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Jackdaw Composition

 Composition only using jackdaws, bells – sacred sounds, water for fluidity of perception 

Ethnological field recordings of jackdaws communication 

Intraspecies communication vs interspeciws communication ( wordless exchanges ) 

Glimpses of field recordings amidst ambience 

Jackdaws effecting resonators – out of control – organic effect 

Kmru- perceptible imperceptible 

The piece started with the idea of using very long decaying notes that evolve on each other, constructing different sonic textures. memories and thoughts of times, lived experiences; gradually returning us into the now. Originally released as an audio visual piece for the Issue Project Room, I feel the piece itself also offers an auditory experience on its own sonically. The piece features field recordings from Berlin, Coventry, and Nairobi, distorted guitar sounds and synthesisers. I’ve been exploring ways to use subtle distortion and extreme saturation for most part of 2021 and this piece is a prelude to more pieces that I’m exploring in this direction, finding the balance of extreme tension, noise and sublimality in sounds.

I strongly feel my work strongly provokes active listening—how we listen and its socio-political implications. Listening offers a reflection of the happening. For me, it’s active research that impels an auditory knowing of the human and the non-human.  

Struggling to use only material of jackdaws, plus bells of nonsuchh

Theres a common thread in my work that is beginning to become a little clear.

intensity of jackdaws vs intensity of traffic – both intense in different ways – one draws presence – the other blocks it out

jackdaws as the recipient, catalyst of a philosophical conversation into mutual transformation…

the way we receive the world around us affects something internal … mutual transformation

These

Drawing on my writings into phenomenology in my dissertation

Both Clipson and Watkins design new ways to experience the familiar. Clipson through masterful use of superimposition and visual abstraction to reimagine landscapes, and Watkins in explorations of tones and resonance often designed for the space he’s performing in.

The more likeable cousin of its better known cousin the carrion crow…

Mics and mic techniques used so far/ experiential mic techs/ dolby atmos course earlier/ 5.1 in headphones instead of multichannel/ soundscape composition – Hildegard Westerkamp – experiential filmmaking Paul Clipson/ super 8/ koyaanisqatsi/ bruce?/ brakhage/ making a timeline

westerkamp

deleuzian becomings…?

The practice of “deep listening” has been extended by Oliveros and her colleagues to focus upon not only the sounds of the external world, but also the more ephemeral sounds of our inner life

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Y3

Pembroke Academy Workshop Reflection

Its safe to say that the workshop didn’t go as I envisioned, but it was a huge learning experience. In hindsight, taking on such a big idea all on my own was a task in itself and I feel as if I focused on the technical side of things a little too much. As a result the structure of the workshop felt a little loose, something I’m now realising is not always the best thing when working with children. The aim was to both introduce the students to soundscape studies, leading onto an exploration of animal phenomenologies and communication using various midi controllers. I think my mind ran away with me a bit here, attempting to record an entire group soundscape composition. Cristina helped immensely in leading the somatic activities, but without enough clear dialogue between us it became more of an exercise to keep the children entertained/ busy until it was their go to explore the Ableton push. I think through this workshop I’ve discovered that the more active bodywork was, though attractive, not entirely necessary. Attempting to tie this in with soundscape composition and the study of animal communication watered down the overall takeaways of the workshop. Sometimes less is more! If there is another opportunity soon I now know to focus solely on one of these aspects to give a more enriched and focused experience. Technical difficulties played a part too, with the Ableton project malfunctioning, resulting in the Push becoming unresponsive. The resonator midi control was also not quite obvious enough in its touch receptivity. I think I planned the workshop from the standpoint of my own compositional aesthetics, as opposed to putting myself in the shoes of young students with no experience of electronic music making. Feedback issues with the microphone used to record found sounds also posed an issue and so this station had to be discarded. The idea was grand, but I overlooked the reality of the logistics. On a plus note, during the second session I immediately adapted and simplified the workshop, focusing solely on the Ableton push, without attempting to record anything – more so to familiarise the children with midi controllers and animal phenomenologies at the same time. This was quite effective. I wonder what exercises I could create using this. Perhaps crafting compositional instructions using those field recordings. This would require a fair few Ableton pushes, and most probably would have to be a series of longer workshops. Something to think about! On the whole a very necessary experience. Back to the drawing board…

A pre-experiment workshop with George – This actually worked really well (a more intimate approach that used headphones as opposed to a group composition)
The resonator mapped midi controller
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Portfolio Y3

Experiential Filmmaking

The more likeable cousin of its better known cousin the carrion crow…

most of them have started migrating away…

thinking on the soundscape composition??? what does a murmuration sound like…?

Mics and mic techniques used so far/ experiential mic techs/ dolby atmos course earlier/ 5.1 in headphones instead of multichannel/ soundscape composition – Hildegard Westerkamp – experiential filmmaking Paul Clipson/ super 8/ koyaanisqatsi/ bruce?/ brakhage/ making a timeline


I looked up and saw the sky glimmering in th reflection of the highrise windows on the other side of the street – the sun illuminated this mirage, hidden itself though behind the concrete bearings between the window frames, hidden in form, but present in its illumination – man made structures that allow me to even glimpse the sky, hidden away from it – second hand experience – or first hand? whats going on there? it slowly moves across the building, the small cross section of illumination passing slowly across these synthetic surfaces. would i have noticed this if not my the research im doing now? – sun spots in my eyes – the world is coloured by our experience – our life world – we never see the world as it is – for what is the world? if not something we cannot grasp in its entirety – we are but one component of it – its intersubjectivity. we move through the world wearing tinted glasses – with enough practice or knowledge of it, we catch moments in which we become more aware, even fully aware of this phenomenon – though we can never fully escape it – how do i get this across through sound and image ?

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Portfolio Y3

Mutual Transformations

Its been a while since I’ve made a blog post, caught up in the whirlwind that is the dissertation. Writing it however has in fact helped me along quite a bit with my creative ideas. Last I blogged, it was following a fairly spectacular and serendipitous encounter with a vast clattering of jackdaws. This exchange of energy, between jackdaw and I, is what I have come to think of as a ‘mutual transformation‘; an intersubjective result of our encounters with ‘the more than human world’; I’m still fleshing out exactly what this means. As it stands, this concept speaks to the change in agency one might experience when faced with such encounters, the kind that fixes you to the present moment, a beckoning to realise your body as not only sensitive, but a sensible make up of another’s life-world. Still, I find there are so many blurred lines to tread here. These encounters can’t possibly effect the long term agency of, say, a bird, and so I am reduced to thinking that any immediate transformation is confined to the human subject. In my dissertation I conclude that these transformations become mutual in the sense that any emotional shifts might result in a changed attitude towards the very object of our symbolic interpretations, changing its long term future. I suppose the transformation I seem captivated by is one that pertains to the psychology of a human being, in our paradoxical tendencies to abstract and rationalise. A bird need not be changed in such a way as they are driven by instinct, thus any inherent potentiality associated with it is concluded by its biological rhythms. Our complex nervous systems confuses the potentiality of a human. But without getting too lost in logical fallacies, inconsistencies and contradictions, the most important thing to explore in my creative endeavours for now is the ‘more-than-human encounter‘ as some kind of portal – one that somehow links the experiential and the symbolic as two equal players in a deeper, more holistic understanding of the world, and our place within it.

To note, despite the ‘more-than-human’ emphasis, I do believe that such transformations occur regardless of one’s species taxon, thus what transpires with the jackdaws becomes only a more potent, symbolic, and even archetypal happenstance of something one can experience in the mundane – is there a danger in overlooking the everyday if one only seeks the extraordinary? Perhaps it is not so much a return to the ordinary, but perceiving the extraordinary within it. As a result, mutual transformations become as all encompassing and omnipresent as the air itself, whereby all interactions with the animate and inanimate are opportunities to change the way we understand and interact with the world; Not a canvas for our corporeal brushstrokes or mental projections, but an embodied reflection of something more internal. I realise here that I start entering into psychological, and even what feels to me sometimes as religious, territory, and though I have an intuitive grip on what I mean, I don’t think I’m prepared just yet to concretise it in words. But it is not dissimilar from the determinations of humankind throughout history – the hermetic adage ‘as above so below’ comes to mind. Either way, those Jackdaws, and their deafening chorus, symbolised something to me in that moment underneath the trees. Much like when looking at an incredible view at a high altitude, looking up at them made me feel a similar sense of awe, clarity, insignificance or what have you. In such moments, it only becomes more obvious how experience reveals the colours we imbue onto the world. A door opens to a clearer view of the self, and by default, reality. I feel that the way I unpack this exchange of energy concerns those unseen things – occult, not so much the political or the material, but the unspoken things of the feeling fabric. These are the forces cast aside by logic, defined by what is measurable, yet they persist in shaping experience. And by default, they become the root of all politics and culture, moving beneath the surface like currents beneath the tide, unseen but undeniable.

Over the weeks I have frequented Nonsuch Park, always just before sunset, staying until dusk. This, it seems, is the best time to record the jackdaws as they all gather and murmurate during the penumbra of twilight, before settling down to roost. I’ve become well acquainted with their gathering location, as well as their loose trajectory from tree to tree. Overtime its become easier to judge where to be, to experience their chatter and flight optimally. Sometimes their presence eludes me, while at others I am gifted with their closeness. Following them from tree to tree sometimes feels like a chase, other times a dance – though to them perhaps I am only an annoying human! Sometimes I wonder whether they recognise me. Whether they understand me as a part of their ‘more-than-jackdaw’ world? A waddling human, sometimes draped in cables, tracking their movements like a persistent and curious child. At times, especially those where the sun has disappeared from view, my vision muted by the onset of darkness, they become inseparable from the trees they line, appearing to me as the silhouettes of leaves. So much so that, while searching for them in the woods, I am startled with fright when they all spring into flight, leaping in a hundred directions from the branches of overhead trees. That sight though, is quite something to behold. As if the leaves themselves shapeshift into birds, unclothing their resident tree. Its worth mentioning that these critters chatter a lot – a talkative bunch. Sometimes they pervade the soundscape with their harsh ‘tchacks!’ and ‘kyas!’ Other times they serve as a soft backdrop to the songs of other, more solitary birds.

Key words : animism, phenomenology, encounters

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Portfolio Y3

On Jackdaws

A few months ago, on a visit to Nonsuch Park with Reggie (my family’s Jack Russell), I had a profound encounter with a flock of Jackdaws. Emerging out of a wooded area, I came upon an empty field. I was quite mentally distracted by the events that had transpired over the previous week. At first, so caught up in these ruminations, I failed to register the vast assembly to my right. But as my ears pricked up, attention caught by a wall of fluttering voices, I was left to behold what seemed like hundreds of Jackdaws perched on a great big oak tree about 15 metres from me. I stood gawping at the sight for a good 5 minutes I think, till Reggie started whining for my attention; I assume after having enough of trying to figure out what the hell had frozen me in time. When I say the entire tree, I mean the entire tree. I can’t recall ever having seen anything like this, or at least not processing it in the way I had in that moment. On visits to Nonsuch park following this, I now carried with me an unwavering awareness of their presence. I would find myself gravitating to them on every visit, following their incessant chatter. If lucky enough I would catch glimpses of them in flight, murmurations of sorts, although not quite as magnificent as videos I have seen of starlings at sunset. Still, enough to fix me in the present moment. It bewilders me how I had never truly noticed them before. I actually mistook them for Starlings at first, mixing up various field recordings of their calls I had taken, mis-assigning them. I did a lot of research into when and where to view these murmurations in full bloom. I learnt these aerial displays happen mainly in autumn and winter (October to March), peaking around November to January (before the birds migrate to other parts of the world), and just before sunset or at sunrise. The best locations to view this all involved a fair drive, and with a lot of other commitments on my plate I hadn’t made the time or effort to attempt the journey. I decided to rent a camcorder from LCC, to give myself more reason to. The day after was a clear, sunny day, and at around 5pm spontaneity struck. I packed the camera and a Rode NTG and decided to keep my first attempt modest by visiting Nonsuch Park instead. I had never gone there for this sole reason, and familiar with the unpredictability of nature, I was prepared for a failed trip (I should note that a few weeks prior I visited in the middle of the day with a bunch of microphones on a mission to record them and failed miserably due to the weather turning). What occurred however was far beyond my expectations. Expecting less, yet receiving more is always a reminder that life’s best moments are often unanticipated. On returning home, I wrote a poetic recount of my experience. I also drafted together a rough montage of footage I captured alongside a score inspired by the Jackdaws’ movements (I’m still working on my camcorder skills).

Ill never forget that moment, 
Stood underneath the leafless canopy, 
Branches decorated with the silhouette of a thousand Jackdaws,
Their presence all encompassing, 
Chorus deafening,
A shrill symphony of a world only known to me in this moment of unshakeable awe. 

Overcome by sound, 
Everything falls away, 
They dance in groups among the treetops, 
Suites of them flitting from one tree to the next,
Their incessant chatter rain down on me from above, 
Pervading the entire soundscape.
I am grateful for moments like these,
Those that free us of our worldly ties. 

An endlessness broken in a flash, 
sweeping and thunderous movement through the sky,
I start running for the clearing, 
Stumbling over upturned roots, 
Tearing myself through bramble, 
Catching glimpses through the trees,
My heart quickens at the thought of their retreat, 
Aware that I move on their terms, 
At the mercy of their whims. 

And then I see it, 
The forest at my back, 
The sky peeled before me,
It is one thing, 
One form, 
Even if only so to my sensible confines, 
No longer a thousand. 

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Portfolio

Cyanotype Workshop

I went to a day-long Cyanotype Workshop led by Adam Hogarth today and it was an eye-opening experience. I experimented with scanned photos, as well as overlaid sketches on tracing paper. The results weren’t quite what I’d hoped for, but in the process of trying and failing I’ve become more acquainted with what works and what doesn’t. I’ve learnt that when using found objects, such as the lichen in this case, they need to be 2d to get the best results. I’ve been thinking about outsourcing an industrial pressing machine in order to flatten any thicker/ harder bits of lichen I might forage/ buy.

Another thing to note was our introduction to Anthotype printing, which is an image development process very similar to Cyanotype printing. The only difference between the two is the liquid used, on which the images are printed. Instead of using Ferric ammonium citrate and potassium ferricyanide, as one would for cyanotypes, the liquid is made by using plant dyes (photosensitive pigments in plants); It involves crushing/ blending plant material and diluting with water, before brushing onto a chosen surface. Depending on the plant material used (e.g. turmeric or spinach), different results will be attained. As opposed to the Prussian Blue colour associated with cyanotypes, this method can result in various shades and hues of greens and browns. If any photosensitive/ plant material/ dye can be used to make up this solution, then It would be interesting to see the outcome of a lichen-based one (also used as a traditional dye).

Moreover, one of the other students in todays class showed me the cyanotype prints of Japanese artist Mika Horie, whose approach I found quite relevant to my work. By using sunlight to develop her prints (as opposed to UV lightbulbs in controlled settings), hand-made gampi paper, and water from nearby streams to fix the images, her process demonstrates an unwavering loyalty to her natural environment. Quoted directly from a synopsis of her work ‘Perfectly Imperfect’: Horie Mika (1984)‘, we are told that “Trees, water and light are the main elements that Horie uses to create her artworks.” This embodiment of these more-than-human, animate bodies in her work is deeply participatory with the natural world and counters the extractive, mass produced practices of our modern day ‘technosphere’. The reliance on these ever-shifting, indeterminate bodies, brings a level of uncertainty to her work, as textures created are out of her control, and rather at the whims of these non-human features. And yet, these imperfections reflect the unpredictable nature of our sensory experience. I am reminded of a passage in David Abram’s ‘Spell of the Sensuous’ –

“For these other shapes and species have coevolved, like ourselves, with the rest of the shifting earth; their rhythms and forms are composed of layers upon layers of earlier rhythms, and in engaging them our senses are led into an inexhaustible depth that echoes that of our own flesh. The patterns on the stream’s surface as it ripples over the rocks, or on the bark of an elm tree, or in a cluster of weeds, are all composed of repetitive figures that never exactly repeat themselves, of iterated shapes to which are senses may attune themselves even while the gradual drift and metamorphosis of those shapes draws our awareness in unexpected an unpredictable directions.”

In contrast, the mass produced artefacts of civilisation, from milk cartons to washing machines to computers, draw our senses into a dance that endlessly reiterates itself without variation. To the sensing body these artifacts are, like all phenomena, animate and even alive, but their life is profoundly constrained by the specific ‘functions’ for which they were built. Once our bodies master these functions, the machine-made objects commonly teach our senses nothing further; they are unable to surprise us, and so we must continually acquire new built objects, new technologies, the latest model of this or that if we wish to stimulate ourselves”

(1996, p.64)
Indigo Moon and White Moon

Horie has perhaps also arrived at such conclusions, stating:

Wabi-sabi is simply the feeling of my daily life of creating. Each day I spend a significant amount of time catching its essence of tranquility, harmony, beauty and imperfection through shooting photos, making paper and cyanotype. I embrace the condition of gampi tree fiber, spring water and sunlight changing all the time. One day I realised that being surrounded by abundant nature has changed my mentality. I am getting to understand my imperfections.” 

Adam also introduced us to toning methods earlier today, using organic material that contains tannic-acid to colourise developed cyanotype prints. Such materials would include wine, green tea, coffee, etc. I’ll work on exploring these methods for now while improving my visual compositions. The beauty of this process is that, once the basic methods are known, it is easy to start coming up with all sorts of weird and wonderful ways to alter the end result. Another thing to note is that hydrogen peroxide can be used to speed up the process, as well as providing much deeper blues. Lastly, we were shown a few cyanotype, mixed media animations. These have inspired me to potentially include a ‘moving image’ style element to my final work. I am still at a bit of a cross-roads with where to take my current ideas for Portolio Element 1 and although todays workshop has helped move things along, I need to start having a serious think about the ideas I am trying to evoke, and the sonic medium that will most appropriately bring them to life.

Results of today’s workshop
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Portfolio

Visual Entry – Lichens Of Borrowdale

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Portfolio

Borrowdale Forest + Foraging for Lichen

Over the winter break I had the pleasure of spending a couple of days in the Cumbrian town of Cockermouth. The drive was hefty and seeing as I most likely wont be returning for the foreseeable future I decided to make the most of my trip by spending a day in the nearby Borrowdale Rainforest National Nature Reserve. It is one of England’s largest remaining temperate rainforests. The unique conditions of its ecosystem are maintained by the oceanic climate of the western coast of the UK, that allows for high levels of rainfall and humidity, and a temperate climate with relatively little changes in temperature year round. These characteristics make it an ideal location for epiphytic flora (Nonparasitic plants that grow on other plants) to attach themselves to every wet and porous surface as well as various types of ferns. Being an old growth forest, it has a well established mycelial network and is rich in bryophytes (mosses and liverworts).

“The Borrowdale Oakwoods are one of England’s largest remaining pieces of temperate rainforest that once spread from the north of Scotland down the west coast of England, Wales and Ireland and are part of a long standing cultural landscape.”

(National Trust, 2023)

Now recognised as ecologically significant the National Trust are aiming to reconnect these fragments of rainforests, in the hope of preserving this special habitat, in turn making them more resilient to the climate crisis. Vast swathes of temperate rainforest could once be found throughout a large portion of the UK. As a result its preservation also protects an important piece of British cultural history. Unfortunately the area of Britain covered by these forests currently stands at a mere 1% due to thousands of years of logging for timber, and clearance for farming and development.

My reasons for visiting concern the diverse array of lichen species that have specialised to live in this particular habitat, some of which have become rare throughout Europe and elsewhere. Being a beginner within such a multifaceted subject matter means that my identification skills will need a lot more field work to sharpen. As a result, my time spent in this forest felt more like a practical introduction to the world of lichen. Starting at Ashness Bridge I walked through the woodland, taking various field recordings along the way, eventually reaching and walking alongside the River Derwent. Despite the wintry nakedness of the forest canopy, the propensity of moss, lichen, ferns, streams and boulders in the understory imbued the landscape with an enchanting atmosphere, made all the more so by a blanket of frost that stretched on past the horizon. It is no surprise that these lush green forests inspired all sorts of British folklore throughout the ages.

My time here provided me with a good opportunity to test out my new field recording rig. The quick release gadget I’d recently purchased made switching between set-ups much easier. As a result I was able to quickly capture interesting sounds when on the go while also perching my mic stand in certain spaces. The latter meant I could stand a distance away while recording so as to not change the sonic characteristics of a place with my presence. Due to it being the height of winter however, there was not too much going on sonically in regards to wildlife. As a result I was drawn to the streams that ran down from the surrounding hills, through the forest, and into the Derwent Water. I quite enjoyed experiencing the sonic architecture of these babbling brooks up close, recording them from multiple different perspectives. I couldn’t help but think of Jana Winderen and Annea Lockwood while doing so. Although I would’ve been more than happy to go on exploring these bodies of water, after an hour or so I had to remind myself of my initial purpose here. Nevertheless, such bodies are a central feature of temperate rainforests, a lot of which are found on steep sided valleys like the one I was on, contributing to their wet and humid ecosystem; This felt reassuring.

At one point in the day I decided to give my hands a rest, and propped a mic stand in my bag so that a pair of mics in an ORTF configuration poked out the top, inspired by a similar example used by the … in the film SOA (Pictured Below). This allowed me to experiment with recording on the go in a different way, although this resulted in a lot of self-induced noise in the recordings. I also had some success recording the actual sounds of the Lichen themselves. Mainly working with Foliose (Leafy) and Fruticose (Bushy) Lichen, I used a Lom Geofon to record any vibrations and other hidden sounds. Having a contact mic handy might have also produced some interesting results but I was unable to acquire one in time. I was also able to record some watery movement in some of the Oak trees by inserting the Geofon into holes and gaps in their trunks. I assume these sounds are sap flowing up and down the tree’s vascular tissue (xylem and phloem vessels) but I can’t be certain. What these recordings assure us of however, is that their is most likely much more sonic activity in this forest that lie outside of our perceptive capabilities. Using such microphones offers a bridge to hearing these invisible worlds (thinking back again to an increased intimacy).

Ahead of this visit I emailed a member of the National Trust asking for permission to forage lichen. I was given the go ahead on the grounds that I only took small amounts of more common species, as well as only foraging from fallen branches or surrounding debris. I managed to attain a small collection of varying types, two of which I have identified as an Oak Moss (Evernia Prunastri) and a Beard Lichen (Usnea). Upon returning home I left them out to dry and secured them in airtight containers.

Footnotes

  1. Borrowdale comes from the Norse Borger Dahl or ” Valley of the Fort”, the earlier Celts named the water here Derwent or “Abounding in Oaks”. Trees, and oaks in particular, were sacred to this early British culture and so such a valley would have surely been a significant destination. Oaks have remained a symbol of English culture and strength and it is by no accident that it forms the logo of the National Trust. Today, the oak woodland here still draws the local community and visitors from across the UK to come and spend some time in its peaceful and inspiring presence and should be protected as a piece of our collective cultural history.
  2. These special places are even home to globally rare species, such as the hazel gloves fungus, which grows only on old hazel trees and looks like a bundle of rubbery orange fingers + Tree Lungwort, a large and leafy lichen that needs very clean air to survive.

Bibliography

National Trust. (2023). Borrowdale National Nature Reserve. [online] Available at: https://www.nationaltrust.org.uk/visit/lake-district/borrowdale-and-derwent-water/borrowdale-nnr [Accessed 10 Jan. 2025].

Wildlifetrusts.org. (2020). Temperate rainforest | The Wildlife Trusts. [online] Available at: https://www.wildlifetrusts.org/habitats/woodland/temperate-rainforest#:~:text=Bringing%20our%20temperate%20rainforests%20back,the%20carbon%20benefits%20it%20bestows. [Accessed 10 Jan. 2025].

Prior, N. (2024). How Wales’ ancient rainforests inspired folklore. [online] BBC News. Available at: https://www.bbc.co.uk/news/uk-wales-68310929 [Accessed 10 Jan. 2025].

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Portfolio

Cyanobacteria vs Cyanotype printing

On a trip to Brick Lane the other day I managed to buy some 35mm film for my camera in order to start consistent documentation of my process. The man behind the till kindly offered his advice and I ended up leaving with a roll of film that I didn’t intend on buying. Getting into a conversation about Lomography, he pointed me towards a roll of film that didnt produce quite the intensely coloured results as lomographic film, but was nevertheless still susceptible to light leaks. There might be some connection to be made between my choice to buy this film and the nature of my work, but I’ll leave it as mere serendipity for the time being. Another happy accident occurred right after however. My partner was having a conversation with a lady stood behind a stall of cyanotype prints. Cyanotype is a photographic printing process that produces a cyan-blue print and was invented in 1842 by Sir John Herschel, primarily for making copies of documents and for botanical illustrations. After talking to the lady myself, who turned out to be the artist too, I was intrigued by its simplicity, striking blue colours, and its potential for creative experimentation. At the start of the year, I came across a cyanotype printing workshop somewhere within the UAL ecosystem. Unfortunately, by the time I had discovered the workshop there were no spaces left, and I soon abandoned this minor interest. Being exposed to it for a second time made me do some extended research when returning home. In another stroke of synchronicity, and to my disbelief, I found out that cyano-bacteria is what gives lichen their blue-green colour. Despite this, the prefix ‘cyano’ is only used in both cases as it means ‘dark blue’ in Greek. Even though the purposes and contexts of cyanotype printing and cyano-bacteria are entirely different, their shared use of the prefix feels relevant to me somehow. Over and above this, as I proceed to learn about lichen biology, cyanotype printing stands out as a fun way to record foraged lichen, mirroring the actions of 19th century botanists. I’ve been thinking about how to bring a visual element to my final work, and this is definitely a process I will explore more of.

The cyanotype artist’s business card that I’ve held onto
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Portfolio

Resonant Threads

As a first response to the ideas entertained in my previous blog post I have made a soundscape composition of my trip to Tolworth Court Farm Fields. I do intend to return, several times hopefully, to the fields, exploring more aspects of its sonic architecture using different microphones and recording techniques. For now however, with the the Portfolio 1 deadline looming, I have used the limited amount of recordings attained from my last venture. I have called the piece ‘Resonant Threads’, invoking the idea that all sounds heard within this composition are connected, whether culturally, historically or sonically. Unlike the soundscape compositions I have heard by Winderen, Lockwood or Westerkamp, I have arranged the piece in a non linear way, in order to create a new version of the fields; One that is both removed from reality, but also born from it.

Using lichen as compositional inspiration, the Ambient bed is meant to represent slow growth; an endless passage of time. In the same way that the existence of lichen entails a symbiotic partnership of two separate organisms, a fungus and an alga, I also imagine that this ambience acts as a metaphorical link between all of the sonic elements heard. I have learnt now that the dominant partner in this relationship is the fungus however, giving the lichen the majority of its characteristics. This has already put holes in my concept. Though I could also consider this fact to mirror the inherent inequality of what can be heard, with certain voices having more of a platform than others in a soundscape, i.e. anthropophonic noises. I do not want to search for excuses that make this composition work however, as that would go against all that I have discussed in my blog posts. I feel that there is more to gleaned from the discussions that this piece might hopefully encourage. I am reminded of a sentence in an earlier blog post, “what we discover is related to the question we are asking”. It is not necessarily my aim to ask a question here, but rather to stimulate our attentive and imaginal ways of knowing.

https://soundcloud.com/yuri-pakdel/resonant-threads

Though it feels a little hollow at the moment, I am happy to present this as my prototype portfolio project – being only the first draft of many. I will make an effort from here on out to look more closely into lichenology and Symbiotic Behaviour Analysis. I am tempted to visit and field record some temperate rainforests too, characterised by their proliferation of lichen. Regarding my methodology, I have used a combination of granulators, accordion, guitar string harmonics, sine waves, resonators and cello to create a generative ambience to mimic the multiple interdependent layers and slow evolving patterns of lichen. I have also used convolution reverb on the bus track of all the field recordings to create an otherworldly feel as they drift in and out of one another. Other than this, field recordings have not been processed any more, except for a light EQ to attenuate sounds under 100hz and above 18khz, and to slightly boost sounds between 2- 5khz range to simulate the human ear’s sensitivity. When I think back now though, am I not just perpetuating our sensory limitations by doing this?

Looking back on my earlier sonified composition Forest Area Data Sonification Sound World I am starting to realise some similarities with my prototype portolio project. Although I hit a bit of wall with sonification, losing interest in it all too quickly after scratching the itch to explore its uses, I found the resulting composition quite enchanting to listen to. At the time, I discarded the idea that it contained anything useful, other than an appeal to my aesthetics. Though when listening back I realise it is full of meaning. An imagined world in its own right, both displaced from reality and very much a part of it. All of those endangered birds against a backdrop of sonified ambience creates an impossible forest. An inconceivable sonic world that might evoke feelings of both hope and despair. This idea of world building is something I am slowly gravitating towards. I cant find the exact album right now, but I remember reading in the footnotes to one of KMRU’s albums (ambient musician) that by blending field recordings from two places, a third imagined world is created. I can’t remember for the life of me what his personal philosophy on this entailed, but I do remember it resonating with my developing ideas. As I experiment with creating sound worlds in the coming months, I am sure that a sensitive touch will be of the utmost importance. Might such worlds increase our intimacy with otherness? Could they bring us to a new moment altogether, transport us even, allowing us access to new dimensions that offer infinite ways of knowing?