Tag: field recording

Distal Bodies 55.0dBSPL (LAeq)

Woodcote Village Green

Location: Village Green, Woodcote, Oxfordshire, UK

Date: 22nd May 2020

Time: 08:32 – 08:47

Weather: Cloudy with a moderate breeze

Temperature: 14oC

Average Sound Level: 55.0dBSPL (LAeq)

Woodcote Village Green

Distal Bodies 45.7dBSPL (LAeq)

Woodcote Village Green

Location: Village Green, Woodcote, Oxfordshire, UK

Date: 14th May 2020

Time: 08:58 – 09:13

Weather: Sunny, light cloud with a gentle breeze

Temperature: 9oC

Average Sound Level: 45.7dBSPL (LAeq)

Woodcote Village Green

April 29th

Somewhere near a field in Oxfordshire

At daybreak, my face still turned to the wall, and before I had seen above the big window-curtains what tone the first streaks of light assumed, I could already tell what the weather was like. The first sounds from the street had told me, according to weather they came to my ears deadened and distorted by the moisture of the atmosphere or quivering like arrows in the resonant, empty expanses of a spacious, frosty, pure morning; as soon as I heard the rumble of the first tramcar, I could tell whether it was sodden with rain or setting forth into the blue.

Marcel Proust The Captive (1925)

Leaning out of an upstairs window I can hear the sound of hedgerow birds, chickens running in one of the nearby gardens; a football bouncing on a paving slab and then being kicked into the shrubbery; a lone car heading West on the A4130 sounding the asphalt; a Red Kite circling overhead. I lean out further, listening into the distance, into the future, waiting for the tide of mechanised sound to return, for the drone of tyres on asphalt, not the phasing passage of a single car, but the sweeping tide of traffic sound flooding across fields, down lanes, through dense woodland. Perhaps it is still here, cars pass in groups, the air vibrates, the X2 pauses at the bus stop. Covid 19 has transformed our sounding environment, but how much is that transformation felt in any one place, in a place on the periphery of the situation? Can I hear it from my window? Is it evident in my everyday? And when will the tide of sound turn? and when it does turn how will we feel about it? As the air begins to vibrate with the phasing of distant jets will we want to step back or will we embrace the return to the normative sounding of the world? The soundscape is ambivalent. It represents the reduction of pollutants in the atmosphere but also signals the absence of loved ones. The temporary absence of friends but also the permanent absence of those who have lost their lives. This is a soundscape of hope and a soundscape of loss. It is a soundscape of a brighter future, one where listening to the world is part of the decision-making process we undertake when we chose to travel or not to travel; but it is also a soundscape of a brighter past, a past where now lost loved ones were still with us, where we could hear the sounds of their voices vibrating in the air and not just in memory.

I made this recording on Wednesday 29th April:

29042020

Jacek Smolicki

Alvik Electricity
Birds
Lake Fountain
Ventilation Shaft
Branches
Alvik Construction Site

Extract from Inaudible Cities (below) featured in Recording Life In Sound (SARU 2019).

Jacek Smolicki (b.1982, Kraków) is a cross-media artist, designer, researcher and “walker” who works at the intersection of aesthetics, technology, memory, and everyday life. He explores how transformations of communication, recording, and computing technologies have been affecting aesthetic, material, performative, and ethical aspects of archiving and memory practices, historically and at the present moment. In his design and art practice, besides engaging with existing archives and heritage, Smolicki develops new techniques for experiencing, documenting, remembering, and para-archiving human and other-than- human environments. In parallel to these activities, for the last several years he has been committed systematic experimentation with various recording techniques and technologies leads to a construction of a multifaceted para-archive of contemporary everyday life, culture, and environment (On-Going Project). One such practice is the archiving of one-minute field recordings executed every day since July 2010. He has exhibited, presented his works, performed, soundwalked, and gave workshops internationally (e.g. Madrid, Moscow, Helsinki, Stockholm, San Francisco, Budapest, Vienna, Sarajevo) to a set of documentary practices in which a systematic experimentation with various recording techniques and technologies leads to a construction of a multifaceted para-archive of contemporary everyday life, culture, and environment (On-Going Project). One such practice is the archiving of one-minute field recordings executed every day since July 2010. He has exhibited, presented his works, performed, soundwalked, and gave workshops internationally (e.g. Madrid, Moscow, Helsinki, Stockholm, San Francisco, Budapest, Vienna, Sarajevo)


Kathryn Tovey

Interviews
Post Walk Eating
Walk
Walk

Extract from Walking with another (below) featured in Recording Life In Sound (SARU 2019).

Kathryn Tovey grew up in the North East of England, now living and working in Lancaster where she graduated from Lancaster University in BA Fine Art. She has also studied and exhibited in Bendigo, Australia and is currently working on interactive performances with arts organisation GRAFT. Her work brings together site specific performance, video documentation and installation in layered works that invite the audience to reflect on human relationships with the natural world. She is often found working outdoors with her cocreator Caleela.

James Green

Bridge Over Leyton Station
Coronation Gardens
Downsell School
Drapers Field
The New Testament Assembly

Extract from Sounding 24h (below) featured in Recording Life In Sound (SARU 2019).

James Green is a sound artist whose practise includes performance, installation and composition with a focus on themes such as duration, time and hidden sounds. To spotlight these themes, urban soundscapes play a major role in his work. James has performed and had his work showcased at Goldsmiths University, the LCM 50th Anniversary Concert, and The LCM Theatre as part of the In Surround Series. He is currently based in London, and is a recent graduate of Goldsmiths University.

Lucía Hinojosa

Constellation Sound Memory

Extract from Forgetting (1993) (below) featured in Recording Life In Sound (SARU 2019).

Lucía Hinojosa (Mexico City, 1987) is an interdisciplinary artist, writer and editor. Her practice develops through a series of conceptual, ephemeral gestures and performative trajectories as a method of investigation that results in a corpus of visual, sonic, and text- based works. She studied Visual & Critical Studies at SVA in New York City, and did the SOMA two-year program in Mexico City. Her work has been exhibited at various galleries and art spaces like Sector 2337 (Chicago); Grice Bench Gallery (Los Angeles); Centro de la Imagen (Mexico City); Anthology Film Archives (New York); Chalton Gallery (London). In 2013 she co-founded diSONARE, an independent editorial project. Her writing has appeared in different publications in Mexico and abroad.

Aisling Davis

Water West Yorkshire
Train Approaching
Water West
The Saga
Glockenspiel
Flowing
Evening
Drop
Creature Coming In For A Look
Big Waves
Alien Fight On A Radio

Extract from Uisce (below) featured in Recording Life In Sound (SARU 2019).

Aisling Davis is a multi-instrumentalist, artist, sculptor, and writer from West Yorkshire. Her work navigates history, topography, and anthrozoology. With bands ‘Inland Taipan’ and ‘The Capoeira Band’, she has recorded at Abbey Road, composed for film, and written for orchestra. As of May 2019 she became managing director of Braille Pottery Ltd, a company dedicated to the production of ceramics for the visually impaired. Past exhibitions include: Ice-Cream for Crow, Captain Beefheart exhibition, 2017. Soundtrack: The Acting Class, winner of Best UK Feature at the Labour Film Festival, 2017. Psychedelic Adventures of Clean machine, Fabric District International, 2018. The Resurrection of Geoffrey Firming: Bluecoat Gallery Liverpool, 2018. TURF: Scale Gallery, 2019.

Hannah Dargavel-Leafe

Descending landscape
Rolling bass

Extract from Conduit (below) featured in Recording Life In Sound (SARU 2019).

Hannah Dargavel-Leafe is an artist working in sound, sculpture and drawing who has exhibited both in the UK and Internationally. She has performed at Whitechapel Gallery and Iklectik, London, exhibited at CAVE Gallery in Leeds and released sounds on a limited edition vinyl through Calling Cards Publishing and a tape through Sacred Tapes. In 2018 she was a research associate in sound at The Slade School of Fine Art. From June 2019 she will be publishing sound mixes through British Earways. www.hannahdargavel-leafe.co.uk