‘The Waters Breach’ – Studio workings.

R. Murray Schafer: 1934 -2022

composer, writer and acoustic ecologist

“Sometimes I ask students to identify moving sounds in the soundscape. ”The wind,” say some. “Trees,” say others. But without objects in its path, the wind betrays no apparent movement. It hovers in the ears energetic but directionless.” -R Murray Schafer pg 23

This author has built a hub of sound perspective as he draws on the ancient understanding and responses to sound. Vocabulary’s a huge apart of my interest. Schafer refers to the sense ‘to hear’ across ancient writing and storytelling. – pulls together a world wide collection of sound – comparing and contrasting the sounds and the vocabulary used to ‘verbalize sound’. The book is one long onomatopoeia.

Conjectural Recording:

Defined: A perspective or conclusion recorded with incomplete information. Lacking a full picture of the subject recorded.

Walking Methodologies: Stone walks; inhuman animacies and queer archives of feeling. Stephanie Springgay and Sarah E. Truman

“Stone Walks as speculative propositions require that we learn with the world rather than about it.” Pg 862 S.Springgay and S.E.Truman.

“Along with not being alive, rocks were also not considered dead, because to be dead assumed the capacity for life” Pg 855 S.Springgay and S.E.Truman.

Conjectural recording acknowledges the lack of ability to capture the full scope is a landscape and the experience within the landscape. Choosing to approach recording in this manner releases permission to the objects space and time within a experience. That they may not be disregarded in feeling and memory. An understanding that recording is only ever a tool outside of a lived experience.

Photographs
Still film
Traveling filming
Field recorder
Collecting found materials
Writing
Drawings
Additional gestures in the land to elaborate on experiences occurred.

These are then recorded as a following phase- ‘Slowness as speculative’ – stone walks 2009 Stephanie Spring gay – intentional noticing.

Seth Kim-Cohen: Artist, musician and writer.

Ground sound
Figure sound
Sound mark

“From birth to death, the ear never closes. The ever openness of the ear.”
S.Kim-Cohen pg VIII

“Listening not selfishly to the internal voice. Rather a conversation with the cross talk of the world.”
S.Kim-Cohen pg XXIII

“Sounds that sit behind your ears.”
– B.Saywell 2023

“Narrating collective land memory responding through modes of conjectured recording.“

Inspired by experience I respond to the natural happenings. I record portions of an interaction with nature. I aim not to confine my recording as fact, rather they are ingredients at my hand. Iterative experience educates my studio practice. The works that come forth draw out new encounters of the land. There is never a beginning or end to my practice such is the sounds of the bush. The eternal sound of the earth is the story I am only a speck of dust in the present experiences. The history of the soundscape supporting the land captures my attention.