I decided to follow what I learnt from Jez Riley French with his extended listening techniques and scores for listening. I agreed initially that I would go to Cuckmere Haven with seven sisters, but the equipment I was carrying was exceptionally heavy.
Before I went I loaded my equipment and found it too heavy to carry, I was curious about why I even initially took this out, does a better mic or recorder really make a better more meaningful recording? I took out the small H1N that I bought in my second year with a recently purchased Ryecote wind cover for it, and a pair of headphones, minimalist field recording I saw it as. I got on the train and arrived very late in Brighton as I spent all morning charging batteries and etc preparing to take all this equipment far away. Instead, once I got there I began cycling towards where I spent time as a child, and also an interesting area by Shoreham power station, on route I began experimenting with placing the recorder in environments as I saw Jez Riley French do, and listening to the grass move in the heavy winds.
I sat there and listened for 15 minutes, laying on the ground with my ears in between the grass. I was recording, not knowing the outcomes.
Next, I cycled by Shoreham Powerstation to a quiet beach and spent 30 minutes recording the waves and beaches of a quiet serene area.
Again practising this extended listening technique that Jez Riley French speaks about, the micro listening within his work Is what I was practising. After this, I followed towards what the locals call the hot pipes, where steam exerts itself from the power station into the water to cool down. I did the same, climbed the fence and deep a 15-minute recording. I wish I could have carried the larger equipment but throughout this it made me reconsider why, is this capitalism within my works, telling me that bigger is better? That I need the big £2000 recorder and microphone, is it actually better? I enjoy cycling and taking things with me, not driving or public transport, perhaps the equipment isn’t for me.
The wind started picking up and I approached two Wind turbines, I did the same, exploring extended listening and micro soundscapes. I left with a new idea and ideas, I didn’t go where I wanted to, does this mean I have to go far and wide and use the best equipment for my work to be good? Does location matter, or are these ghosts present within our soundscapes, am I chasing this idea of a perfect man-hidden soundscape, or should I embrace the noise as Jez says? Chasing ghosts within our cities and our human-inhabited soundscapes, what can we learn from listening, what is present, and what isn’t?
I also took photos with my film camera, which I hope will help the recordings, and I wrote this field note.
I could see the rain approaching from the east. Sat between two turbines the rattle of the fence and loose bolts.
The turbines sound like whips in the air, caressed by every touch of the wind.
Two large towers with spinning blades, rusted from the sea breeze, salt winning against metal.
Towering over me, as big as a giant’s hands.