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The Smooth Space of Field Recording

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The Smooth Space of Field Recording 1 The Smooth Space of Field Recording Four Projects Sonicinteractions, Doublerecordings, “Dense Boogie” and ‘For the Birds’ Ruth Hawkins Goldsmiths, University of London PhD MUSIC (Sonic Arts) 2013 2 The work presented in the thesis is my own, except where otherwise stated 3 Acknowledgments Many thanks to Dr John Levack Drever, who supervised this thesis, and to the following individuals and organizations who gave me permission to record their work; provided information, technical and other support; and gave me opportunities to publish or screen parts of the work presented here. Sebastian Lexer. Natasha Anderson; Sean Baxter; David Brown; Rob Lambert; John Lely; Anthony Pateras; Eddie Prevost; Seymour Wright. Oliver Bown; Lawrence Casserley; Li Chuan Chong; Thomas Gardner; Chris Halliwell; Dominic Murcott; Aki Pasoulas; Lukas Pearce; Alejandro Viñao; Simon Zagourski-Thomas. Anya Bickerstaff. Lucia H. Chung. Dr Peter Batchelor; Marcus Boon; Mike Brown; Brian Duguid; Prof Elisabeth Le Guin; Dr Luciana Parisi; Prof Keith Potter; Dr Dylan Robinson; Geoff Sample. Rick Campion; Emmanuel Spinelli; Ian Stonehouse. David Nicholson; Francis Nicholson. Dr Cathy Lane; Dr Angus Carlyle - CRiSAP; Prof Leigh Landy; Dr Katharine Norman - Organised Sound; Helen Frosi - SoundFjord; EMS; Unit for Sound Practice Research - Goldsmiths, University of London. 4 Abstract This practice/theory PhD focuses on four projects that evolved from a wider objects, each of the projects was concerned with the ways in which ‘straight’ recording and real-world environments. The dissertation and projects attempt to reconcile, what has been depicted within the acoustic ecology movement as, the detrimental effects of ‘millions’ of recording productions and playbacks on individuals and global environments, by exploring alternative conceptions of environmental recorded sound. recordings that links these to haptic expressions of spatiality and perception, from a range of sources. Amongst these, concepts of ‘acoustic’ (Marshall Mcluhan) and ‘smooth’ spaces (Gilles Deleuze and Félix Guattari), are in acoustic ecology (including R. Murray Schafer; Hildegard Westerkamp). Haptic spaces are introduced through discourses that relate the playback of public environmental musics. Multiple and repeated instances of recording are then linked to resonant, liminal and simulacral depictions of recorded sound. production. These concerns are practically explored through environmental and mimetic strategies of recording. The projects mainly focus on ambient background The critical effect of these is largely produced during playback: using software applications that change this in some way, or by diffusing multiple recordings simultaneously in a sound installation. The projects attempt to realise ‘smooth’ non-sonorous forces together. 5 Contents Introduction 9 Part I: Sonicinteractions (2005 & 2011) 1. Introduction 22 2. Sonic Interactions Conference 27 3. Environmental Recordings 32 4. Control 36 5. Playbacks 43 6. Haptic Reception 52 7. Conclusion 61 Part II: Doublerecordings (2005 - 2007) 1. Introduction 68 2. Recordings and Complexes 74 3. Echo, Reverb and Delay 80 85 91 6. Echo in Environmental Musics 98 7. Dub 107 8. Conclusion 113 Part III: “Dense Boogie” (2007 - 2011) 1. Introduction 117 2. The Installation 122 3. Background Recordings 128 4. ‘Evening cicadas, Italy’ 138 CONTENTS 6 5. Insects and technologies 143 6. Appropriation and Mimesis I 150 7. Appropriation and Mimesis II 161 8. Conclusion 168 Part IV: ‘For the Birds’ (2008 - 2011) 1. Introduction 172 2. Field recording practice 178 3. Birdsong recordings 186 4. Installation I 196 5. Installation II 205 6. Smooth space 212 7. Conclusion 217 Conclusion 222 Appendices 1. Soft Machine text (2005) 238 2. Proposal “Dense Boogie” (2011) 240 3. Proposal ‘For the Birds’ (2011) 241 Bibliography 242 Discography 257 Illustrations Fig. 1 Untitled Max splash screen (2005) 8 Figs. 2-4 Sonicinteractions 259 Figs. 5-7 Doublerecordings 262 Figs. 8-17 “Dense Boogie” 265 Figs. 18-27 ‘For the Birds’ 271 CONTENTS 7 Audio Notes 277 Field recordings 278 Sonicinteractions 281 Doublerecordings 283 “Dense Boogie” 287 ‘For the Birds’ 290 CD ‘Blackbird II’ 2008 ‘For the Birds’ 2011 DVD DVD I audio DVD II data 8 9 Introduction ‘ . to introduce space and air, chance and memory into an otherwise claustrophobic world. ’ (Toop quoted in Connor 2006:10) ‘But the air, our air, is in the process of becoming denatured, renatured. The air . is saturated, spasmodic, densely populous. and copresence . it has become less and less a voluptuous opulence of the empty, and more and more aggressively colonised . (Connor 2006:10) Background to research The four thesis projects - Sonicinteractions, Doublerecordings, “Dense Boogie”, had mainly involved the contingent production of recordings from wherever I happened to be. This approach led to the random repetition and foregrounding recording formats to organise and structure the works. described below, before outlining the key methods the projects themselves use. The thesis’ main focus on environmental depictions of recording is then more widely. The further core theoretical concerns of the thesis are then set out, before discussing the criteria for their selection. INTRODUCTION 10 Earlier works (2000-2004) Examples of previous works include: ‘Heads’ (2000), where randomly recordings made using in-ear binaural microphones. Another series of recordings, using omnidirectional microphones, were structured around randomised start times and open recording locations; their duration determined by the length of a CDR (‘Globes’ 2001-). Further recordings were made while I was asleep. Although many of these earlier works featured relatively quiet interiors and background. For example, one of ‘31 random recordings’ (2002) is of loud explored more explicitly in a series of recordings made from performances and playbacks of existing works (2002-2003). A website from 2004 continued this (Edgeless website). Key methods methodologies and critical concerns that had already been suggested or partially developed as part of this wider practice. Rather than being completely planned in advance, individual projects were gradually evolved over time from realised in response to an invitation or other event. involving programming and automation, key methods derived from this include: the use of mimetic technologies that aim to produce realistic recordings (e.g. individual examples; the development of customised software players. The recording content, as described below. INTRODUCTION 11 Environmental sound of recordings There was a main focus on the environmental sound of recordings, over the course of the thesis. The term has ambiguously implied incidental as well as more deliberate productions of environmental sound (e.g. noise pollution; ambient and background musics), and each are relevant here1. I initially became aware of both environmental noise and musics through places 2 similar, mundane content. The same pervasive natural and technological sounds were repeatedly heard across both the recordings and real-world 3). This developed into a closer interest in the repetitive, unremarkable sounds that might be heard across a range of interior and exterior environments; rather than in the more exceptional ones. The practice also produced a critical awareness of the ubiquity of recordings across such environments; whether unsolicited or from playbacks of my own. In this way, environmental recordings became implicated together with ambient background sounds in my work. Each evidenced (at least potentially) commonly shared and repeating instances of sounds; rather than being only uniquely or exclusively experienced. environmental and technological noises (e.g. rural background ambiances; underscoring their mundane and minimal effect. Beyond this, a focus on neutral intended to be - at least partly - experienced as generic or banal. Many of the either recorded or real-world sounds 4. 1 Cf. ‘. a label such as “environmental music” is obviously problematic in its possible confusion with Muzak, background or New Age music, music performed in various environments, eco-propaganda, and so on.’ (Truax 1996: 51). 2 Mainly in Suffolk and London, UK. 3 4 The term ‘real-world’ is used to distinguish sounds other than those electronically INTRODUCTION 12 Field recording practice ‘in its own right’ (Montgomery 2009-1:1). In relation to the projects and individual recordings described here, untreated, in a range of locations. Private and close-up noises of production (e.g. conversations; microphone handling) were avoided in order to produce more neutral, anonymous sounding recordings. There was no further The different contexts and ways in which the recordings were then played back were also critical aspects of each project. These were all intended, however obliquely, to relate to everyday, environmental experiences of recording playback. Whether through modelling this, in some way, by means of software applications developed alongside the recordings; by situating these site- 5. musics (whether by documenting environmental noise, or as examples of ‘objects’; whether in terms of an individual production (Wollscheid 1999: 7), or because they are unhearable as such: where they sound similar to real-world sounds (Kittler 1999: 37), or are simply boring. 5 Although all of the projects involve
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