Audio found in foreshore section takes its cue from the concept of the foreshore as outlined by Other Sights for Artists' Projects (2016):
The “foreshore” describes the land along the edge of the water that is both submerged and revealed by the tide. Very simply, it is the wet part of the beach. The foreshore is a place of unclear jurisdiction, and thus of contestation, friction, and constant movement. Those who dwell in this zone must continually adapt to a changing environment.
The foreshore also conjures histories specific to its region: narratives of trade and exchange, habitation and nourishment, resistance and violent erasure. It might similarly evoke our contemporary lived situation in this place. Considering the potential of this zone as both concept and site, The Foreshore initiative asks the following: how do we generate conditions of emergence? How can we take up space differently? How do we support unruly practices and futures?
Selected currents and waves foreshore programs:
Water Weight:Friction Possibility - Foreshore Listens Audio Zine, 37min
We are situated at the boundary of land and water, the edge of the known. The tides lap at the margins of the possible and hint at the hidden worlds, a deep marine of nothing and everything. Beyond the euphotic zone, light is fleeting and we must endeavour to go looking for anything we hope to find...Uncovering each others' experiences, both known and feltknown, takes a generosity of listening.
Harbour Symphony, Hildegard Westerkamp, 7min
On May 2nd, 1986, nearly 150 boats of all sizes and shapes gathered in Vancouver Harbour around Canada Place to perform the first-ever Vancouver Harbour Symphony for boat horns. This piece was likely the largest environmental music event to be ever mounted in Vancouver. This work was composed in memory of Westerkamp's brother Helmut Westerkamp who, as a cadet sailor on the German training ship Pamir, went down in a hurricane in the mid-Atlantic on September 21, 1957.
Where the Figure Meets the Ground, Kristina Lee Podesva, 6min
An audio response created for The Foreshore series produced by Other Sights for Artists' Projects and Access Gallery (2016-2017), this work takes inspiration from the foreshore's site of flux and perpetual re-articulation. Through its concept, textual phrasings, and multiple voicings, the work engages wave images and forms. With thanks to Jasmine Valendani, Exquisite Erika, Coqui Thody, Yun Nam Podesva, Alan McConchie and Richard Scholtz.
Intertidal Cymbal Work, Lindsay Dobbin, 3min
A sound piece that explores how cymbals respond sonically and materially in the landscape. This work is two stacked cymbals, allowing the wind to pass through their centre and create a wind whistle.
Paper, Cindy Mochizuki, 20min
An audio work that was created for a boat tour that is offered in the city of Yonago, Tottori-ken, Japan. It is the first chapter of a trilogy of short stories that use natural resources, coal, lumber, and iron (rock, paper, scissors) as a way to trace histories of early migration from Yonago to BC, Canada. Set in the 1960s off a no-mans-land island of Yonago where the owner's daughter 'K' works diligently day after day serving customers who are mainly fishermen and people arriving by boat. One afternoon during a ruby pink sunset hour, a mysterious man enters the restaurant causing her to see a brilliant forest through her handmade paper menus.