Month: April 2023

I read this short essay on sound maps and a reflection of it from a Brazilian standpoint referencing artists from non-European communities. Here are some quotes.

This is the case for Steph Ceraso in his article “The Sight of Sound: Mapping audio”: “These Maps, then are snap shots of sound. Thus, in the process of creating more dynamic representation of the places they map, sound cartographers are also transforming sound into something static, something that we can repeatedly experience. This seems far removed from the embodied experience of encountering sound in its original environment” 

So sound maps and real sound experiences are different, one is static and can be experienced over and over again. Real sound happens in an instant.

Similarly, Traux points out that “lacking any coherent temporal perspective, and usually lacking any interpretative analysis, the listener is left trying to imagine what has been recorded and what significance it has. 

So if just listening without any idea of temporal objective definitions. It can be difficult to understand or perhaps gauge what is going on within the recording, similar to Salomé and her ideas that the recordist should be present!

Like maps, recordings operate under selection criteria defined by their creators, who act under certain circumstances. Field recordists are always being called upon to make decisions based on contingencies that arise, whether during practice in the field or concerning the critieria selected by the creators of the sound-map platforms. Field recordings have a beginning and an end, and sound itself—explicit sound, audible to huamans—can never be static. The inscription of the sound—implicit sound, which is stored (in 0s and 1s), distributed, and understood only by machines—may appear to be static, resting in the (digital) file sound archive, until it is reproduced and reaches human ears again in the form of sound waves. But it still will be a memory, a trace of the environment in which it was captured, not that environment itself. 

So field recordings are a memory of what was captured, not the actual environment itself. I couldn’t agree more. This is something that has stopped me from chasing this idea of ideal recordings, in a natural world. Isolation and serene soundscapes.

In an interview given for the study I conducted on sound maps, researcher and field recordist Rafael de Olivera offers what may be an explanation for this understanding of the recording as something that does not carry, in itself, traces of these relationships that are established during the sound recording in the field: “For a long time, photographs were not considered art, because they were taken directly from reality. Art had to be something that proposed an abstract discussion. And I think photography is somehow attached to that idea. The ones who make photographies still don’t see themselves as creators.”

The fact that a recording in itself can be seen as not being something someone has created is disappointing but also interesting. Why is that? The contrast to photos here makes me consider why I have to context or perhaps even consider what I’m doing instead of moving with intubation and really going for what I like doing with recordings, cant my emotional reaction to a sound that I’ve recorded and it’s emotional response trigger something positive be enough?

It is also important to know what is gained. In this case, it is participation, collaboration, and engagement. Also, this engagement does not happen only in “listening through the map” but fundamentally in the practice of field recording. If someone is about to upload an audio file to the sound map, they are probably already engaged in field recordings. The practice of field recording, in turn, is capable of engaging a listening process in the environment that is different from listening with no interest. 

So similar to the previous article there really are benefits to field recording, it can creative participation, collaboration and engagement. It seems that the outcome really isn’t important, but perhaps the actual work and physical interactions that are.

During my masters, I realised that this idea of a picture of reality, preservation through captures, it was a little wobbly. That is why I ended up going to cartography. Then [the Mapa Sonoro CWB] ended up with that name of sound map, but actually, it is more of a cartography, and it ended up having… a much more affective focus. Then I began to think about… investigating how these sounds affected people, what that represented.

So sound mapping led towards a greater purpose, which was thinking about how sounds affect people and what that represents.

There were some really spontaneous reactions.. someone starts singing, whistling, forgets they’re being recorded. We did another workshop in another neighbourhood and only seniors ended up going, so it was pretty interesting. In that one, there was a woman on crutches. She was a bit large, on crutches. Then there’s a pint in which we can only hear her breathing. Heavy breathing. And she also sings and stuff, whistles. And people come up to talk. “What are you doing?” I thought that was very cool. Allowing conversation was another thing we experimented with…

This is a refreshing idea on sound walks and sound mapping. Typically you have to be silent. It’s super intriguing to embrace noise and interaction when recording.

I decided to read into field recordings away from the Western European narrative showcased predominantly. I purchased a book called Making It Heard, a History of Brazilian Sound Arts.

This specific essay I discovered was of interest to me, discussing field recordings and being in the field, what it means to the individual, and why they partake in it, with specific research into these two Brazilian Artists.

Here are some quotes.

To wright, the first documented recording of the singing of a bird, performed by Karl Koch in 1899 on a wax cylinder, is also the inaugural instance of the figure of the prototypical nature sound recordist, an archetype that defined “a precedent for the next century, wherein environmental sound recordists will not be heard within the capture and mediation of nonhuman subjects and phenonmena”

This idea of silence among recordists is really interesting, why do we do this? Wright here establishes a notion to figure out why that is.

Researchers  Isobel Anderson and Tallis Rennie, there is a tendency in the sonic arts to face field recordings as bearers of objectivity, with the predominant idea that these recordings represent authentic, impartial and neutral documents. This neutrality is the result of the erasing of subjectivities in a practice that, historically, “has not clearly represented narrative of how, when, why and by whom a field recordings is made.” Instead, “The qualities of accuracy, validity and objectivity have, in many circumstances, historically been favoured over expression, interpretation and subjectivity.” In other words, “scientific knowledge has been favoured over narrative, for scientific knowledge is seen as holding within it an unshakable truth” 

Scientific knowledge is favoured over actual artistic expression, something like that field recording has within its practice. Also to consider a field recording as something objective, authentic, impartial or neutral documents is not what I would agree with. Unless we think of them relatively.

With the aim of rupturing this paradigm, the Swiss researcher and artists Salomé Voegelin lists a series of artists who, by attributing an essential role to the act of exposing their presence in their field-recording work, try to dismantle the recurrent archival and scientific impetus. More than wanting to collect, or to sonically document, an environment convincingly to Voeglin, the real ”intrigue” or poetic potential of the recordings would be in localising the “position” of the recorder, a form of “tension created by transforming the heard through participation, collaboration, expansion and play, through which we can try a humbler humanity of shared spaces, and renegotiate what is real” 

To showcase oneself is important, it can help create more interesting field recordings, Salomé here says that the interest comes from showcasing the position of the recordist.

Problematic the removal (as poetic and practical strategy) of one’s presence in recording, since for them, it is an obvious oxymoron. For instance, Wright suggests that “amongst the birdsong and pops of sonic materiality, is a notable absence. Inaudbily present within the media-animal crackles, Ludwig Koch, the recordist, is also captured somewhere and inscribed into the wax”

The absence is also recorded within it, to think they are not there is ridiculous. The recordist is present within the worker even if they are not, for example in this piece of work described by Wright.

The Japanese artist Hiroki Sasajima—whose work in the genre might stand out due to its supposed purity—describes this presence as follows: “The choice of microphone and the choice of the recording equipment are the listening points of myself: my presence in the recording is created by the recording method, the choice of place, the sense of distance, the angle of microphone and so on.”

Microphones and recording equipment not only change the perspective but also the presence of the artist to counteract Wright’s opinion on the matter. The choice of place, distance and even angle.

Field recordings can be subjective, expressive, meaningful and personal to the recordist, rather than purely objective documents of sound environments … The meaning of the sounds within these recordings may have a personal significance to their recordist, which may bring greater meaning to the overall soundscape for the listener

Field recordings can be that, it is not about collecting or recording to use for further material. Listening perhaps could be the greatest experience of the experience.

Among the recording situations that interest Cristovam are those in which he is able to perform recordings that have no explicit sonic traces of his presence or that of anyone else. “My goal,” he says, “is to be someday able to record the whole day, a cycle in which you can listen to the world without any human interference, whatever that may be.” 

Purist but interesting, I had in the past been really keen to experience this idea of no human sounds but I have encountered that perhaps it is more accurate to experience the human sounds within the world.

But why is Cristovam interested in this type of recording? To Cristovam, it is a political stance. Besides considering this to be legitimate research by itself, his search encompasses a will to oppose and a desire to have access to that which is denied to him. As the artist states: “It is not the search for silent places; it is a search what is being taken from me… I think that this is very important aesthetically and politically.” Cristovam wishes to listen to a world that is not enslaves by the human sound, because, to him “it is obvious that, no matter all the crap we are making with the world, the world itself is not ours. So, there are things that you can—and I feel it almost as a duty—search that is not from the human world”

I had never considered it a political stance, and he also considers it research for himself, sound as knowledge or knowing. Silence is being taken from him. He wants to seek this out.

 It is clear to me that Cristovam does not adopt a purist stance regarding his recordings. The most important thing for him is to include poetically in the resulting phonogram the “field” produced by his listening. In order to do so, he might include a sensible post-production process. Besides this tendency, Cristovam understands that presenting or publishing the recorded material is not part of the work per se, these are just consequences of the recordings process:

Part of his work is listening, and the consequences of it are releasing and showcasing the recordings, he does not consider himself a purist. But also a reflection of the field he hears.

Paradoxically, this helps me to imagine a function for the enormous number of works that Cristovam publishes on his Bandcamp profile: the the most adequate would be to think of that webpage as an archive of registries of works already done, works who’s essence is in the recording process. These registries function as proof that acts were performed: the act of listening at a particular place, and the act of recording per se. 

Hi work although not concentrated as pieces are a form of archival. He is showing where he’s been, and what he’s done, almost what Salomé speaks about it is more interesting to know the context of the recording and the position of the recordist and the field.

It is an idea of delving deeper in this depression of the city, but to delve deeper in an active way: instead of staying at home, suffering, I went for a walker. Also, to record is an excuse for you to go for a walk, isn’t it? So, initially, there was no such functionality [to record as a stage of an artistic project]. No type of idea, except that of going out and record.

Field recordings and recordings can take you outside and really push you to engage with the environment.

In this case, recording in the field assumed, first a sort of therapeutic function. Once the process had started, however, unforeseen interests emerged.

Listening or engaging with art is a therapeutic reflection and the outcomes can be anything.

What I would like to emphasise is that an idea such as this—central for a work such as CPdS—may reveal itself during an impromptu field-recording activity. The act of recording may be performed as stimulus for wandering and discovery. You leave the house without a destination.

I’m inspired by this idea here, and it is how I approach my field recording sessions, sometimes I think about it sometimes I go on walks and figure out what I have recorded.

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.

I needed to acquire more equipment as my windshield broke and I wanted to go to Cuckmere Haven for recordings, and potentially back to Epping Forest with the correct equipment.

I borrowed a Sound Devices Mix Pre 4 and Sennheiser 418 for the mid-side recording for ambience, and a light stand which I researched for the best mic stands to record outside.

I want to capture high quality ambience’s to showcase these ghosts and prepare for this trip to see the rainforests eventually.

After his lecture on field notes, I decided to buy his short book, which contains a huge collection of his field notes, as inspiration for my own field notes.

These two field notes are my favourites. I’m interested to see how my field notes will end, shall I create a small Zine with photos and notes to accompany my field recordings? durational recordings, photos, and notes. Perhaps that is the outcome.

The acoustic ecology of a space often tells a story of
intervention and the relationship between the quality of the
land surface, the vegetation, and the sounds of habitation,
be they human or otherwise

https://core.ac.uk/download/pdf/151740266.pdf

Conclusion
Listen gives voice to a wide range of constituencies: to communities living in proximity to the featured sites; to communities distant from these sites; and to the nonhuman and non-sentient constituents of these sites. The digital tools and dynamic website facilitate both a disruption of traditional visitation of pristine natural environments and simultaneously through this remediation, a broadened access. Listen uses technologies to question
embodied experience and to encourage new forms of embodied actions. It integrates significant discussions about
sound, sustainability, and the place of human experience
through creative storytelling, digital mapping, and community collaboration. Listen builds important connections
between the humanities, the environmental sciences, and
media arts through development of new technologies, interdisciplinary research, creative endeavors as well as educational and outreach initiatives. It seeks to foster new environmentally aware communities who through social media can use their voice as stewards of these protected, yet
vulnerable landscapes.
Given such ever-growing challenges as environmental
degradation and climate change, the multifaceted outcomes
of this project will hopefully nurture more sustainable lifestyles and stabilize park ecosystems. The participating
communities will learn to critically interpret their relationships to natural and built environments through new forms
of listening enabled by technology. Across each of these
outcomes, sound plays an important role for establishing
and cultivating individual/community agency and environmental stewardship. In giving voice to individuals and
community members to articulate their own positions in
these natural spaces, Listenn opens up new opportunities
for exploring the import

In conclusion for myself, this felt like a project that embraced ideas of whether sound can create a positive environmental change, using sound with other mediums, providing a fundamental archive and allowing those who aren’t exposed to this landscape and those who are a different experience that challenges the embodied idea of sound.

I found this project after researching her interview with Jez Riley French, this particular project resonated with me highly and I think this is a huge influence for my project.

Can place be investigated through sound?
Do past lives and past events leave sonic traces and how can we hear them in the present?
Using field recordings, interviews and archive materials ‘The Hebrides Suite: mapping the islands in sound’ explores aspects of island life past and present through the medium of composed sound.

I think perhaps I should incorporate interviews within my work, I remember that Mark considered this when I was presenting my work, and he felt like it was an important part of it. But this idea of a place being investigated through the medium of sound presents interesting questions, what are the benefits?

Sound, like memory, can be fleeting and ephemeral no sooner than is it heard it has gone. Recording offers the opportunity to materialise sound and make it suitable for analysis, study and creative use and re-use. But who decides what or who gets recorded or what or who gets remembered?
Recordings both make and are memories – ghostly traces of the past remaining in time and space. These traces of the past echo and reverberate through language, place-names, family stories, song and the sounds of the natural world to form a sonic background to the present.

Again this idea of ghosts within soundscapes and field recording keeps appearing, it seems like I’m chasing ghosts of soundscapes. It’s a great point that recording materialises sound and makes it usable for creativity and research, what happens when it is used as a defining action. Recording is saving ghosts, it’s a memory of time and space.

The Hebrides Suite: Mapping the Islands in Sound  consists of  three eight channel sound works and a large wall piece which maps the Uists according to field recordings made, and places mentioned, in the interview and archive materials used in the compositions.
‘Sandy Jaffas’ (2015) one of the three sound pieces, was  commissioned this for this exhibition and made in collaboration with the S2 Gaelic class from Sgoil Lionacleit in Benbecula, members of the Comann Eachdraidh Uibhist a Tuath (North Uist Historical Society) and South Uist Historical  Society and supported by Museum nan Eilean, London College of Communication and CRiSAP (Creative Research in Sound Arts Practice).

So the rest of the project was collaborating with students about what they hate, like and should change. They went and field recorded and this ultimately became an 8-channel installation piece.

I found this blog that Jez runs where he interviews sound artists on their experience with field recording, this was helpful to get a further idea of others’ opinions.

MARTYNA POZNANSKA

I got my first recorder and started to rediscover my urban surroundings becoming aware of the sonic density and my presence within it as well as its endless potentiality. The ability to choose and extract fragments of it through field recordings fascinated me and led me to further studies and exploration in this area bringing me into researching listening and hearing in the urban environment as a bodily experience, which was inspired by the phenomenological approach in the Auditive Architecture course I took some years later when studying at the Berlin University of The Arts.

Choosing and extracting is a great way of describing the manipulation that goes with producing field recordings. As well as hearing as a bodily experience.

I treat it as a substance and a main component I can sculpt in. On one hand plasticity of the sound material and on the other its ephemerality, which contains the possibility of transformation constitutes an ongoing inspiration for my artistic work. Field recording allows me to document the sonic environment in its micro and macro scale, it becomes an extension of my hearing and is being reflected not only through the sonic material but also in my writings and images that become part of my work. Although the listening experience cannot be lived in the same way in a recorded artefact, to record ‘scraps’ and ‘remnants’ of it comes to be a poetic gesture, an ear suspended somewhere along the electric lines in the midst of the city.

Sound being plasticity and also transformative is how I consider it as well. A poetic gesture or a sonic postcard like Sofia does.

CATHY LANE

Most of my work at the moment focuses on a sound-based investigation of a place (eg. my work in the Outer Hebrides http://hebrides-suite.co.uk) or a theme (eg. cultural assimilation and how family memory is preserved and transmitted and lost in ‘The Ties that Bind’ https://soundcloud.com/playingwithwords/the-ties-that-bind-stereo-mix) and field recordings are one of the main elements that I use as compositional material along with interviews and existing oral history recordings.

I think that using field recordings as a sound-based investigation is also perhaps what I’m attempting to do, search for the ghosts and investigate through sound.

I decided to do some research on Jez Riley French, I know he is a famous field recordist and enjoys micro and long-duration field recordings. I went on his website and read his About section.

Jez riley French (b. 1965)

Using intuitive composition, field recording, improvisation and photography, I have been exploring my enjoyment of and interest in detail, simplicity and an emotive response to places and situations since my early teens and as a full time artist for over 20 years.

Alongside performances, exhibitions, installations I also lecture and run workshops around the world on various aspects of sound culture including located sound / field recording, the act and art of listening and their roles in contemporary explorative sound arts. I develop and build specialist microphones now widely used in all areas of sound culture, curate the ‘engraved glass’ label, the ‘a quiet position’ series of online releases / forums exploring the broad ideas surrounding field recording as a primary art of sound / sound art and the online zine ‘verdure engraved’

Areas of work & research include establishing / expanding micro-listening, durational listening, and architectural, plant, soil horizon, aquatic and infrasound recording as key elements of contemporary located sound practices. Working with photographic scores & scores for listening, discussing the gendering of sound cultures and histories, and perception of environments.

My work has included commissions and performances for Tate Modern (UK), The Whitworth (UK), Paradise Air (Japan), MoT – Museum of Contemporary Art Tokyo (Japan), Spikersuppa Lydgalleri, Oslo (Norway), Baltic (UK), Steklenik (Slovenia), Museo Reina Sofia (Spain), Catalyst Arts (N. Ireland), The Whitworth Gallery (UK) , Artisphere (USA), Harpa (Iceland), Mengi (Iceland), The Wired Lab (Australia), Mullae Art Space (Korea), q-02 (Belgium) and for organisations in numerous other countries around the world. A section of my piece for Tate Modern was also chosen to be part of the ‘500 years of British Art’ exhibition jukebox at Tate Britain.

“Jez is widely regarded as having played a pivotal role in expanding extended field recording techniques and modes of listening in the sound arts, including the use of contact microphones, hydrophones, electromagnetic coils, ultrasonic detectors, geophones and vlf receivers in performance, installation, sound design (for screen, theatre and radio) and music in a wide range of contexts. He is also known for his contributions to efforts to correct historical and contemporary biases in the arts.

In 2017, as part of Hull’s City of Culture year, he was commission by Opera North & Hull CoC to be involved in the ‘Height of the Reeds’ project, turning the Humber Bridge into a sonic experience that was experienced by over 10,000 people. A reworked version of the piece was later released on cd & in February 2019 Jez was nominated for a Norwegian Grammy for his work on the album.“

I am currently working in collaboration with my daughter, Pheobe riley Law, including on a new publication focusing on the design and detail of spaces between buildings in Japan, a series of improvised performances and other projects combining sound works and text pieces by Pheobe including new ‘scores for listening’.

Works have been exhibited in shows and installations alongside that of Yoko Ono, Annea Lockwood, Pauline Oliveros, Jana Winderen, Ryuichi Sakamoto, Chris Watson, Éliane Radigue, Hildegard Westerkamp, Stars of the Lid, Jeremy Deller, Sarah Lucas, Signe Liden, David Bowie, Alvin Lucier etc.

I also collaborate with a wide range of artists, musicians and film makers.

In recent years I have been working extensively on recordings of surfaces and spaces (natural and human made) and developing the concept of photographic scores. I am particularly associated with the development of extended recording techniques, including the recording of structural vibrations, contact microphone recording, ultrasonics, infrasonics, internal electronic signals via coil pick-up’s and recordings made with hydrophones.

Amongst key recent works are pieces capturing the sound of the dolomites dissolving, ants consuming fallen fruit, the Tate Modern building vibrating, the infrasound of domestic spaces around the world, glaciers melting in Iceland and the tonal resonances of natural and human objects in the landscape.

I build contact microphones, hydrophones and other specialist microphones that are widely used by other artists, universities, film and tv crews, composers, theatres and other institutions. They have been used to capture key audio elements in games, radio & tv programmes and films such as The Green Planet, The Blue Planet,The Imitation Game, The Theory of Everything, Gravity, recent Star Wars franchises and thousands of others.

current series of works include:

‘interference of objects’ – a series of intuitive collaborations with Pheobe riley Law

 ‘choreographies of perception’ – performative talks 

‘audible silence’ – recordings of empty architectural spaces and structural vibrations

‘ink botanic’ – exploring the internal sounds of plants and soil horizons

design and detail of the space between – the sound an imagery of civic infrastructure

 ‘teleferica’ – documenting these sonically fascinating structures across Italy

‘movere’ – a series of pieces composed of field recordings, both passive and involving interactions with spaces and objects

‘salts’ – re-scoring of musical fragments as durational works, recorded using the building structures as filters

‘dissolves’ – hydrophone recordings exploring the hidden sonic structures of minerals

‘scores for listening’ – photographic scores, visual cues for listening

‘instamatic’ & ’emplacement’ – single point field recordings

During the 1990’s, following several years working in the music industry, I set up, along with my then partner, an ethical specialist music distribution service, eventually handling over 1000 labels from numerous countries releasing traditional, classical, jazz and experimental music. I’m currently writing about those years. 

I find this work really interesting and subtle. There is a meditative aspect towards this durational listening, I also want to see his scores for listening and see if I can attempt one.

SAFE SPACE AND THE MALE FIELD RECORDIST (A GENUINE CALL FOR MORE DISCUSSION AROUND FIELD RECORDING AND SAFE SPACE)

He discusses the idea of safe spaces and the privilege male field recordists have when inhabiting urban and natural spaces at night, he considers whether it is always the correct thing to do when taking these spaces, and how we should be vigilant of how we colonise these safe spaces for women.

Migration between Nature and Listening – Jez Riley French

An example of this could be the issue of traffic noise, roads, planes, and trains – the audible smears of human across environments – and how many listeners / artists / recordists automatically think about how such sounds “get in the way”, or should be edited out of recordings. The thing is those sounds are part of the reality of that environment, as much as those we arrive wanting to hear. They are species sound. If we remove them, we aren’t presenting a trace of a reality but a sanitised, pacified, controlled ‘other’, and a  denial of our impact. Presenting such places without the human can highlight what is  being lost, but it is the automatic filtering of wanted and unwanted sound that often  sidetracks the act of listening itself. That can, and I would argue has already, allowed us to spiral back to a rather cliched idea of the majesty of nature. 

This is something I agree with and found with my Epping Forest field recording session, I should embrace these non-wanted sounds as they actualise the experience, I’m trying to showcase the real “ghosts” that can be heard. Not sugarcoat it at all.

After reading the book on forests I decided to take a trip to Epping Forest to search for these “Ghosts” Found in these places of natural beauty, looking for what I can hear within the soundscape that represented the past and present of Epping Forest.

I took some equipment with me, Lom Geophon, Zoom H1N and TASCAM DR100 MKII

I then cycled all the way from south London to Epping Forest. Gear in hand, On route I went to Jez Riley French exhibition about soil and the sounds of roots.

The installation was a quadraphonic room with sounds from soil, and the inner sounds of plants. I saw there was a talk on Sunday happening and I emailed afterwards as it was sold out and managed to be able to purchase a ticket I asked nicely and said it would contribute towards my portfolio project.

Following this I finally reached the forest. I went to the NW part of the forest and discovered Grimston’s Oak, the oldest tree in the forest, estimated to be 350 years old. I approached it and laid my Geofon contact mic around the base and picked up the slow movement and creaking of the large tree. I also followed into the forest and recorded birdsong and small streams and rivers. Overall the search for the ghosts was prominent, I could hear how the soundscape has changed I suppose. There would have not been so much noise pollution. But as the rainforest book said, sometimes the ghosts are listening to what is still there, the balance between noise pollution and actual sounds of the wildlife is proof of the fight and co-dependency that exists. My windshield broke, the TASCAM DR100MKII also broke, I got super muddy, and I need hiking shoes it seems. I guess this was the universe telling me I need to prepare better for the next trip, which I’ve decided will be near the birling gap.

I need to get the setup correct and take the right equipment with me, park my bike not take it with me. I left with a few sounds and a further determination to research and see what I can do with my sounds.

So next steps are, to reflect on some more research, and plan the gear for the next trip. Go to Jez Riley French talk next Sunday.