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.
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?