05 February 2013

Objets sonore, II & III

"No-one else can hear the world like you can when you put those headphones on. With nearly all wildlife and natural history work it's a solitary process. You can't talk about it when you're recording, you've just got to move the microphones and do it. In that sense there's an easy analogy with photography. It's a solitary activity. I then like going through the process of selection, editing, composition, production, performance, whether it's a radio broadcast or a sound installation, which you then share with as many people as you can to engage with them. I really like that idea of going from the point source."
- Chris Watson, as interviewed by The Quietus

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Asger, over, the wind is now blowing really strong here in Stedlike plaza, out“.

I know, Constant, we had expected a rising of the northern wind towards the Baltic in the night, right at the centre, moving to Dredike are, where we are adrift, out“.

Over, we are proceeding at measured pace with eyes slightly tilted up, out“.

The perception of space is actually more unitary, isn’t it? A significative growth in attention to detail, out“. [...]

Over, we’re following the tinkling of what seemed to be a domestic animal collar. We’ve arrived here from Marionetten Theater at the Waag’s, right behind Neuw Markt, Oude Zijde quarters, out“.

Constant, we’ve stopped in front of Centraal Station, muffled, waiting for the wind blow to strike on us. Let me hear that tinkling sound through walkie-talkie, out“.

Over, DRING DRING DRING hey, the gust has resumed, we’re taking Zeedjk straight ahead. Rattled as it is now you should be able to hear the collar loud and clear DRING DRING DRING,. . ..„

- from a recent post on the soundscape of the city of Bologna, via Datacide

Incidentally, should you care to read it, the book Watson mentions in the interview -- the 1971 OUP publication Composing with Tape Recorders -- was recently made available in .pdf form via Monoskop. Link here.

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