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Simon Whetham: Active Crossover
Arnolfini Dark Studio
16 Narrow Quay
Bristol
BS1 4QA

Thursday 1st – Sunday 18th, October 2009
Open 10.00am – 6.00pm Tuesday – Sunday

A sound installation utilizing two sonic chambers, but allowing for controlled sound-bleed between spaces, it features an immersive composition created while Simon was artist-in-residence at the Polymer Factory Culturehouse (in Tallinn, Estonia) juxtaposed with pieces by artists Simon collaborated, performed and worked with during the residency.

The opening night of the exhibition will feature performances from John Grzinich (EE), Maksims Shentelevs (LV), Jez Riley French (UK) and Simon himself. The closing night will also feature performances, where Simon will be joined by Douglas Benford and Iris Garrelfs of Sprawl, and a number of invited local artists.

To coincide with the exhibition John and Simon will also run listening and recording workshops from the 26th September 2009.

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Seeds and Bridges: Event One

John Grzinich (USA / Estonia)
Max Shentelevs (Latvia)
Simon Whetham (UK)

Saturday October 3rd @ RED Gallery, Ossbourne Street, Hull (behind Primark)

7pm – FREE to all !

EAR ROOM | re-sounding dialogues across the globe

First edition online now :: Jez Riley French.
~~~~
Ear Room, an ONLINE publication for developing critical DISCOURSE and debate
on the creative, and EXPLORATIVE use of SOUND in artistic PRACTICE.
~~~
WHEN… on the FIRST of every month (August launch is a special double
edition on the 1st and 15th).
~~
WHERE… http://earroom.wordpress.com/ear

via… mark peter wright

special sound performance event at the Goija tea room in Riga featuring:

Jez riley French [UK] – jezrileyfrench.blogspot.com
John Grzinich [US/EST]
Simon Whetham [UK] – simonwhetham.co.uk
Maksims Šenteļevs [LV] – bernurits.com
Kaspars Kalniņš [LV] – bernurits.com
Sound Meccano [LV] – myspace.com/soundmeccano
Evgeniy Droomoff [LV]

]]> http://maaheli.ee/main/archives/810/feed 0 http://maaheli.ee/main/archives/792 http://maaheli.ee/main/archives/792#comments Mon, 25 May 2009 00:14:55 +0000 john grzinich http://maaheli.ee/main/?p=792

This is a great hydrophone recording I made last week in the local Mooste lake. The sun was shining brightly so the plants were giving off plenty of oxygen. There are also a number of sqeaks and buzzes I cannot yet identify. The hydrophone is made by the avid field recordist Jez riley French who spent a few weeks in the MoKS residency. I can reccomend these hydrophones for those who want to try out under water recordings and are on a budget (yes, this is a small but honest advertisement for Jez’s product which he sells to help fund concet events he organizes).

hydrophone recording of Mooste lake #2: download link

This is a question I’ve been asking myself ever since I realized that “field recording” was something of a viable genre for many working with sound. Before hearing the term “field recording” (and I’ll throw in Phonography), I never thought much in making a distinction between working in or out in the field. I recorded what I wanted and where I wanted (and still do).

While some view it as a recording technique for any place other than the studio, others seem dedicated to the cause and strive to reach new levels of purity. The spectrum of approaches is wide from scientific ‘nature recording’, and commercial ‘relaxation environments’ (some may know the interesting ‘environments’ series from the 70s) to weekend hobbyists who simply like to get our and record sounds they like.

Like any term, the definition is open to interpretation. The artist Jez Riley French has opened up the discussion with his ‘four questions’ series regarding sound artists/musicians and their use of “field recording” in their work. Below is the current list of artists Jez has included in his survey which I feel is more than worthy to help promote. I’m sure more are on the way, but this should be more than enough to start with:

• Andreas Bick
• Cedric Peyronnet / toy.bizarre
• Eric Cordier
• Goh Lee Kwang
• Jean Francois Cavro
• Jez riley French
• Jez riley French interviewed by John Grzinich
• John Grzinich
• Kiyoshi Mizutani
• Lawrence English
• Maksims Shentelevs
• Marc Namblard
• Matt Davis
• noid (Arnold Haberl)
• Patrick Farmer
• Rob Curgenven
• Simon Whetham
• Thomas Tilly
• Zoe Irvine

Yannick Dauby makes and important point  in his description of “Field recording and phonography” as to why we who record sounds in the field are shaping the sound as much as we are simply capturing it:

“The couple microphone/headphone acts as a filter and an enhancer for perception. The use of these tools is absolutely not neutral : the choices of the place and the moment, the gestures, the technical limitations and the zoom/macro effects of the microphone affect the result of the recording. The recordist makes a series of decisions in his practice, and these decisions are related to his own subjectivity.”

Numerous other in depth perspectives on the practice have emerged in recent years, I suspect due to the availability and ease of use of digital technology. People like Aaron Ximm (Quiet American) and Patrick McGinley (murmer/framework) have been long term proponents of creative uses of filed recordings and seem to have inspied many through their output. As the “field recording” bug spreads I suspect we may see ever more variations and mutations on what this is about. As for listening to field recordings it’s a fertile matter for another post.

Taking sound as an artistic medium unto itself, what interests or motivates you to work with sound? Is it some form of “musical” drive or is it a more abstract and less tangible means of expressing something?

JrF: well, with this first question I already feel the weight of the limits of language for me. I find it quite odd to explain really. I just started making music when I was quite young & for me I believe I have progressed naturally to the point that I’m at now. By ‘naturally’ I mean that I gave myself time, I worked intuitively and whilst that means a longer journey than perhaps achievable by constant formal study, I feel this was the only way for me to be. So I make the music that I enjoy making. I engage in the creative act when I am moved to do so – it feels natural and a part of my way of being. I think music is a part of it all – the way I think and feel, the way I read, the way I cook and eat, the way I watch, the way I take photographs etc. etc. So I guess, going back to your question, what motivates me is as abstract and intangible as life is and as tangible as the moment to moment way we find to enjoy or cope with life. Working with music / sound & simple visual elements (photography, drawing) is the way I feel able to express myself.

What are some of the challenges in working with sound, both personally for yourself and for what you present to the public (live for an audience or as published work)?

JrF: These are good questions ! you see I really feel that the challenges, the ebb and flow of undertaking these things are private. I could say that, for example, I only make recordings when I feel ‘right’. Sometimes I come across a sound that I like to listen to but I don’t record it – I don’t feel right about it. I don’t really give myself any set expectations. I’m not someone who goes out hunting for an unusual sound. I just live and my creativity is an emotive response. That’s a term I use a lot because it’s the most descriptive phrase I can think of to explain.

In terms of releases, I simply put out the recordings I enjoy and that remain enjoyable or that I instinctively feel are right to release. Perhaps this is where the element of the unexplainable starts to make a difference – like a photographer who is said to have ‘an eye’ I suppose I trust my ear & am quite happy to stand by those choices.

Live performance has always been part of my musical life. I started out playing guitar & was in bands & performing solo from early on. I got really into music around the time that new wave / punk music hit the UK so it was all about just getting out there & playing. These days I have a fully formed set of things that cause me stress when performing, but those relate mainly to the organisational aspects. I like to have a nice, friendly time with the folks arranging the concert / event & a stress free soundcheck + an audience who respect music / sound. So all the challenges relate to aspects other than the actual music. Once I’m performing, working with intuitive composition, it all boils down to whether the piece ‘works’ or doesn’t & whilst one always hopes it does I suppose I rely on my instinct. There might be challenges but again, I feel these are private and more to the point are different with each performance.

I understand you do a lot of site-specific work, recording in particular locations and improvising with what you find. Can you talk about why this type of field work is interesting for you as opposed to, let’s say, only making studio based work? Are you attracted to certain locations more than others or do you look for certain types of locations?

JrF: it’s a simple story – I often found myself performing in spaces that I liked & wanted to record the sounds I found. I did that for a long time & avoided using the term ‘site-specific’ – by & large I have a difficult relationship with what I term ‘art speak’ but that’s a different story. I suppose when I improvise or compose live with instruments the sound of the space one is in has a direct effect & so, when using field recordings I find it enjoyable to incorporate the sound of the performance space too if possible. It’s not something I always do – again, it has to feel right.

I don’t really look for locations all the time. Sometimes I will go out with the intention of recording a church or some water (a river or the sea for example) but I often find that these more deliberate attempts result in recordings that might be ok but perhaps lack a certain something. It’s nearly always the happy accidents, the sounds one stumbles across that provide the most pleasing results.

I am attracted to the locations that I like – simple as that. What I’m trying to say is that I am attracted to places as a person & not as a field recordist.

Continuing with the topic of site-specific work and field recording… What is it you like others to hear from the places you visit and record? Why should we at all record the sounds we hear or the music we experiment with in these places?

JrF: well, putting aside the question of whether one can ever know or control what the audience hears, I always hope that an emotive impression is communicated to those who are able to listen in that way. It’s not possible if the audience is full of males who are more interested in the equipment being used than the music though ! or indeed if one is performing to fellow field recordists who are just waiting to hear something they haven’t heard before. This is one reason why I use the term ‘music’ rather than a term such as ‘sound art’ – for me it is that essential quality that makes music ‘sing’ that is the key.

I think, as I said earlier, the music and sound of places is enjoyable whether it is recorded or not of course. For me, the act of recording is a gentle intervention and I never force it – if I don’t feel right recording then I won’t.

What is your relationship to the technology you use for recording and listening? How dependent are you on technology and what kind of standards do you have?

JrF: I would describe myself as an technophobe ! I like equipment that I can be intuitive with and that is immediate. I started out using portable tape recorders back in the early 1980’s & then moved to minidisk – which I still use because I like the portability. I have never been one to rush out & buy the latest bit of kit – I prefer to fully explore the possibilities of the equipment I have. In fact I have a guitar multi-effect unit that I’ve had for about 10 years I guess & it’s still on the first patch !

However, as my interest in recording very quiet sounds – audible silence & sonic architecture – has developed I have invested in a high quality CF recorder (Sound Devices) & a variety of different mics.

I make my own contact mics & hydrophones too. I guess I’m a bit like the stereotype Yorkshireman – never spend a pound unless you have to!

I treasure the exploration & the moment of discovery so in that respect the technology involved isn’t key. I capture those moments using whatever kit I have with me & I’m really not someone who spends hours setting up a recording in order to capture some perception of a ‘perfect’ recording. For me not only do I believe that that doesn’t exist, but even if it did I wouldn’t find it interesting for long. Much of what I don’t like in terms of music, sound & in this context, field recording is technically very high quality but lacks the emotional aspect, lacks the sense of having been captured by a person with a mind and a heart, with strengths and faults – I guess I feel it is dishonest in some way. So my standards would seem lower to some other artists who value the technical perhaps, but I feel my standards are very high – you can easily buy better equipment but you can’t buy better ears or a better connection to your emotions and inspirations !

Jez riley French runs a good series of interviews with sound artists on his blog. He has posted his ‘four questions’ with me. I’ve always felt it is difficult to write about my experiences in working with sound but what I liked about this process is that somehow when someone else asks questions it helps trigger memories, thoughts and ideas.