on the subjects of sound mapping and creative cartography, however I need not have worried for the material was presented in a clear, concise manner suitable to both novice and expert alike. The goal of the workshop was to increase overall sound awareness and focused listening by creating a site-specific sound map.

Sound mapping, an aural documentation of a specific location or environment is often based outdoors, whereas cartography itself refers to the art of map making. This deliberate notation of both natural and mechanical sound, results in an audio map that is different but no less valid than the conventional. Soundmarks or sounds unique to a particular area help to define it, whether drawn from a particular ecosystem or the surrounding ecotone (areas adjoining two or more ecological communities). Cade advised workshop participants to be conscious of foreground and background sounds, and to observe both depth and transition. Although Bursell promotes and continues to develop these concepts; she cites the contributions of others including the Parchnand Thamkrabok monastery in Thailand for their origin.

As a workshop participant I conducted a sound walk, gathering sound bites for the creation of my map from the community which encompasses Squeaky Wheel. Usually anxious about new educational experiences, I approached Bursell's offering with increased interest and decided to reserve preconceived thoughts and allow the experience to form its own conclusion. In the end, I was glad that I did. While walking I relied on my hearing and not my eyes to reveal the natural sounds of urban life, often lost with the erosion of our public spaces. And for that, I am appreciative of Cade Bursell and her timely discussion.

In this era of global warming and sustainability it is important that we not only minimize our carbon footprint, but that we examine the world around us in vivid detail using the fullness of our senses. Perhaps then we will realize its artistic significance, before causing further irreparable, ecological harm.

Andrew Mitchell is an artist, AIDS activist and Squeaky Wheel board member.