may 18th-19th: field recording workshop, malmo, sweden

june 7th: invited speaker, sounding space symposium, Chelsea college of Art and Design, London

june 13th-20th: field recording workshop with Chris Watson & Jez riley French, Iceland

22nd june - 2oth august 2013: audible silence: the tate, sleeping and waking' - headphone piece exploring the hidden sounds of the Tate modern building, Tate modern, London

July 11th-14th: workshop, Alghero, Sardinia

July 15th-20th: jez riley french & pheobe riley law @ Stazione Topolo festival, Italy

september 6-8th: field recording workshop with jez riley french & chris watson, norfolk, uk - places available

october 4-13th: installation (room tones / littorals), Spazioersetti galleria, Udine, Italy

october 11th: resonant terrain walk, castletown, portland as part of the b-side symposium

november 23rd-24th: a quiet position: south hill park - 2 day field recording workshop

november 25th: individual tutorials + listening group presentation, Oxford Brookes Uni, Oxford

december 6-8th: field recording workshop with jez riley french & chris watson, norfolk, uk - places available

jez riley french - ‘instamatic: snowdonia’
a document of listening, simply
6 tracks focusing on fence wire recordings & listening to the wind
available as a limited edition, full size taiyo yuden cd mounted on an art card + additional postcard
Review by Daniel Crokaert from 'The Field Reporter' website:
In his Instamatic series, Jez riley French invites us to share his moments of fortunate listening like they are, without make-up nor intellectualizations, retouches or alterations of the source, except a careful selection and probably a bit of equalization…
A hike within some magnificent natural region of North Wales, namely Snowdonia, led Jez to look particularly into the wind, that wind which speaks to us, while sweeping at the same timeendlessly across ever changing landscapes…
that air which circulates, lifts, makes particles, objects and surfaces vibrate, suggesting their outlines and concrete features…
But, far more than a report about a physical truth, the work quickly switches over to the extra-ordinary, underlining a very personal way of experiencing, of giving another dimension to things, and our environment…
Vast palette of amplified metallic resonances of fences planted in the isolation of a still preserved nature…agitation, vibrations, ferruginous supplications…a whole universe stands out, and submits to the laws of another one…a unhurried play of echoes and reflections coming out of the insignificant, and which reminds us constantly that our perceptions are fluctuating, eminently subjective, and tributary of their “captation tools”, but that they can also be the starting point of unexpected emotions…
“There’s an aesthete within us all “ seems to be, roughly speaking, what Jez whispers to us.
Through his care, his methodical record, his sense of listening, the creation of his own range of microphones, Jez acts like a revealer, a non-standard intermediary…
“Snowdonia” succeeds in closing our eyes slipping us into a long travelling through shaggy herbs, dishevelled by an insistent breeze – a Malickian scene…
Just next to us, trembling & bending wires, streaking the rust tones of a jaded vegetation…pebbles shrouded in history shape long grey veins studding the country as far as the eye can see…in the faraway, the shadow of hills asleep, peaceful guardians of a permanent sight…
In our ears, clicks, muffled murmurs of cold metal, aeolian moan, all the tense sensoriality of the world…
“Snowdonia” ends up ringing like the name of a mythical place where one has rendezvous with the other-worldliness…that other-worldliness, disguised under common appearances, here finely caught, and alongside which we often pass by in total indifference…

Thursday, 4 August 2011

four questions # 30 - Signe Liden

JrF: when & why did you become interested in field recording ?

SL: First when I saved some cassette tapes of birds singing from being thrown away, recordings that my grandfather had done some decades before, I got interested in field recording. At that time I guess it was as much the narrative around the recordings: the idea of him sitting somewhere in the forest at the different seasons of the year, searching for songs to be caught. He is present in the recordings, as his breath and movements often drown out the sounds of the forest.
Shortly after, sound was an important element in an installation piece I was working on even though I knew little about sound and almost nothing about recording. A friend told me about the Soundman Binaural Microphones, and I bought a pair of those, connected them to my minidisc and recorded me through a travel around in Bosnia. Most of these recordings were crap but two of them caught my interest, one from the squeaking and hauling train in the mountains between Sarajevo and Mostar. The other one from a café on the riverside one evening in Mostar as the church bell sang along with the songs from minarets and where these celestial sounds got accompanied with the gay voices in the cafés. For fun, I had put the microphones inside some empty bottles at the table and I got surprised by the strange poetry I found down there. That was in 2007 and I guess that was where my interest in field recordings started.

JrF: how do you use your field recordings in your own artistic output ?

SL: I am interested in hidden sounds in our daily surroundings and I search for ways of discovering them. I often record sounds that are natural filtered, for example through pipes, wirings and also through waste laying around, like bottles and plastic cans. Much of my work where I use filed recordings are recreations of the "negative" spaces in places, the hidden spaces of auditive landscapes.

Also displacement of sound is a field of interest that I would like to explore more. How a place sonically reacts when it gets intruded by an alien sound environment.

JrF: do you regard 'natural' sounds as a musical element (bearing in mind that the conventional definition of 'music' is rapidly becoming obsolete) or as sound ? is this definition important ? does it matter ?

SL: Hmmm, no, I don´t consider that definition very relevant for my works. Still, I actually have to confront it when I do a live performance and use field recordings. As I have a visual art background, I think the approach to and language around my work are different from a musician`s but in the end I guess it does not matter.

JrF: has the act of making field recording had an effect (positive or negative) on the way you listen to your everyday surroundings and how has it affected the way you listen to other music and sound (if at all) ?

SL: Very much indeed! I think I hear much more than before and am more aware of how my perceptions of my surroundings effect me in different ways both physiological and psychological. The luxury of having the possibility to extend my ears from times to times through microphones and increase my hearing capacity through various types of microphones has opened up a mysterious and magic parallel space in my everyday life.

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