as the title suggests, the piece is about the act of sound walk, which is similar to field recording, but with less concrete goal in mind other than paying attention to sounds that are usually ignored. the piece was made for a lecture-perfomance project: the first part explains what sound walk is, the second part was the recording captured during the process of walking through different locations at University of Washington pior the pandemic (the quad, music building, etc.), the third part -  the lecture portion, is mostly a self discourse addressing the relation between language and music, the last part (the performance portion) demonstrated using voice (closely related to language) to make music, with and without signal processing. 

 

asides from increasing one’s awareness and understanding of sonic ecology, sound walk has many benifits. on the one hand, it amplifies and elevates the status of those sounds that are otherwise too mundane to demand the attention, allowing one to closely examine his/her relation to the sonic surrounding, and to potentially assign poetics to triviality. on the other hand, it provides an opportunity for drifting fluidly between the physical reality and thought, therefore allowing one simutaneously experiences different modes of time (physiological vs phnomenological/experiential). in addition, it is a great way to document the daily life: you can always listen back to the recordings, trying to remembering what you have done; or if memory struggles, you can always use the recording to construct the past.