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Sven Anderson
Bio

Sven Anderson is an artist working between Ireland and the US since 2001. Anderson’s work explores the act of listening within diverse architectural, physical, social, and emotional contexts. His practice is a discursive platform that operates through artistic intervention, academic publication, participatory processes, and interactive design. Anderson’s installations and performances are parasitical, feeding off of details of the immediate built environment, the bodies of the audience, and fragments of local history and ecology to suggest emergent, site-specific forms.  His ongoing public art project The Manual for Acoustic Planning and Urban Sound Design received the European Soundscape Award issued by the European Environmental Agency (EEA) in 2014. Through this work and other projects, Anderson creates active interfaces between artists, architects, urban planners, and policymakers, identifying spaces for sustainable research and production.

Sven Anderson: http://www.svenanderson.net/
Continuous Drift: http://www.continuousdrift.com/
The Office for Common Sound: http://office.minorarchitecture.org/
The Manual for Acoustic Planing and Urban Sound Design: http://map.minorarchitecture.org/

Contact: sven.g.anderson@gmail.com

Project

Title:  Acoustic Territories in the Data City

Keywords: Urban acoustic planning; Sensory urbanism; Urban ambiances; Sound studies; Sensor networks; Ambient intelligence.

Supervisors: Conor McGarrigle and Noel Fitzpatrick

Overview: Acoustic Territories in the Data City investigates the paradigm of acoustic territories within the contemporary regime of the data city. Intentionally amplifying latent tensions within the nascent field of urban acoustic planning, this research will evolve through a concise series of inter-dependent projects including sound installations, urban interventions, academic publications, and participatory project structures.

Research Questions: This project is invested in probing the affiliation between two urban perspectives (the data-city and the sonic city) in order to further a discussion regarding the production of urban atmospheres, extracting an initial summary of this concept from the writing of philosopher Gernot Böhme. How might urban forms that draw from both sonic- and data-assemblages be incorporated within the design of specific public spaces, and as critical layers within larger urban development initiatives? Can these dynamic systems support the production of peripheral conditions that exceed existing urban forms to serve as “generators of atmosphere” (Böhme, 2014, p. 51), while also achieving more discrete spatial and social functions? Lastly, how can we introduce (and sustainably embed) these modes of design within professional communities focused on noise control in the context of urban acoustic planning?

References: Böhme, Gernot. Urban Atmospheres: Charting New Directions for Architecture and Urban Planning. In Borch, Christian (Ed.), Architectural Atmospheres: On the Experience and Politics of Architecture. Basel: Birkhauser, 2014.

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