Peter Christopherson: Nothing here now but the recordings
Constrained Radio, a weekly show for SoundArt Radio in Devon, is curated by the writer, artist, and teacher Mark Leahy. For the latest edition, Nothing here now, Mark and I collaborated on a montage of found sounds, field recordings, documented paranormal voices and experimental music. With a title shamelessly cut from the Industrial Records album of early tape experiments by William Burroughs, the co-curated hour invokes and divines the unseen, uncanny and ethereal landscapes of the unknown. Radio is a perfect channel for such sonic divination. Steven Connor writes, ‘what is heard in the atmospherics [of radio] [is] the fracture and fluctuation of time; […] a time out of joint.’ Marconi himself believed that his wireless signals might ‘pick-up the sounds of long-dead men […] drowned in the Atlantic.’ In the magnetic ether of radio transmission, the past and the future ‘leaks through’.
‘What I say goes.’ writes Connor. Our voice leaves and takes the air. According to Konstantin Raudive, the vocal entities of EVP, expressed a preference for communication via the airwaves, with one voice proclaiming, in what I like to imagine is an accent somewhere between the Carry-on of Kenneth Williams and vaudeville of Frankie Howard: “What a rascal, switch on the radio!” Raudive believed radio was so popular on the other side: ‘…various groups of voice entities […] operate[d] their own stations.’
Nothing here now, opens with a premonition, during which various sonic entities breakthrough: Edison taps out a spiritual telegraph, whilst a mother speaks with her departed son, a fragment of Radioland is found as a test signal tap, tap, taps on the wooden shell of Marconi’s Lizard Wireless Telegraphy Station in Cornwall.
In three movements the broadcast mingles the possessed voice of children and EVP excavations of composer Michael Esposito, with airs of animal spirits recorded in Xingu in 1975 and looming ‘disturbed trance’ of Alice Kemp’s ‘A Gold Blade To The Back Of The Head.’
The second movement opens with Sally Ann McIntyre’s, Collected Huia Notations (2017), which ‘re-collects’ from several western musical transcriptions, the extinct voice of the Huia bird. Transcribed to wax cylinder these vanished ‘songs’ can be heard quietly disappearing again. Stephen Cornford’s, Electrocardiographs of a Cathode Ray Tube (2016), medically and methodically surveys the surface of expired technology. This section also includes a recording of my performance of Séance for six radios at the John Hansard Gallery in 2019.
Sally Ann McIntyre
Seance for hour-hand and harp
The final movement opens with the paranormal music of Séance for hour hand and harp: the tapping hour-hand from a dismembered clock plucking music from thin air. A found answerphone message from my own archive of found recordings is followed by Gwen’s Prayer (2005) from David Clegg’s Stories from the Trebus Project, a project where Clegg worked to capture the stories ‘of people living with dementia; stories ‘from the edge’ that would otherwise have been lost.’ The broadcast concludes with Alice Kemp’s Secret room accessed by a passage written in green ink (2016) and Psychic TV’s Proof on survival. Recorded without microphones, using Zuccarelli Holophonic, Proof on survival records the sound of soil falling on a coffin as, ‘Ringo’ (a skull, which is also the transmitter for the Zuccarelli system) is buried ‘alive’ in a grave in Farnham.
Nothing here now is broadcast on SoundArt Radio at 12pm on Wednesday (24/06/20). If you are in Totnes you can tune in on 102.5 FM or you can listen live on-line at: soundartradio.org.uk There is a full track list on the soundart radio website and the programme will also be available in the soundartradio archive.
Coincidently, the cover of “Nothing here now but the recordings” (1981), was designed by Peter Christopherson and the album curated by Genesis P-Orridge, who also wrote the sleeve notes. Genesis ‘dropped he/r body’ in March of this year.
On Friday the 31st January 2020, I arrived at Winchester School of Art Library to find a table ‘reserved for activity’. It had been one year and one day since Silence on Loan was added to the Artists’ Book Collectionat the WSA Library. Held without the protection of cover or sleeve the book (a single-sided 10” dubplate cut with a silent groove) is shelved at 741.64 HEG. Wedged between the hardbacks, this mute slither of vinyl is easily overlooked, but once a year it is taken from the shelf and placed on the platter of a portable turntable. [Re]turning at thirty-three and a third revolutions per minute the dubplate slowly pronounces the dust and harm that has come to its surface: the silence that has been lost. Once played the silence is put back on the shelf, where it is left un-sounding for another year.
As a performance, this annual audition is rather disappointing; nothing much happens for slightly more than nine-minutes. Those who are here to hear (and those library visitors who’s listening the silence loans) listen to silence being broken and unheard. Perhaps the tables are turned, and it is the listeners who perform the silence rather than the record player’s stylus. For many of those who came, this is a return to silence, having been here last year when Silence on Loan was performed at the moment of its inclusion into library stock. Just as the dust collects in the groove, so silence returns and gathers in the ear of those who come to listen and remember listening again.
Everyone who is, and now was, there to hear, receives a souvenir in the form of a Silence on Loan 2020 pin-badge, whilst a paper wristband and UV hand-stamp, temporarily confirm admission and attendance.
I had been inclined to record each performance, so that I might document and measure the changes that time brings to the silence. But such calculating permanence would surely imprison that which does not sound, that which is fragile, fugitive and evasive. Silence, is more concerned with the potential for sound than its absence, most [in]audible when we imagine what we don’t hear. The analogue frailty of a physical recording can be used to augment this un-sounding potentiality. The performance on the 31st was documented using an old portable audio cassette recorder. Such obsolete media is characterised by a distinct lack of [hi] fidelity, recording its own imperfections and imposing its own magnetic patina upon the sound it records. This failure to create a faithful document is enhanced by the recording not being monitored – the tape can be seen slowly winding from left to right, but no lights or needles visibly meter the units of volume.
The quantity of tape used measures the duration of silence recorded, transcribing [no] sound into a spatial length, but the cassette is never played, and the silence remains unheard. Paused at this distance, the silence waits next year’s anniversary, when it will be re-wound and next year’s silence recorded over this. An [un] sounding and unfaithful record, this audio document, simultaneously returns and erases the silence of another year.
The next performance of Silence on Loan will be in January 2021
A perfect summer’s day. Sunshine, slight breeze. The Ness ablaze with flowers.
Derek Jarman, Modern Nature
Seagulls flocking over Ness [field-recording]: 02:00 / mp3 / 2019
At 9:15 AM on the 24th July 1991, the Post Office collected a hand-written envelope, that had been dropped into a letter box in New Romney near Dungeness. A day later, a bright orange envelope, addressed in a flourish of black ink, fell onto the floor of a one-bedroom flat in Park Fields, Wolverhampton. Addressed by Derek Jarman this envelope is kept between the pages of a copy of Modern Nature.
In June this year, Modern Nature featured on the BBC Radio 4 series, Book of the Week. Beautifully read by Rupert Everett the programme was recorded at Prospect Cottage, Jarman’s home in Dungeness. Everett reads from the desk where Modern Nature was written, and an orange envelope inscribed. The letter enclosed within that envelope ends with the words: ‘Dungeness is all flowers.’
Since receiving the letter in 1991, I have wanted to return to Dungeness and see Prospect Cottage in full flower. This summer, twenty-five years after his death I finally returned. I say ‘return’ although I had never actually been to the Ness. And yet, having waited so long, it does feel like a return of sorts, a return to somewhere I have never been and to a memory I am yet to forget.
Listen. Listen now. Listen to Ness.
Ness speaks. Ness speaks gull, speaks wave, speaks
bracken and lapwing, speaks bullet, ruin, gale deception.
Ness speaks […] transmission, reception, Ness speaks
pure mercury, utmost secret, swift current, rapid fire.
Listen again. Listen back. Listen to the past of Ness […] 
As part of the ‘fifth continent’ Dungeness is set adrift, detached, flat and exquisitely bleak. Closer to Calais than London the Global Positioning System of my mobile, ignores Brexit and positions me firmly in France. On the shingle, the derelict shell of a wooden shed , is thought to have been built by Marconi as part of his experiments with the transmission of wireless radio signals across English Channel. The airwaves still chatter in the frequent modulation of broken English and spoken French. Like many of the buildings on the Ness, Marconi’s ‘Wireless shed’ has been converted into a modernist holiday home.
A physical and architectural neighbour to the Wireless shed , the Fog Signal Building is part of the Trinity House Experimentation Station . In August of this year it became the site of my most recent covert residency and micro-FM transmission. The industrial bungalow lies low in the shingle at the very tip of the headland. Rising from its flat concrete roof, the perpendicular pluck of a decommissioned radio tower breaks cover, transmitting a ghost of presence in the horizontal empty – Ness. Every morning a small electronic murmur of starlings settles on the tower, briefly recommissioning transmission.
Fog Signal Building once housed the air pumps, whose compressed breath, mouthed through an array of six horns, tested the distance and propagation of fog signals. An architectural ghost of these forgotten voices remains in a monochrome tower of mute horns, which peaks over the sine waves of shingle, bellowing silently, out to sea.
Formed through longshore drift, the ‘dangerous nose’ of the Ness is constantly wiped by oblique incoming winds. And yet the landscape seems strangely still, evacuated of presence, it oxidises quietly. On the horizon the sea is visible, but it’s sound remains distant and remote, an audible rumour behind a vast tide of shingle.
Considered one of the quietest places in the UK, in the 1920’s the Ness was referred to as ‘the nearest approach to silence […]’ and selected as a good site for the large array of three acoustic mirrors at Great Stone (aka Denge). The early warning system of these concrete ears extends along the Kent coast, from Denge to Hythe, onto Dover and the South Foreland Lighthouse, where in 1899, Marconi conducted the first international radio transmission.
As part of the HytheAcoustical Research Station, the sound mirrors at Hythe were constructed by the Air Ministry in the 1920’s with the largest of the two (30ft) being completed in 1929. Designed to survey the air, the mirrors listened out for the incoming propulsion of enemy aircraft. Although successful in tests, by 1936 the acoustic premonition of sound mirrors was superseded by the electromagnetic scan of RAdio Detection and Ranging.
At the summit of The Roughs, overlooking the beached military ranges below, the largest of the Hythe mirrors survives. Tagged and crumbling, its cracked concrete ear still listens. ‘[A]lone with nothing particular to listen to’, perhaps as Derek Jarman writes, ‘this is [its] finest hour.’ As I ascend the hill and reach the mirror, I hold a microphone out into the oracle [Auricle] of its hollow, and I am suddenly confronted with a burst of gunfire, the echo of its acoustic shrapnel shattering the mirror’s derelict silence. Francois Bonnet notes that ‘the echo, produced by the repercussions a multiplied sound […] establishe[s] a supernatural sonorous environment’. Brandon Labelle also recognises the ghosting of acoustic delay when he writes: ‘the echo is a sound that comes back to haunt [ …]’. Just as the mythical Echo wasted away, her bones turning to stone, so too the percussion of the ballistics recurs, an echoic and fugitive spirit, mineralised in the concrete of the mirror.
Air Harp n.3: 04:12 / mp3 / 2019
My previous transmissions at Lizard Wireless Telegraphy Station were composed of sounds found and recorded in the surrounding landscape. At Fog Signal I decided to not only listen into the landscape, but also introduce other sounds into it. The ‘air harp’ is a cheap second-hand auto harp, ‘prepared’ with the flotsam of wood, screw and polystyrene washed up onto the Ness. Performed by the wind, this automatic aeolian harp, uncovers the murmuring music of sea breezes.
But from where and whence do these ghostly melodies come? Athanasius Kircher, who first described the Aeolian harp in 1650, ‘surmised that the wind comes in rays’, plucking the strings and causing them to sound. Whilst, in Physiological Disquisitions, the 17th century natural philosopher William Jones proposed that the music of the Aeolian harp originated not in the strings, but in the air itself. The harp operated as a ‘sound prism’ ‘[refracting] the wind,’ dividing and revealing ‘vibrations […] already present in the air.’
Pebble arc: 02:40 / mp3 / 2019
Fog Signal Transmission [harp and signal] edit: 03:00 / mp3 / 2019
The transmission at Fog Signal, begins as the beam of the Dungeness lighthouse automatically announces night fall. A line of pebbles cast onto the shingle, traces an arc of auditory space and presence. The auto harp sounds, divining the air and revealing a concert of signals already present. I transmit to an unknown and unknowing audience, the transmission, like sound itself, disappearing in the moment of its appearance. Signals lost are sent, received and lost again. No one is listening, nothing is heard.
 Robert Macfarlane & Stanley Donwood, 2019. Ness. London: Hamish Hamilton. p.5
 This shack appears in the landscape of Jarman’s The Garden (1990).
 It is difficult to confirm that Marconi built the ‘Wireless Shed’ in the 1890’s. The building is also refereed to as the Decca Radar Station, built by the Decca Navigator Company in 1961.
 Fog Signal Building and the Experimentation Station complex were redesigned by the Interior Architects Johnson Naylor
 Richard N Scarth. 1995. Mirrors by the sea. North Elham: Minnis Print Ltd. p.5
 Derek Jarman. 1991. Modern Nature. London: Century. p.72
 Francois J. Bonnet. 2016. The order of sounds. Falmouth: Urbanomic. p.25
As the publisher of the artists book Silence on Loan, I have been asked to supply the five Legal Deposit copies of the publication to The Agency for the Legal Deposit Libraries in Edinburgh. The original Legal Deposit copy has already been deposited with the British Library and these five additional copies are for the remaining Deposit Libraries: The Bodleian Libraries of the University of Oxford (BLO), The National Library of Scotland (NLS), Cambridge University Library (CUL), Trinity College Library, Dublin(TCD), and the National Library of Wales (NLW).
Each hand-stamped copy is identified with the initials of a specified library and accompanied by a typed letter providing details of the publication. As with all prints of Silence on Loan, the Legal Deposit copies are published without the protection of a sleeve or cover. The deposits were sent recorded delivery and signed for by The Agency for the Legal Deposit Libraries.
Together with the original copy of Silence on Loan in the Artists’ Book Collection at Winchester School of Art Library (University of Southampton), these Legal Deposits create a form of silent archive, quietly gathering dust and harm in the ‘closed stacks’ of the libraries’ catalogue.
Searching for the publication via SOLO ( Search Oxford Libraries Online), I discover Silence on Loan is stored ‘off site’ with a status of ‘closed stack’: part of a collective silence, held, forgotten and perhaps never heard, but always being written.
And our ears
Are formed of the sea as we listen 
On Saturday the 4th May 2019 a final silence was lost to the sea off the coast of Holy Island, Anglesey. One of four such disappearances, this concluding silence sank beneath the waves of the Irish Sea on a bright spring day, in [plain] sight of the South Stack Lighthouse. The Metadata of a photograph taken at the time of disappearance, positions the silence at an altitude of 72.07 m with the global coordinates of: Latitude: 53,18.1428N / Longitude: 4,41.3708W.
The quartet of missing silence consists (or consisted) of four single-sided records; each cut with a silent groove and lost to the seas surrounding the UK over a period of four years (the Irish Sea, North Sea, English Channel and Celtic Sea). Each record is labelled with a request for return, care of the British Library Sound Archive. A small advert placed in the Lost and Found section of The Times newspaper announces the site of the silence lost. Published on the day of disappearance, this advert functions as both a premonition and record of loss. The announcement, together with a photograph of the sea into which the record disappeared, and an empty, preservation grey, archival sleeve, are the only ‘proof’ of the records existence and its silence being lost.
In his book Sound, Michel Chion considers the ear as ‘a link between different worlds (real and imaginary) and different registers (physical and mental).’ Just as the silence lost directs our listening toward an imaginary absence of sound, so too the circumstantial (physical) evidence of loss requires that we imagine and believe silence once existed and has now disappeared. The emptiness of the archival sleeve quietly anticipates return, a return that may enable silence to sound [again]. And in this silence lost, we listen without listening for, we place our ear against the shell of sounds that have not yet been caused to vibrate. [Waves…]
Silence and weak signals live: part one  5:23 / mp3 / 2019
Silence and weak signals live: part two  5:28 / mp3 / 2019
Silence and weak signals live: part three  5:27 / mp3 / 2019
To mark the end of the exhibition of Various Silences at Winchester School of Art Library, I performed a short micro-FM transmission in Library 2. Silence and weak signals: for five poorly tuned radios, was accompanied by the live dissolve of a cretaceous ammonite, a dissolve that quietly released the fossilised air of ancient C02 into the atmospheric lull of library stacks. The performance begins with a damaged silence as I take Silence on Loan from the library shelf and drop the stylus into its groove. Tuning into the dead air between radio stations, I find silence and weak signals coming through the radios, whilst the tapping of the library shelves and architecture, calls substance into question and asks for a response from elsewhere.
Each day of the exhibition, a page of the erased found novel Red Silence: for the missing, was turned. As I removed the novel from the exhibition, the silent dust of language rubbed out and unsaid, remained on the cabinet floor.
At the end of January 2019, a silent vinyl record was quietly slipped into the Artists’ Book Collection at Winchester School of Art Library. The latest edition in an on-going series of silent releases, Silence on Loan is a single-sided 10” vinyl disc or dubplate. Cut with a silent groove, this dubplate is not a copy or replication of silence, but rather a record of a moment when nothing was recorded.
Silence on Loan is shelved without the protection of cover or sleeve so that the harm and dust that comes to its surface, might write an audible trace, a phono-graph, of its presence in the collection. The mute addition to the library stock was announced with a ceremonial playing of the [unrecorded] silent record. The audience was small, including those who had come to listen and other library users, whose audience and listening the silence borrowed. It is intended that this performed silence will be repeated annually, or at least until the damage sustained results in the record itself becoming unplayable and dumb.
Various Silences: 1999 – 2019 03/04/19 – 29/04/19
Winchester School of Art Library Park Avenue, Winchester, SO23 8DL Opening Times Under the Legal Deposit Libraries Act (2003), the publication of Silence on Loan (ISBN: 978-1-5272-3880-0) requires that a copy ‘of the same quality as the best copies’ be deposited with the British Library. The ‘original’ Silence on Loan is exhibited with this dubbed and legally required ‘copy’ in an exhibition of Various Silences at the WSA Library. The exhibition which is open until the 29th April, includes: two seas, one stylus, four records (one missing), and an altered book. I have written a post about the exhibition for the WSA library blog: here
The earliest work exhibited, Red Silence: for the missing (1998-1999) is a found novel, erased over the period of one year, whilst I was studying for my PhD at Winchester School of Art. In rubbing away at the potential sound of printed text, certain words survived, leaving fragments of left over phrases and meaning on the redacted quiet of the erased page.
The exhibition also includes the empty archival sleeve for Silence Lost: North Sea. Silence Lost is a series of four single-sided silent records, lost in the seas surrounding the UK. The exhibited first silence disappeared into the North Sea in 2015; the final silence will be lost in the Irish Sea at the end of April 2019. Each record is labelled with a request for return c/o The British Library Sound Archive. On the day of disappearance, an announcement appears in the Lost and Found section of The Times newspaper. This announcement, together with a digital photograph of the sea in which the record was lost and an empty archival record sleeve, are the only evidence for the existence and loss of silence.
Addendum On the 26th April, I will be performing a quiet micro-FM transmission in the WSA library. This broadcast will be re-composed live from various silence field-recordings that wait unheard, in the annals of my personal sound archive. The dead air of this discreet transmission will bring Various Silences to an appropriately quiet close.
At midday on the 8th January 2015, a one-minute silence was held around the world in memory of the victims of a terrorist attack on the offices of the French magazine, Charlie Hebdo. In Paris, under umbrellas and grey skies, a large crowd of people held their silence in the rain. Later that day, the BBC Radio 4 programme PM broadcasted an uninterrupted recorded extract of this silence. As I sat listening to the dripping static of rainfall through the occasional atmospherics of frequency modulation, I heard my own silence becoming part of a shared silent drizzle of withdrawal. In this brief temporal downpour, time became wet; the borders between here and there, between what is and once was, dissolved.
This description of remembered rain begins my short essay, remembering rain: listening to water and memory [loss].The essay has now been published in the latest on-line edition of Wolf Notes –the publishing arm of Compost and Height. Curated by Patrick Farmer and Sarah Hughes, Wolf Notes #9, features writing by Freya Johnson Ross, Rebecca Glover and Nick Wood, and I am delighted to be in such fascinating company.
Adapted from a paper, originally performed at the Sound of MemorySymposium (Goldsmiths, London) in 2017, the essay is itself a form of remembering. Mingling neuropsychology and the wet reverie of literary oceans, remembering rain, navigates the ‘substantial nothingness’ (Bachelard) of water, sound and memory, drawing in my sound practice – specifically, the installationrain choir (Winchester Cathedral, 2013) and the performed disappearance of Silence Lost (2015 – 2019) – to commemorate the loss inherent in the act of recording.
I am delighted to be speaking at the Transient Topographies conference organised by The National University of Ireland in Galway. Transient Topographies: Space and Interface in Digital Literature and Art is the second Galway Digital Cultures Initiative conference, and will take place at the Moore Institute for Research in the Humanities and Social Studies, Galway, from Friday 20th April to Saturday the 21 April 2018.
My paper, Tapping the air: a wireless topology of listening and communication on the Lizard Peninsular, is based on a covert residency and micro-FM transmission at Marconi’s Lizard Wireless Telegraphy Station, Cornwall, last summer. In a choreographed assemblage of original field-recordings, imagery, text and [attempted] live micro-FM transmission, the paper explores the development of the project within the context of listening, materiality, and loss.
Travelling to Galway is a return of sorts, serendipitously retracing Marconi’s own radiophonic footsteps: following the first transatlantic wireless transmission from his Poldhu transmitter in Cornwall to Signal Hill in Newfoundland, commercial interests led Marconi to move to Ireland, where, in 1907, he built the Clifden wireless station in Connemara, County Galway. The journey also retraces my own family’s emigration from Eire. As a child in the 1920’s, my father, together with his parents and sisters, became economic migrants, leaving home and Connemara for the damp outskirts of Manchester. My father died in 1975, without ever returning to Ireland. In 1987 I returned with[out] him, to find the house he had left, the place where he was born. The elderly woman who now lived in the tiny one-up, one-down, labourer’s cottage, very kindly invited me in for tea, and told me she had moved into the cottage when my father’s family had moved out. Years later I learned that the cottage, our ancestral home, had been demolished and there was nowhere now to return to. Marconi’s Clifden Wireless station is still disappearing, its buildings abandoned to ruin, its contents sold for scrap and no employees surviving to communicate and transmit its history.
Tapping the air: transmission edit part 3. 3:00 / mp3 / 2017
The landscape of the Lizard peninsular is haunted by the architectural remains of listening and communication: from the mast array and antenna at Lizard and Poldhu, to the blast walls of the WW2 radar station at RAF Pen Olver and RAF Dry Tree, the abandoned underground listening of the Royal Corps nuclear monitoring station (a place which still does not appear on maps) to the looming low of the Lizard foghorn and galactic ear of the Earth Satellite Station on Goonhilly Downs . During the residency at The Lizard Wireless Telegraphy Station these hosts of signals sent, received and lost, became the primary focus of the field-recording process, a process which itself became a form of eavesdropping, a listening-in on landscape, a tapping into listening.
Tapping the air: transmission edit part 3. 3:00 / mp3 / 2017
The residency concluded with a micro-FM transmission from the former ‘operating room’ of the station. Tuned-in through six portable radios the performed transmission was based on field-recordings made in the Lizard landscape. These recordings included sounds available to ear and others occluded from audition: the Aeolian strum and automatic Morse of antennas and loose wires at Poldhu, the perimeter hum of security fences at RAF Dry Tree and the Earth Satellite Station on Goonhilly downs, the sentry pulse of Lizard Lighthouse foghorn.
Lizard Wireless Telegraphy Station was the site of Marconi’s first ‘over-the-horizon’ wireless transmission. Prior to this, it was believed that wireless communication was restricted to the optical horizon. In January 1901, the reception of a simple di-di-dit, signalled not only the letter ‘s’, but also an escape from the visible: a flight from the material into the airy immaterial, from permanence to transience. Steven Connor writes: ‘The wireless world promised to cut our connection to the sluggish and annoyingly chopped-up world of time and place and bodies and […] matter.’ The medium of radio offered an insubstantial and ephemeral terrain, where place comes through and passes away. In the atmospheric dead air of this wireless landscape, we hear not only the dissolution of space and substance, but also the ‘fracture and fluctuation of time…’ (Connor).
Lets get lost and found and lost again: sound walking
Let’s get lost. Southampton as the Situationist City is part of Being Human, a national festival of the humanities led by the School of Advanced Study, University of London, in partnership with the Arts & Humanities Research Council and the British Academy. As part of the Southampton Festival, curated by Dr Flavia Loscialpo, I composed a series of vestibular soundscapes for mobile phone and the transient spaces of Southampton.
The public are invited to create their own audible desire line through the acoustic map of Southampton provided by these sonic pins. The audience may listen to the mobile soundscapes in situations and at times of their own choosing, finding and composing their own acoustic path through the city.
The 7 soundscapes will be available via this blog for seven days and the project will be introduced through an evening spent sound walking: a guided perambulation, listening through the transitory acoustic spaces for which and from which the soundscape were composed. This sound walk will be led by myself and will take place after the official opening of the Southampton Festival at Solent Showcase Gallery on Friday 17th November. Tickets for the Southampton festival opening and sound walking event are free and available here.
Following the festival the soundscapes are now available below.
sound walking: lets get lost and found and lost again. Friday 17th November 2017: 18:30 -19:30: Book Now
The seven soundscapes are available below. These can be streamed live from any mobile device or downloaded to a computer and transferred to your phone. It is recommended that participants in the sound walking event download the sounds to a computer via the Soundcloud links below and transfer the soundscapes to your mobile phone prior to the walk on the 17th November. Please note: the soundscapes cannot be downloaded directly from this blog to a mobile phone.
The sound walk will take approximately one hour and will include the use of stairs and elevators and as such may not be suitable for those with restricted mobility. I am grateful to the K6 Gallery for allowing me to use their gallery space as one of the sonic pins. As part of the Southampton’s broader Being Human Festival, participants will be creating a visual map of their listening journey. All materials for this will be provided on the evening.
Thank you to all those who got list with me.
Soundcloud links are no longer active.
The seven soundscapes are available below, presented in the sequence they occurred during the sound walk
Bench: arrivals | 07:02 | mp3 | 2017
Stairwell: ascending | 07:17 | mp3 | 2017
first message for public telephone | 02:00 | mp3 | 2017
second message for public telephone | 02:00 | mp3 | 2017