Meanwhile, Shirley Pegna had requested that someone from the recording group/documentation workshop record the sounds of Ghost Quartet using contact microphones.
The group divided up; Valeria remained at Modern Art Oxford to document Lee Riley’s approach; Charlotte and Lee travelled into Oxford with Lee to record the sounds of the journey; and Kim and Felicity went in search of Ghost Quartet in the Richard Hamilton Building, with contact microphones.
This is what was heard by different members of the recording group at different places on that Saturday afternoon…
Guitar Drag, Lee Riley – recorded with a pair of directional, shotgun microphones by Toby O’Connor
Guitar Drag, Lee Riley – recorded with binaural microphones by Charlotte Heffernan
Guitar Drag, Lee Riley – recorded with omnidirectional microphones by Valeria Merlini
I was waiting for the surprising sound to come, then recording the fade in of Riley’s performance within the sounds of the street at the back entrance of Modern art Oxford. – Valeria Merlini
Ghost Quartet, Shirley Pegna & Wajid Yaseen
I attached a microphone to each of the 4 chairs involved in this installation, (see this post for some context and background information) to hear the recorded sounds used in the installation travelling through the wood which amplifies them. – Felicity Ford
Playing all the sounds in this post at once is a bit like listening through all our headphones simultaneously, during the same hour.