Q&A: Atilio Doreste to James Green

How do you think that the soundscapes, recorded as part of your Sound Diaries project, have changed during the intense weeks of the pandemic compared to the previous ones? Are you able to go back listen ‘in person’ these days?

Yes, I have been listening to the original ones a bit recently and they differ quite a lot! This is because I honestly haven’t taken many new recordings since the lockdown began. Instead for me, it has been a process of listening, reflecting on them and trying to figure out some ways to reimagine them instead of going out and making new recordings.

 Another way they have differentiated is their sudden significance in the new context we have been put under. With the project, and my approach as a whole, I have concentrated on spaces and areas that hold meaning due to their social use or the way people shape that area, so listening back to crowds, buskers, religious singing and nightclubs they almost seem shocking and absurd that these many people were ever allowed to occupy the same space. Overall though I’ve enjoyed using sound as the material to create something new rather than seeing it as an elusive substance I’m always trying to capture. 

If there are layers of attention and definition (or non-definition) in your sound experiences facing the landscape, how would you establish the relationships between them in terms of overlap, transparency, or murmur?  Do you consider the possibility of some leading role in a specific sound source?  If so, what character would it have in relation to its possible appearance of figure and background?

For me, what tends to take my interest are areas of non-definition, many particulate elements coming together to form a larger image of what that landscape represents. However, that’s not to say that sometimes sounds take the foreground. I think this is more to do with our conditioning towards those sounds rather than the actual sonic characteristics. Things like cars, alarms, announcements and unpredictable sonic agents (eg crashes and lary people) often make it into the recordings I’ve made. Due to these usually being warnings in our everyday lives they evoke a reaction and therefore bring themselves to the foreground whilst listening back.  

I really like your idea of transparency and overlap, when reimagining some of the soundscapes from the project I’ve been layering unedited recordings from different areas of Aberdeen which I think ties in with these ideas. The city in these experiments has been overlapping and merging with places too disparate to have ever come into direct contact before but still echo or contain murmurs of the region as a whole. 

What do you consider is the estimate and necessary time for a track as a piece for the public? Is very different the length of your listening and the final selection?

It has been dependent on what I’ve been making the track for but generally, I listen back and edit at the same time. By edit, I only really mean finding the length of recording I like or removing the low-end wind noise which always makes it in!  Most of the longer, hour-long tracks I have composed use 2 – 5 minute chunks of audio that are then brought together in a kind of generative system I’ve been working on. The process of listening here is also an on the job case, listening and running it through this system a couple of times and hearing which I like better. These longer tracks are more meant for installations and therefore the listener may only hear a couple of minutes but can drop in and out at any point and still get a feel for the place that they are listening to.  

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