In the Field
Exploring the art and craft of field recording
British Library Conference Centre,
London, February 15th and 16th, 2013
A two day international symposium to open up and explore the practice, art and craft of field recording through a series of panel presentations, listenings and screenings.
Starting from the early days of field recording the symposium aims to relate the multitude of contemporary field recording practices to their historical precedents and investigate issues in contemporary practices including how field recordings are distributed to and heard by an audience; recording the unheard; mapping the urban and
questioning the extended nature of the field in a digital networked landscape.
Ximena Alarcón, Joeri Bruyninckx, Angus Carlyle, Des Coulam, Peter Cusack, Simon Elliott, Felicity Ford, Helen Frosi (SoundFjord), Zoe Irvine, Christina Kubisch, Cathy Lane, Udo Noll, Francesca Panetta, Nye Parry, Davide Tidoni, Cheryl Tipp, David Vélez, Salomé Voegelin, Chris Watson, Claudia Wegener, Jana Winderen, Mark Peter Wright
Ticket information: Full two day pass £25 / £15 concessions
One day £15 /£10 concesssions
Book tickets in advance at http://estore.arts.ac.uk/browse/extra_info.asp?compid=1&modid=2&prodid=100&deptid=175&catid=52
Curated by Cathy Lane, Angus Carlyle and Cheryl Tipp
A collaboration between CRiSAP http://www.crisap.org (Creative Research in Sound Arts Practice) and British Library http://www.bl.uk/
Funded by the Sounds of Europe http://www.soundsofeurope.eu with the support of the Culture Programme of the European Union.
For more information http://www.inthefield.org.uk
The symposium will also celebrate the publication of two new books On Listening and In the Field
A new video of the project will be posted here soon.
Performances will be on Wednesday 8th February 9:45am (press preview), Thursday 9th February at 6:30pm and Sunday 12th at 1pm followed by a discussion with the artist. Details here.
Tabu Lilacita was composed for the UK Gamelan ensemble LilaCita and was commissioned as a gift to the group as a celebration of the marriage of two of its members. It has been performed on numerous occasions since 2003 including LSO St Lukes, ROH, Newbury Festival, Colourscape Festival, PKB Denpasar and GEOKS, Singapadu in Bali 2006 where this recording was made.
On Bunhill Row was commissioned by LSO Discovery in 2009 and features Harp, Flute and Viola. Inspired by the Debussy trio, it was commissioned to coincide with a festival exploring the influence of eastern music on French composers at the end of the 19th Century. This is a short extract of the first performance, featuring Laura Holt on Viola, Pat Morris on Flute and Hugh Webb on Harp alongside the LSO Community Gamelan group for whom it was written.
A second performance with Simon Desorgher (flute), Nic Pendlebury (Viola) and Serafina Steer (Harp) and LilaCita took place at the Colourscape festival on Clapham Common in 2010.
A short video of our Exploded Sound tests at LCC this week has gone up on YouTube. It gives quite a good idea of the experience of the piece (one of a number of versions we tried) in which three string chords are analysed and reduced to 32 sine waves, each of which is given a separate location through an individual loudspeaker. From outside the structure the chord is experienced as a whole. By wandering among the speakers individual fragments are heard surrounding the listener who experiences the sound from the inside. In this example three chords alternate through the gradual substitution of partials, so different combinations are heard at each moment. We also had fun with some choral sounds and analysed speech samples which had a very dramatic effect. I have uploaded a brief example of the speech onto soundcloud so you can play it by clicking on the play button below. The recording was made by walking among the speakers with the mic to reveal different perspectives (not available on iToys, sorry).
I spent the day setting up a 32 channel test version of the Exploded Sound project with Jamie Campbell who designed the hardware. The system worked well and I am developing content on it for a few days (If you want to hear it contact me, I’m having a bit of an open day on Wednesday!). The basic idea is to locate individual sine wave components of complex sounds in different positions in space. It forms part of my research at CRiSAP which focuses on the use of space to elucidate sonic structures. We tried a number of sounds and are very excited by the results!
The little film I scored for artist Jeremy Millar and dancers Ni Made Pujawati and Ash Mukherjee last year has now been edited and has appeared on the SEA Arts YouTube channel.
The film is an interpretation in dance of Antonin Artaud’s discovery of Balinese theatre at the Exposition Coloniale Internationale in 1931 which led to many of the ideas put forward in his seminal text The Theatre and its Double. The film is a first step in a larger project looking at western engagement with Indonesian Arts through Balinese Dance and Theatre.