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Soundcloud links are no longer active.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
I am delighted to announce that two new works for radio will be broadcast as part of Radiophrenia 2017, which begins broadcasting at midnight on Monday 6th November. Radiophrenia is a ‘temporary art radio station, offering a two-week exploration of sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts on 87.9FM, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium.’ Radiophrenia will also be available online.
The two works will be broadcast on the 8th and 9th of November and the full Radiophrenia schedule is available here.
Tappng the air: a wireless ecology of the Lizard Peninsula.
Radiophrenia: 09/11/17 | 09:30 – 10:00
Wireless, the air receives us: ‘scattered souls, in expected or else irremediable exile from matter…’ (Gaston Bachelard).
In the summer of 2017 I took a holiday and covert residence at The Lizard Wireless Telegraphy Station; built by Marconi in 1900 and site of the first ‘over-the-horizon’ wireless communication. Prior to this, it was thought that wireless communication was restricted to the optical horizon, there had to be a ‘direct line of sight’ between transmitter and receiver.
The ‘residency’ concluded in a live micro FM transmission to an audience of one, in what once was the ‘operating room’ of the wireless station. Broadcasting through six radios the performed transmission was based on field-recordings from a local landscape haunted by the architecture of listening and communication: the looming pulse of the Lizard Lighthouse foghorn, the automatic Morse of loose wires and antennas at Poldhu (site of the first trans-Atlantic wireless transmission), the perimeter hum of wire fences that surround the galactic ear of Goonhilly Satellite Earth Station and the abandoned listening-in of RAF Dry Tree.
The piece opens and concludes with the di-di-dit, of Marconi’s test signal, tapping away at the surface of the Wireless Telegraphy Station, a signal answered by the ethereal tap of another letter ‘s’ as performed on the nearby walls of a derelict radar room at RAF Pen Oliver.
the silence of nostalghia Radiophrenia: 08/11/17 | 12:00 – 13:00
One part of a trilogy of silenced films, in the silence of nostalghia, all dialogue and non-diegetic sound has been removed from Andrei Tarkovsky’s 1983 film Nostalghia.
The silence that survives pulls the background into focus, concentrating the attention of the ear on the sonic details of an emerging landscape, wet with the revenants of footfall, entrance and exit. The textures of optical-sound silence, reminiscent of the atmospheric leaks and spillages of radio transmission, amplify the spectral and oneiric qualities of a soundscape where apparitions of place and time seem to appear, disappear, dissolve and fragment.
thunder for three guitars and a trowel | 07:00 | 2017 | mp3
I am delighted to be included in the programme for Datscha Radio 2017. From the 25th August the German radio station will be broadcasting ‘a garden in the air, combining radio, gardening, hospitality and contemporary discourse in a live radio festival from a garden in the north of Berlin.’ The five day radio festival will also be available as a live stream via the Datscha Radio website and subsequently archived online.
The work included was composed specifically for the festival and is based on a series of new field-recordings, which take full advantage of a particularly dank English summer. The field in which I recorded is local and colloquial; that is my own back garden, of uneven bricks, plant pots and things I must at some point do. Things get left in back gardens; they escape use and end up there, waiting for attention, purpose and repair. The nearness of such an enclosed field is helpful to the act of recording rain. I am close to my recording equipment and the site of the transitory unpredictable precipitous event I wish to record. When it rains the garden pronounces an array of wet locutions, from the interrupted drop of rain lolling through the creased guttering of leaves, to the hollow ceramic timpani of a garden pot I must fill and the occasional plink of a seldom-used trowel.
The field recordings used in the new piece differ from many of my earlier works, which are focused upon recording the sound of what is there. In order to record I make myself absent, ensuring my presence does not intrude. I aim to disappear. Informed by the timpani and plink of things left out in the rain, more recent work has included the initiation of sound, introducing things that sound into the field. There is still a sense in which I am distant (I do not attempt to play the things or acoustically intrude) and there is no desire to force the sonic environment into a musical form. The things become instruments for sounding out place, a means of fathoming the patterns and pause of air and rainfall. The arrangement or gardening of things becomes a sort of physical score, a sculptural and horticultural gamelan for the weathered performance of rainfall.
The majority of field recordings used in thunder for three guitars and a trowel were recorded on the early evening of the 18th July. Around 8 o’clock that evening, the sky became yellow, leaves greened, air quickened and shushed. At 8.33pm the first fret of rainfall plucked at the strings of a guitar ‘set up’ with contact microphones and left out to the elements. The pattern thickened as the thunderstorm progressed, the water interrupting the signal from the contacts. Slowly it passed and the garden dripped with the return of birdsong metallizing in the resonance of a crash cymbal and the plaintive wet tick of trowel. The next day I found the silent petrichor of a damp forlorn guitar waiting in the garden, unstrung and murdered by rainfall.
In the aerial garden of the Datsha Radio the rain returns, a low that once moved across a small back garden in Hampshire, now moves across Berlin. A storm now passed continues to excite the air and pour acoustically down.
I recently visited the Robert Rauschenberg retrospective at Tate Modern and saw for the first time the exquisite and fully unfurled Automobile tire print (1953). Choreographed by Rauschenberg, the print was of course performed by the foot of John Cage and the accelerator of a Model T Ford. The twenty-two foot scroll of tire ‘records nearly three revolutions of Cage’s wheel.’ Haunting the dense black tire of line I noticed another tread; a discreet embossed ghost of the un-inked front wheel. In the same room, quietly cornered by the tire is Erased de Kooning Drawing (1953). Together these works question not only authorship and authenticity but also the limits of the visible: the material or immaterial record of action.
These questions resonate with a number of my recent phonographic objects and actions; the microphone-less field-recordings of a silent tide, for which two silent 10” vinyl records are placed in the North Sea, one as the tide comes in and one as it goes out, and the release of silence lost, in which four silent records are [circumstantially] lost to the seas surrounding the UK.
[silent] tire printing
A few weeks ago a friend of mine told me about an auction she was helping to organise to raise money for the musician and artist Greg Gilbert, who had been diagnosed with stage 4 bowel cancer on his daughter Bay’s 1st birthday. I wanted to contribute, and so for Greg and in a sonic homage to Rauschenberg’s Automobile tire print, I placed a 7” silent record under the wheel of my 1964 MGB, drove over it, reversed and repeated that action three times (corresponding to the revolutions of Cage’s wheel). I then inked up the front tire, placed the paper record cover underneath it and repeated the action again, rocking the car gently forward and backward three times.
The turntable revolution of the 7″ record mimes that of the tire. The absence of sound printed into its grooves, now offering a silence interrupted by the material inscription of harm written upon the record’s surface.
[silent] tire print is an edition of one and will be part of the auction for Greg, which begins at 6pm on Thursday 9th March at Re:So in Southampton (viewing from the 7th March). You can also donate here to fund treatment for Greg not available on the NHS.
Earlier this year I was asked by Anna Cady if I would be interested in contributing to Water, the next film from her ‘co-creative’ project, Elemental Dialogues. In 2015 I had contributed to the previous dialogue based on the film, Air, by Cady and Pauline Thomas. Pauline who had began work on this new project, very sadly died before its completion. In many ways this new film, Water, feels like a lament, a quiet lamentation on loss and absence.
As in the previous project, I received a link to a muted version of Water and was asked to use my own practice to ‘interpret or translate’. And again I felt the best way to translate, was to watch the film a few times, then to look away and let my memory work upon it. It was important not to simply create a new soundtrack, but to work with the film (or the memory of it) to develop a sonic landscape in which it may occur.
Pantry Recording: from water recorded in the 13th century Cellarium at Mottisfont.
There is something in the evasiveness of water, its ‘insubstantial nothingness’ (Bachelard), which we can feel but not necessarily touch, that equates to our experience of memory and the unconscious. For Bachelard, ‘[Water] is a substance full of reminiscence and prescient reveries.’ For the film director, Andrei Tarkovsky, whose films are soaked in the continual drip and drop of time escaping and returning, ‘[water is] a mysterious element, [which] can convey movement and a sense of change and flux…[water] has subconscious echoes…’
It is this temporality of water, coupled with the sense of depth and distance created as images submerge and emerge in the surface tension of the film, which persisted in my remembering and which informed my translation. There is a sense of cyclical progression, but, as I have stated previously, the composition is not intended as a synchronised soundtrack, fixed to the film, but rather a work from water and memory, a coincidence for sound and image to coalesce and discord.
In October Anna created an installation at Mottisfont House using the film and it’s interpretation by poets, visual artists and musicians. The installation occupied the 13th century cellarium: a storehouse or pantry belonging to the Monastery which once stood at Mottisfont. This architecture is temporal in intent, creating a space and atmosphere, that privileges stasis and inhibits decay. The cold arch of the pantry, offered an elegant architectural shell in which we could hear the wet soundscapes of sound and poetry, repeat and recur. We could walk through the atmosphere of the film and its dispersed soundscape to find sounds collecting in corners and clinging to the pantry ceiling.
Anna Cady will be present A Balancing Act, an interactive event in the cellarium at Mottisfont House, which will combine projections of the film with the recorded sonic translations, live poetry readings by Joan McGavin, Camilla Nelson and Briony Bennet, and live ‘tacit’ drawings by Mel Rose
On the 12th November the four films from the Elemental Dialogue series will also be screened in the Vintage Mobile Cinema as part of Southampton Film Week.
The second ‘release’ of a silence lost took place on Tuesday 5th April 2016. A 10” vinyl record, cut with a silent groove was thrown into the English Channel at Hengistbury Head, Dorset (50. 42. 7767″ N, 1. 45. 1813 W).
The first silence was lost in The North Sea at Cley, Norfolk, on the 27th August 2015. As with that release, this loss was documented (and instructed) by an announcement placed in the Lost and Found section of The Times newspaper, appearing on the day of release. Each issue of The Times newspaper is held in the archives of the British Library and should they ever be found, each record is engraved with the return address of The British Library Sound Archive.
The existence of the silent record and its disappearance, rely solely upon the circumstantial evidence of, the announcement in TheTimes, a label on an empty record sleeve and a digital image of the sea at the site of release (tagged with the coordinates of meta data). Neither the record nor its physical release are recorded or photographed. The record, like the silence it withholds, exists between the real and the imagined, the present and absent, lost and forgotten.
Sheltered from the rain
At the site of each loss, I have made a short field-recording corresponding to the duration of silence on the record: at Cley, the electrical hum of the sea breeze passing through a wire fence , and at Hengistbury Head the sheltered drips of rain falling from the roof of a decommissioned Coastguard Station.
In 2011 I composed a short soundscape of Hengistbury Head for BBC Radio Solent and on Tuesday, Steve Harris from Radio Solent (Dorset), braved the rain and hail to come and hear silence getting lost in the English Channel. His short interview was broadcast on the Wednesday edition of his Dorset, breakfast show.
Interview with Steve Harris for BBC Radio Solent Dorset.
I recently composed a new soundwork for Sonospace, the online sound art gallery, curated by Harry Sumner. The piece is based on field-recordings made on a short walk through the water meadows near St Cross Hospital in Winchester. This path follows the River Itchen and is part of Keats Walk, which retraces the steps of the poet who visited Winchester in 1819. On the 19th September 1819, Keats traced the river, through the meadow and along the desire line of this footpath. Returning from his walk he composed OdeTo Autumn, a poem of three stanzas in which language pronounces a landscape trembling with sound:
Hedge-crickets sing; and now with treble soft
The redbreast whistles from a garden-croft;
And gathering swallows twitter in the skies.
I did not choose my route for its association with Keats, although, like him I was drawn to the soundscape of the meadow. I have walked the trail many times, although only recently have I noticed a particular note hanging in the landscape. As I approached St Cross, a distant and quiet whine appeared, a ‘treble soft’, on the cusp of audition, intermittent yet regular. Approaching closer, the whine was joined by others in a phased pattern of plaintive cries, at once near and at a distance. The sound, as fragile as swallows and reminiscent of the electronic whistle of radio tuning, seemed to possess a form; an acoustic arc, that begins, curves and closes. The arc turned out to be the sound of people moving through the landscape, opening and closing the four kissing gates, which interrupt the path. As I meet the first gate and perform the choreography of its action, lifting the latch and swinging the kiss of its arc, I hear space opening and feel the vibration of its close in my hand. The sound trembling through my body causes a blurring of the distinction between the materiality of my body, the gate, and the landscape. In the sounding of our ‘vibrant matter’, the material and immaterial are hinged.
The physicality of the gesture and the vibration it creates, directs attention away from the surface and toward the interior, the whine being only the audible tip of a soundscape detained in substance: a ‘Music, slumbering’ (Coleridge) inside the gates metallic arch.
In a line with four arcs, contact microphones are used to record and listen to this internal soundscape. Recording each gate in succession, a line of movement is mapped through a landscape, and the abstract terrain beneath the visible uncovered. Distinct from the ‘soft floating witchery of sound’ present in Coleridge’s Eolian Harp, this micro-phonic contact reveals a ‘wailful choir’, a mournful howl of space rent open. Awoken from its slumber we can hear substance singing as it disappears.
The exhibition in Sonospace allows images to be used with the sound exhibited. I wanted to emphasise the abstract qualities of the work, so rather than simply using imagery from the walk, I decided to appropriate images from other sources: images e from other places, but which seemed to correspond with the sound of the arc.
 A ‘half-round, rectangular, trapezoidal or V-shaped enclosure with a hinged gate trapped between its arms’, a kissing gate is so named because of the gentle collision of its close: ‘to kiss, to caress, to ‘touch gently’. The word ‘kiss’ is onomatopoeic in origin: ‘an imitation of the sound of the thing meant.’
I am delighted to announce that the rain choir has been released on the excellent field-recording label, Impulsive Habitat. The choir is available as a free downpour in two versions: the original choir and a recital of the work recomposed from the original field-recordings and those made during the installation of the work in the crypt of Winchester Cathedral. This recitation is, as its name suggests, ‘a repetition, a ‘reading aloud from memory’: rainfall evoked and remembered, coloured by the acoustics of the space and the incidental voices of the building.
The relationship between memory and water is familiar to anyone who has watched the beautiful films of Andrei Tarkovsky. Films such as Stalker and Nostlaghia are saturated with water; pools of reflected stillness; echoic drips; rain falling outside and inside the empty rooms of remembered spaces. In a short article (after the rain) for the British Library blog, Sound and Vision, I discussed the sensuous and mnemonic qualities of water and in particular rainfall.
duet for vinyl: edit
The date of the Impulsive Habitat release has a personal memory for me, the 16th being the birthday of my mother who died in 2011. Some years ago I made a covert recording of a telephone conversation with my mother. This was re-edited in the work, duet for radio (and subsequently duet for vinyl), removing my voice and replacing it with the static of telephone silence. In this imposed solitude of our conversation, my mother discusses her day-to-day: what she is having for tea, the weather outside her window. As she listens to a rain I cannot hear, there is a pause and then speaks:
“What have you been doing today, has it been raining? Raining on and off here all day………I can hear on the windows and it just sounds like someone’s breaking in………………….. sounds as if someone’s breaking in…………it’s terrible, I’ve never known it to be like this before…”
In the silent rain of this inconsequential soliloquy, I find a frailty and vulnerability that returns my mother to me. These intimate and mnemonic qualities of rainfall were audible, when Radio 4 broadcast from the public memorial for those murdered in the recent Paris terrorist attack. As the crowd gathered to hold their silence, the radio transmitted a vacant crackle of heavy rain, falling upon umbrellas and coats. As I listen, I hear my own silence in the rain, and I become another silent drop in a collective downpour of remembering.
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.
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