Goodbye Twenty Twenty #1 : Bioré Hand Sanitizer Pump

Everyday sound has had a curious and extraordinary year in the midst of some of the toughest of times. Amongst the sounding memories we have of the last eleven months is the shuffle of papers, hushed voices and birdsong on the live feed from the Rose Garden at number ten Downing Street as journalists waited for Dominic Cummings to make a statement about his visit to Barnard Castle; the sound of rain falling on the turf at Elland Road, home of Leeds United, audible only because there was no crowd, no sound in the stadium other than the sporadic shouting of the players and coaches and the falling rain; the still quiet of the fields alongside the A34 usually saturated with the deafening sound-making of tyres on asphalt but during the first lockdown in England filled instead with the sound of birdsong and children playing.

Since its inception in 2008 Sound Diaries has sporadically had an advent calendar – 24 seconds of sound everyday from December 1st to December 24th. We considered doing that this year but it didn’t really sit well with us. Instead we thought it could be interesting to mark the end of the sounding year by posting audio documentation by a different contributor each day in December. The contribution could be a recording, a text, a photograph, a drawing, a diagram, a sentence scribbled on the back of a beer-mat, a few words – anything that could be used to document an aspect the everyday sound experiences of twenty twenty – a year of strange soundings.

Contributor: Thomas Martin Nutt

Location: 3rd floor of KM Building, Fukuoka

Time and Date: 15:00 26112020

Bioré Hand Sanitiser

Twenty-Eight Empty Fields #26 : Loyd Recreation Park, Didcot

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Loyd Recreation Park, Didcot

Twenty-Eight Empty Fields #25 : Memorial Playing Fields, Hanney

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Memorial Playing Fields, Hanney

Twenty-Eight Empty Fields #24 : Great Bedwyn Memorial Playing Field

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Great Bedwyn Memorial Playing Field

Twenty-Eight Empty Fields #23 : Brill Playing Fields

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Brill Playing Fields

Twenty-Eight Empty Fields #22 : Berinsfield Recreation Ground

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Berinsfield Recreation Ground

Q&A: Kathryn Tovey to Atilio Doreste

‘Muffled Sounds’, your work for Sound Diaries, feels relevant during the pandemic, where there has been a shift in the occupation of public and domestic space. During this time, have you observed any changes in the sounds of these spaces?

In a forced phase of public confinement there is a marked distinction and contrast between the aural spheres of the domestic versus the public. The natural soundscape is amplified and filled with details of an excellent cleanliness. It is also true that domesticity is individualised, because transit is drastically reduced, and also the drifts. Therefore, the home value is customized.

In my case, I live in a fairly rural environment, where the neighbours are disrespectful in relation to acoustic contamination. There are no changes in these types of household sounds that cross the wall, they are only radicalised in intensity and frequency. At these extremes we have beautiful spring walks with limits of legal transgression with regard to human activity, and inside an unbearable neighbourhood of anxious activity.

On the other hand, there have been some very curious sonorous incidents, such as the inexplicable habit of civil protection officers and police making noisy caravans of mermaids, apocalyptic pandemic warnings to advise respecting lockdowns, and police children’s birthday celebrations with public address of children’s music, choreography and Disney costumes.

In many of your video works, you are filmed interacting with dis-used spaces and found objects. Do the historical contexts of the locations you choose to perform within inform how you respond to the landscape?

Definitely not. It’s a plastic attitude about all things. The curious exploration of a sonic and percussive potential, the transgression of limits and risk. Everything else manifests itself as a continuity that necessarily bears no intention. But the historical question is as the critical extension of a theoretical phenomenon that focuses on a willingness to reactivate heritage, especially on the fragility of the elements of identity value of a moment and a place.

I am interested in your combinations of sound and performance to create comical artworks. Do you think comedy has a significant role to play in the context of contemporary art?

Nothing is centred in contemporary art, but my performances do not have a comic-will. Along with the ex-as-destructive local political value of artifice identity phenomena, my work is based in a surreal (and consequently fluxus) local tradition in Canary Islands that require the most serious and inexpressible attitude possible. That people laugh is still a confusion or ignorance, because we live in an excessive society and habit of entertainment that has invaded every artistic discourse.

Twenty-Eight Empty Fields #21 : Compton Recreation Ground

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Compton Recreation Ground

Twenty-Eight Empty Fields #20 : Upton Recreation Ground

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Upton Recreation Ground

Twenty-Eight Empty Fields #19 : Sheepcot Recreation Ground, Goring

Recreation Grounds, Playing Fields and Village Greens have fallen silent – football isn’t happening. A twenty-eight day suspension is in place as part of measures to reduce the incidence of Covid-19. On each of the twenty-eight days I will be visiting a football pitch and recording the sounding absence of football.

Sheepcott Recreation Ground, Goring