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Episode Info:

On July 18th this year, Teresa Barrozo's question -- What might the Future sound like? -- will be opened to global participation. We bring news of World Listening Day, and speak with Teresa about her intervention. We also hear of data archival developments in acoustic ecology. And we speak with Leah Barclay, the editor of Soundscape: The Journal of Acoustic Ecology, about her Biosphere Soundscapes project and some of the challenges of developing accessible apps for mobile platforms. Cris grapples inadequately with the terminology of the anthropophone, the biophone and the geophone in his everyday life. The audio work heard in this episode can be found on the Soundclouds of Leah Barclay and Teresa Barrozo. Transcript [low humming and static playing][CRIS CHEEK]This…is…Phantom Power. Episode 6.[squeaking sounds][CRIS]Data streams.[sound of flowing water fades in as squeaking continues][MACK HAGOOD]Welcome to Phantom Power, I’m Mack Hagood. Today,  My co-host cris cheek prepares us for World Listening Day, an annual global event held every July 18th and sponsored by the World Listening Project with events held all over the planet. We’ll get you tuned in to acoustic ecology and World Listening Day with plenty of time to find an event near you, or perhaps to start one of your own. cris has a show for us in three parts. First, we’ll meet Teresa Barrozo, a sound artist, composer and sound designer for film, theater and dance, and the creator of the theme for this year’s World Listening Day. Next, cris does some close listening of his own in a meditation on the sounds of humans, animals and earth in his neighborhood. Finally, we meet Leah Barclay, who made the recording we’re hearing right now in dolphin code on the great Sandy Biosphere Reserve in Queensland, Western Australia. She’s the president of the Australian forum on acoustic ecology, the editor of Soundscape Magazine and the Vice President of the World Acoustic Ecology forum. Leah spoke with Chris from a remote biosphere reserve when it was still summer in the southern hemisphere.[sounds fade out, ethereal music fades in][CRIS]World Listening Day enters its second decade in 2018. This year’s theme is future listening, created by Filipino sound artist, Teresa Barrozo. Phantom Power caught up with Teresa amidst her preparations.[ethereal music continues with drum rolls, wooden chimes, and traffic noises periodically playing][TERESA BARROZO]I’m Teresa Barrozo, and I’m a composer and a curious listener from the Philippines. [CRIS]Whereabouts in the Philippines are you?[TERESA]Carson City, Manila.[sounds continue][CRIS]Theresa, how did you get involved with the World Listening Project?[TERESA]It’s quite popular every year. I get to read up on it. For this year, I got invited by Eric Leonardo and Leah Barclay to create a theme for this year’s World Listening Day. I’m actually surprised that they invited me, because I’m starting out as a sound artist.  My day job is that I’m a composer for film and theater and sound designer for theater, but this since that’s my background, I’ve been very fascinated with how sound and music is used in storytelling. How we use sound and music to manipulate our audience.[sounds are distorted, sped up and slowed down, with an occasional car honk being heard over the noise. Technological sounds are added.]That’s where my interest began. Here in the Philippines, there’s no such thing as sound studies, so I started looking outside the Philippines. I started reading about sound and listening online. Mostly, we find everything online, so I just started Googling stuff about sound. I really got interested. I got interested with sound installations; how sound can stand on its own as an art work. I’m interested on how sound can shape the society.[sounds become softer and have more of a rhythm, or steady beat]I saw online there’s this thing called acoustic ecology. There’s this thing about deep listening,

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