Curious listeners are invited to Kinokophonography, an evening of curated sound cinema at The British Library on Wednesday 27th May 2015. Organised by Kinokophone, the evening will include one of my recordings as part of a themed programme of ‘disappearing sounds’. Inspired by the British Library’s Save our Sounds project the event will feature sounds which are perhaps becoming closer to silence than audience: sounds going out slowly.
With a title from adapted from the safety instructions on a box of Swan Vesta matches (‘Strike gently away from the body’), air struck gently (slowly going out) concentrates attention upon the momentary illumination of a match struck in air. Like the quiet choreography of the gesture that accompanies it, the sound of a match is gradually disappearing from audition and memory. Condemned to extinction by the demise of smoking and the convenient, controlled ignition of the disposable lighter, the chemical reaction of a match offers a brief, obsolete and fragile soundscape of undetermined duration. In the vulnerable brevity of its flame we can listen to light appearing and sound going slowly out.
closer out / 03:52 / mp3
In closer out (2015) one of a series of ‘match’ recordings has been slowed down, bringing the flame closer to our ear, prolonging and amplifying the sonic details of its narrative: a roar of ignition followed by a gaseous cackle of flame and a last creaking gasp of extinction as the match goes out.
The hysterical (pathological) juxtaposition of a flame struck in the quiet, dark paginated archive of The British Library is not lost on me. I am strangely drawn to the casual poetic threat that the heat of this endangered sound creates amongst the libraries preserved manuscripts of silent language.
Kinokophonography at the British library is free, but places are limited and should be booked online via the British Library website.
rain choir: the St James Variation Live performance at St James Hatcham Gallery, Goldsmiths, University of London
On the 5th May I took part in a small concert as part of the opening of Sound / Place, an exhibition curated by Tom Tlalim & Sandra Kazlauskaite, at St James Hatcham Gallery, Goldsmiths, University of London. The concert, which included performances by Yiorgis Sakellario, Istishhad Hheva and John Garcia Rueda & Ella Jane New, took place in the Listening Box, also known as the Sonics Immersive Media Lab (SIML). The immersive qualities of this technological space seemed to share a concern with the manipulation of sound present in the architecture of the Cathedral. I am interested in how the performance of the choir offers an opportunity for a continual recomposition within the dynamics of another place. Each recital introduces variations of acoustics and pattern, producing a form of sonic palimpsest: a murmuration of rainfall.
rain Choir: the St James variation (edit) | mp3 | 2015
The St James variation of rain choir draws on the field-recordings of the original site-specific sound installation for the crypt of Winchester Cathedral. These recordings explored the acoustic qualities and rhythms of rainfall as it fell through the gutters of the building. The choir also included sounds created by dissolving fragments of the Cathedral walls in acid. Echoing the percussive qualities of rainfall and the effect of its polluted chemistry, this naive chemical reaction releases a Palaeolithic and audible air of effervescent CO2, from the fossilised skeletal remains which form the Limestone.
In his autobiography of sight loss, John M. Hull describes how the sound of rain, ‘throws a coloured blanket over previously invisible things; instead of an intermittent and thus fragmented world, the falling rain creates ‘a continuity of acoustic experience’. For Hull, rain reveals place, presenting ‘the fullness of an entire situation all at once, […] actually and now’. He continues: ‘If only rain could fall inside a room…’
The rain then falling inside St James sounded out place. The original voices of the choir and those coloured by the acoustic of the cathedral crypt were joined by a ‘live’ dissolve of limestone fragments from the crypt and walls of the Cathedral. In an arid, invisible downpour, the choir immersed the audience in the dynamics and architecture of the Listening Box: an acoustic rain simultaneously describing and being described by the present site of audition.
Sound Place continues until 13/05/15 at St James Hatcham gallery, Goldsmiths, University of London.
rain choir: the prague variation galerie dira / Školská ul. 28 / Praha 1 / Prague
26.10.14 – 07.11.14
rain choir: the prague variation (edit) / 2014 / mp3
A variation of the sound installationrain choir, originally created for the crypt of Winchester Cathedral, is now in ‘exhibition’ at the Galerie Dira, Prague. The prague variation was recomposed in response to the particularity of this new situation: a headphone socket in the external wall of the gallery, where visitors are invited to bring their own headphones, ‘plug into the hole…and listen’.
In his excellent book Paraphernalia, Steven Connor discusses plugs as a situation of pause; a ‘lingering’ hesitation in a world more normally inclined to speed and continuous movement. This is why, Connor argues, sinks in airport bathrooms have no plugs and the electric sockets are hidden from the desperate prongs and low battery life of passengers. Running a tap and filling a sink or recharging your phone or laptop would suggest rest and intermission, an absence of progress, when the momentum of the airport requires you to proceed and go.
‘Plugs’ writes Connor, ‘plug you in to a particular locality and lifespan’, at one level this is cultural, the three prongs of British plugs are unique: an individuality that requires every UK citizen to keep an unused international plug adaptor in the back of some forgotten draw.’ But it is also a physical attachment. When visitors plug in at Galerie Dira, they tether themselves (and their listening) to a place, to this particular hole in place; whilst through this hole pours another place, an acoustic space spilling what was once here, now there. Just as the gutters of Winchester Cathedral, organise and disperse the rain falling upon its canopy, so too this anonymous hollow in Prague, transports a choir of rain from the drains of its source, through the wires of headphones to the plugholes of the plugged in listener.
Sound, pipes, wires and plugs share a tangled history with place, time and substance and our attempted escape from them. There is definitely something of the H.G. Wells in the piped ‘hydraulics’ of the time travel and wet clairaudience that the rain choir in Prague presents. ‘Pipes are old-new’, writes Connor, they have an alliance with the ghosts of voice and presence. We hear voices lurking in the whispering throat of pipes just as our listening organises the chaos of rainfall into patterns of rhythm. Connor identifies the drain as a vocal space, a gullet for hidden voices: ‘The drain introduces the most striking feature of the pipe, namely its clamorous crypto-vocality.’
The delicate distinctions and rhythms of rain falling through the cloistered drainpipes of Winchester Cathedral, were some of the voices that inspired and composed the rain choir. But the voices of pipes are not always so subtle. On a dank and damp Sabbath, I took my ears to the gutters of the Holy Trinity Church. Due to the conspicuous wired dawdling of my field-recording, I was accosted as a potential gutter thief. Able to prove my lack of form and malevolent intent, I was allowed to continue getting totally drenched only to discover that the collected voice of a heavy downpour through the canopy of Holy Trinity, can transform the wet epiglottal delicacy of rain into a swirling rant of potty-mouthed vernacular.
rain through a wire fence / 2014 / mp3
On my damp way home I noticed the rain falling through a wire fence. Listening to fences allows the audible to erase the fixed and limited space of vision, we can hear place dissolve and disappear. As Gaston Bachelard writes ‘The first to be dissolved is a landscape in the rain; lines and forms melt away’.
The rain colours the choir with a meteorological spatiality and time, a colour augmented by its reappearance in Prague. The choir becomes an acoustic cloud drifting across Europe and dissolving the solid borders of geography as it precipitates. In this precipitation of place, water is let in through the hole of the gallery wall and the wired plugholes of listeners.
the rain choir continues to fall in Prague until November 7th 2014. If you are near, plug in and downpour.
Formed by the prevailing winds of longshore drift, the shingle spit of Orford Ness is now a National Nature Reserve. Previously the site of an early radar navigation system, during the Second World War the ness was also used as an Atomic Weapons Research Establishment. The ness remains haunted by the abandoned buildings and unexploded ordinance of this military occupation.
Orford ness is a restricted landscape; visitors are warned to keep to the ‘route’ and large areas are off limits. The geometry of blast walls, laboratories and observation stations interrupts the terrain. The architecture of these derelict sentinels quietly observes the horizon, amplifying a sense of vacant stillness. Through the concrete stare of windows, the buildings keep watch on this vacancy, the isolation and secrecy of their accommodation, strangely reminiscent of bird hides. On the roof of bomb ballistics building, binoculars place the ness under the surveillance of a military lens, a series of lines measure and map the landscape viewed. Whilst a breeze ascending the metal staircase, surrounds the building in a harmonic mist, an almost inaudible howl, which hangs in the air like tinnitus.
In accordance with the source of its formation, the soundscape of Orford ness is dominated by the aerial and intermittent: the rumble of wind against the ear, the pits of silence that appear when the breeze drops or is physically obscured. Inside the buildings and behind the blast doors, the occasional draft and clatter of metal interrupts an empty quiet. Outside, animated by the wind, the rope of a flagless pole taps out a signal of distress: a telegraph of unknown content delivered to an anonymous recipient.
air on a hinge: composition for three doors
A monochrome tower in a flat and pallid landscape, inclined to the ocular, the Black Beacon seems appropriately conspicuous. The word ‘beacon’ has its etymological roots in light, fire and desired visibility. However, in counterpoint to this emphasis on the visible the conspicuity of the Black Beacon also results from an allusion to the unseen, invisible and auditory. Built in 1929 as part of the Orfordness Rotating Wireless Beacon Radar System the BlackBeacon was once part of an audible map of the terrain. (Ra)dio (d)etecting (a)nd (r)anging the unseen, the beacon provided a navigational fix for those otherwise lost at sea.
As I climbed the stairs of the beacon my ear was caught by a slight and plaintive whine. This transmission was occasional and intermittent, suspended moans followed by sharp high frequency yelps. I used the rotation of my ear and the volume of the sound to detect the site of its origin. Through this physical radar, my ear (and eye) fixed on the rusted hinge of a door, which, when caught by the draft of a sea breeze, transmitted a sonorous aerial code. As part of its station sequence the Black Beacon had once broadcast in Morse the letters “V” and “B”, now the hinged air pronounced its own alphabet, an ethereal dot and dash, a persistent unanswered signal enunciating loss.
foraminifera: acid dissolve (sketch for wednesday) | 03:16 | 2014
23/07/14 | 19:00 | The Railway, Winchester | SO22 5AE
after the rain: a live set of dead sounds
for field-recordings, found voices, foraminifera, ammonite and dinosaur shell.
I will be performing a live set of dead sounds as part of Fluviology; an evening of experimental music, organised by Joe Evans, founder of runningonair records. The evening includes performances by Delphine Dora, Sophie Cooper and Joe himself. The word fluviology is defined as the study of watercourses or rivers and all the sounds performed at the event will have some association with water. For my own part I have used the opportunity to listen through the damp corners of my archives; not only the fields I record but also the found sounds of discarded cassettes and obscure discontinued vinyl records. Strangely a number of the found recordings feature people talking about the weather and in particular rainfall. More abstractly, my own recordings have a deluge of watery substance from the submerged yelp of a forlorn jetty, and the traction and rattle of steam trains to the effervescent dissolve of an ancient ammonite. As I discussed in my previous post, water and sound share a sort of ‘substantial nothingness’ (Bachelard) a dynamic materiality that exists on the edge of tangibility, water and sound are continually escaping form and permanence. I want to maintain the dynamics of this fluidity in the performance for Fluviology. after the rain, will include a ‘live’ recomposition of the sound installation, rain choir, based on the original field-recordings and later recordings coloured by the acoustics of its installation in the crypt of Winchester Cathedral. As discussed in a previous post, the ‘live’ performance of field-recordings is always slightly problematic. The history and act of field-recording is associated with preservation and conservation; from the field-recording of folk music, to the ‘capture’ of animal noises and environments (soundscapes) threatened with extinction or destruction. In this way field recording is at odds with the dynamics of the substance it ‘preserves’. The act of recording tacitly entombs sound in the past; a moment removed from the essential fluidity of the present. For me field-recording has an innate relationship with failure and loss, the sounds I collect and keep are fossilised shells, dead sounds buried in the taxonomy of my archive. Performing them ‘live’ would seem to just augment their loss. But are there ways that these dead sounds may be reanimated? The collision and collage of juxtaposition creates ‘unique’ and vital sound fields, specific to this moment. The use of analogue recording equipment introduces its own vitality of decay, we can hear the damaged memories of harm as sounds age and corrupt; sound engages with the present by voicing disappearance: making loss apparent also animates.
In a previous post I mentioned how the sound of water and in particular rainfall evokes a strange sense of isolation and reverie. In the films of Andrei Tarkovsky, the acoustic (and visual) presence of rain quietly soaks the viewer in a sensual intimacy full of memory and reminiscence. I think this mnemonic quality of rain comes from the dullness of its voice. Consistent and uneventful, we are drawn into the conversation of its vacancy, listening ever closer, to the pattern of drip and tonality of drop.
‘Nobody started it, nobody is going to stop it. It will talk as long as it wants, the rain. As long as it talks I am going to listen.’
Thomas Merton in, David Abram, The Spell of the Sensuous
Water is a mysterious element […] it can convey movement and a sense of change and flux. Maybe it has subconscious echoes — perhaps my love of water arises from some atavistic memory of some ancestral transmigration.
I was recently invited to contribute to If Wet at the Flatpack Festival in Birmingham. Devised and organised by Sam Underwood and David Morton, If Wet normally takes place in Callow End, Village Hall and is ‘part test bed, part salon; a place for artists to showcase their latest sonic works and research’. It is not an event exclusively concerned with wetness, its title coming from the traditional English retreat indoors in response to a sudden downpour. However, for this urban excursion, If Wet focused (eponymously) upon the sound of water, bringing together a babble of soggy voices. Beginning with a short history of MortonUnderwood’s “water instrument” and included a gorgeous and possibly erudite recital upon said instrument. I say possibly erudite because, as a new instrument, a definitive method of playing is still to be discovered and the full vocabulary of its wetness yet to be heard. Prof Trevor Cox introduced some awe inspiring acoustics from his Sonic Wonderland, instruments and spaces, which operate at the intersection of human endeavor and natural phenomena: from the disconsolate (Tom Waits) moan of a Wave Organ to the longest reverberation in the world, formed in the vast emptiness of Inchindown oil storage tank, Scotland. For my own part I chose to consider and discuss the relationship between sound, memory and water using three of my dampest works: four walks around a year, ˈtʃɔːk: eight studies of hearing loss and the installation rain choir.
In his book The Strange Familiar and Forgotten Israel Rosenfield questions the idea of memory as a fixed system of storage and retrieval. Proffering a dynamic model, Rosenfield writes:‘We understand the present through the past, an understanding that revises, alters and reworks the very nature of the past in an on-going, dynamic process’.
Sound too is dynamic; a space ‘without fixed boundaries…[auditory space] is always in flux, creating its own dimensions moment by moment’. Water shares this state of flux, just as sound is coloured and formed by the present situation of its audition, water borrows its form from its current place of occupation. For Gaston Bachelard the substance of water is ‘full of reminiscence and prescient reveries’. Metaphorically we also lend the substance of water to memory; our memories have fathomless depth, they sink, submerge and rise to the surface of consciousness. Four walks around a year: winter, the final perambulation of a soundwalk quartet through the wet-lands of the winnall moors reserve in Winchester (UK), begins with an archive recording of city residents remembering the flooding of the moors in the years before and after ‘this last war’. These voices, which flood the landscape with history, emerge and submerge beneath the crisp, slowly thawing soundscape of winter. That which was then solid now melts, the sound dissolving not only the landscape, but substance itself.
Chalk (mirror) dissolve: after Robert Smithson
As part of If Wet, I performed a live dissolve, immersing various fossils and fragments of chalk (microbiological fossils) in vinegar. This process of sublimation, explored in ˈtʃɔːk: eight studies of hearing loss, makes audible a flight from substance, as the effervescent pre-historic CO2 escapes back into the present air: like a breath held in matter for millions of years, now quietly exhaled. One of the chalk fragments dissolved was ‘borrowed’ from an incarnation of Robert Smithson’s Chalk Mirror Displacement (1968). This was not intended as an attack on art history, but rather a sympathetic homage to Smithson’s occasionally visible Spiral Jetty. In counterpoint to this sublimation of matter, Trevor Cox, acoustic engineer and author of Sonic Wonderland, introduced us to the Great Stalacpipe Organ in the Luray Caverns, Virginia, whose ‘pipes’ have slowly dripped into solidity and stone: a precipitation into (sonorous) form.
A ghost of previous rain: recomposed version of the rain choir for If Wet
The sound of rain evokes a strange sense of isolation and reverie. In the films of Andrei Tarkovsky, its acoustic (and visual) presence quietly soaks the viewer in a sensual intimacy full of reminiscence and memory. As a wet conclusion to my talk I composed my own ghost of previous rain. Based on recordings of and from my site-specific sound installation rain choir, exhibited last year in the crypt of Winchester Cathedral, this acoustic shower mixed the drip drep and drop of gutter recordings with the live dissolve of limestone fragments taken from the walls of the crypt. Water can dissolve and dissipate, but it may also combine and associate. In his autobiography of sight-loss, Touching the Rock, John M. Hull describes how the sound of rain: ‘has a way of bringing out the contours of everything; it throws a coloured blanket over previously invisible things [and] creates continuity of acoustic experience […] The rain gives a sense of perspective and of the actual relationships of one part of the world to another.’
Yet this ‘perspective’ remains acoustic, in that it is fluid and dynamic, place emerging and disappearing in sonic detail, ‘moment by moment’ without the concrete solidity of visual form. In his book Water and Dreams, Gaston Bachelard recognises this ability of water to simultaneously dissolve and unite: ‘The first to be dissolved is a landscape in the rain; lines and forms melt away. But little by little the whole world is brought together again in its water. A single matter has taken over everything. “Everything is dissolved.”’
Just as the sound of CO2 escaping from a dissolving fragment of chalk, quietly announces the immanence of nothing in everything, so too the sound of rain remembers the ‘substantial nothingness’ of water. For John Hull, listening to the rainfall, extinguishes the borders between himself and the wet landscape, as if each raindrop were falling in his brain, he becomes one with the rainfall, a drop of rain at once present and disparate, substantial and not.
O soul, be chang’d into little water-drops,
And fall into the Ocean – ne’er be found
The final part of my seasonal quartet, four walks around a year, is now available from the German sound art and field-recording label Gruenrekorder Digital. Based on two years of recordings made in the Winnall Moors Conservation Reserve (Winchester, UK) the four sound walks have been slow released throughout 2013, beginning with spring in May 2013 and concluding with winter in January 2014.
Working with Hampshire and Isle of Wight Wildlife Trust, the sound walk project (documented on the project blog) was intended to not only to record the different elements of the soundscape, but also to use recording to reveal and disclose the temporal patterns and sonic qualities of the moors landscape. The resulting sonic perambulations would provide a form of audio guide that would enable visitors to walk around the moors in the acoustic company of a previous season.
Listening to the cold, empty and brittle soundscape of the winter walk, I was struck by its contrast to the present landscape of the flooded moors in 2014. Recent rainfall has caused the Itchen to break its banks and pour across the moors. The gravel paths around the reserve are now under several inches of river, with the mumbled voices of water leaking everywhere. The previous creaking transit of footfall over a frosted and frozen boardwalk is now replaced by the splish and splash of puddles and wellington boots. Coincidently the winter walk begins with the anonymous chit-chat of people reminiscing about other winters, when the posh boys from Winchester College, would cut through the banks of the river to flood the moors with freezing water, turning them into a temporary ice rink.
WordPress allows several sound files to be played simultaneously, which permits the initial intention of mixing together the past and present soundscape to occur, without having to visit the moors: people may now flood this previous winter with the dank sounds of the present inundated landscape. The sound files below include extracts from four walks around a year: winter alongside a series of recent field-recordings from the flooded moors. You are invited to use the sounds to listen and compose your own flood of winter.
Four walks around a year: winter / dawn with sporty
The rain choir is a new sound installation commissioned by the arts event 10days Winchester and taking place in the crypt of Winchester Cathedral.
The piece is based on ‘field-recordings’ of rain, as it falls through the tympanic guttering system of the Cathedral. Fragments of the Limestone walls dissolving in oil of Vitriol (sulphuric acid) and vinegar add an effervescent static to the rising damp of this motet for wet and secreted voices.
Using an array of hydrophones and acoustic and contact microphones, the field recordings explore the rhythm and timbre of the metallic guttering, as it transports rain away from the buildings canopy. The drainage systems provides a unique spatial acoustic, colouring the sound of rainfall and picking up other peripheral notes from the cloistered soundscape of the Cathedral Close: the peal of Sunday bells, the enclosed footfall and conversational echo of passers-by.
rain choir: opening (edit)
In addition to the audible downpour of such voices, the very fabric of the building is explored as a site of unpronounced voice. Just as the graffiti covering the internal walls, creates a visible silence, a palpable but unspoken history, so too the Limestone used to build the Cathedral contains its own petrified voices. Formed from the skeletal remains of pre-historic marine organisms, such as corals and Foraminifera (“hole bearers”), the stone contains the respiration of primeval life forms and landscapes. The external walls of limestone are pitted with holes and crevices, evidence of changes in atmospheric conditions and the corrosive effects of rainfall. Dissolving small fragments of these walls in acid produces an acoustic time-lapse of the process of corrosion. Just as the acid concentrates the harm caused by centuries of rainfall, so too the noise of this dissolve concentrates the attention of the ear upon the sonic details of decay and disappearance. Through this naive chemical action, the effervescent charnel noise of ancient CO2 is made audible. Voices once ‘confined’ in stone are released from permanence and solidity, taking ‘the ear strangely’ in an occasional shower of quiet geological rain.
rain choir: after the fall (edit)
The Cathedral is the final resting place of St. Swithun and was once itself in danger of collapse, through the flooding of its foundations. So the building has a metrological, hagiographical and mythological relationship with rainfall.
The proverbial saint and former bishop of Winchester St. Swithun asked that his body be buried in the grounds outside the Cathedral, so that it may ‘be subject to the feet of passers-by’ and the rain dripping from the eaves of the building. Such experiences suggest an appeal to auditory sensations; St Swithun was perhaps listening for the buried percussion of footsteps and rainfall. In 1906 Walter Walker dived beneath the flooded crypt in order to reinforce the foundations of the building, which was in danger of sinking beneath the sodden earth. Even now, the eastern transept is downwardly inclined and every winter, when the groundwater rises, the crypt floods with water.
Through the choir’s internal relocation of rainfall, the installation mimics the movement of St Swithun, whose body was exhumed and reburied in a shrine in the retrochoir behind the alter of the Cathedral. The rain, which once fell above the decaying but attentive ear of St Swithun, now pours beneath his mortal remains in the shrine where he rests. The choir presents an enclosed ghost of rain, a concealed but sensuous downpour that describes and is itself described by the karst topography of the Cathedral’s architecture.
Two single-sided 10” records were made, each cut with a silent groove. Revolving at 33rpm, each record was ‘recorded’ without input and provides over 7 minutes of soundless revolve. Something strange and quietly hypnotic occurs when you place such a record on a turntable and watch as the dampened fall of needle finds the groove. The record ‘plays’ without the expected audible consequence, making silence appear to double. The lack of synchronicity between sound and action seems to cause time to pause. There is a sense of displacement, and I feel slightly transparent. But the experience is more meditative than disturbing.
In an act of microphone-less field recording, I used the two records to record the tides at Holme-next-the-Sea and Cley. On the beach at Holme, I walked to the shoreline and placed a record in a stream of seawater. As the tide came in, each wave covered the record in a layer of sand, the particles of silica rolling over the surface of the mute spiral. After seven minutes the record was rescued from the sea, tidemarks of sand appearing on its surface, as it dried in the sun. On the shore at Cley, the retreating sea pummelled the surface of the remaining record with waves of roaring shingle.
Tide: Holme-next-the-sea | sand | tide coming in | edit
Tide: Cley | shingle | tide going out | edit
Returning each record to the platter of the gramophone, the needle moves across the coast of the silent vinyl spiral, meeting and dislodging particles of sand as it listens to the damage done. The revolve of the vinyl echoes the rotation of the earth, while the needle redistributes the sand across the surface of the record, rebuilding it’s own coastline . In the surface noise of self-harm, we can hear the records memory of water, as two quiet tides of time and silence.
I now imagine a vinyl index of tides, a tidal clock, mapping the coasts of England, the rotation of the earth and the gravitational pull and push of the lunar calendar.
I recently visited the chemical abode of Dr. Simon Park with the nefarious intention of immersing a hydrophone in Sulphuric acid and listening as it recorded the sound of its own dissolve into silence. I provided the hydrophone and Simon provided the acid (also known as oil of vitriol), along with the appropriate protection of gloves and goggles. We decided to conduct the experiment outside on a garden table, its surface protected from harm with a copy of the Sunday Times supplement, featuring Princess and sprout.
Unfortunately, this vitriolic and potentially expensive experiment failed, the Jez Riley French hydrophone quietly surviving all attempts at chemical destruction. However, we were able to conduct other experiments into the sonification of chemistry. Simon has recently been encasing deceased bumblebees in the blue sarcophagi of copper sulphate crystals. Knowing the anhydrous properties of the compound, Simon suggested we listen to the compound (also known as blue vitriol) quenching its thirst for water. As he dropped the white powder into a plastic container of water, we could hear the exothermic reaction, as energy was released in a short, but deep blue fug of sound. Using a pipette we dripped precisely measured droplets of water onto a hydrophone covered in the compound, producing sonic eruptions of blue, like tiny burns in the surface of audition.
I am currently working on a new sound piece for Winchester Cathedral, which will take the form of a rain choir. The Cathedral is the final resting place of St. Swithun’s and was itself once in danger of collapse through the flooding of its foundations, so it has both a metrological and mythological association with rainfall.
The Cathedral Limestone walls are simultaneously pitted and smoothed by the chemical action of centuries of sulphurous precipitation. As one of the possible voices in the rain choir, I am exploring the sounds generated by this chemical dissolution. Dissolving small fragments of Cathedral Limestone in oil of vitriol, produces an acoustic time-lapse of the process of corrosion. Just as the acid concentrates centuries of rainfall into a brief moment, so too the noise of this dissolve concentrates the attention of the ear upon the sonic details of chemical decay. In an almost electronic emission, reminiscent of an un-tuned radio the sound of dissolve continues to change as the acid burns beneath the surface of the limestone revealing the karst topography of its geological and biological history: a fossil choir of coral and shell.