Index of Titles Filed Under 'Field Recording'

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PublisherLateral Addition2016
Excerpts from Day Three at the Sydney Cricket Ground: Starc bowling to Saha from the Paddington end – dot ball; off-drive: boundary; dot ball; dot ball; dot ball; back-foot defence: dot ball. Watson bowling to Ashwin – edged: boundary; dot ball; dot ball; dot ball; forward defence: dot ball; forward defence: dot ball. Hazelwood bowling to Saha from the Randwick Street end – front foot defence: dot ball; back foot defence: dot ball; back foot defence: dot ball; drive to mid-on: dot ball; dot ball; off-drive: three runs. Watson bowling to Saha – forward defence: dot ball; back foot defence: dot ball; forward defence: ...
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PublisherLateral Addition2018
In Long Distance Music, composers Max Eilbacher and Stefan Maier explore listening and composition across vast geographic distances. Drawing on Maryanne Amacher’s text-scores of the same name, Eilbacher and Maier reinterpret Amacher’s call for “new awarenesses” beyond normative spatial listening and investigate the prospect of telematic listening in the contemporary moment of supposed unprecedented “interconnectedness.” Having emailed on-and-off for a number of years with the intention of eventually collaborating, the duo’s attempts at working together were continually frustrated by competing projects, touring schedules, and, most of all, by the fact that Eilbacher and Maier do not live in the same city. ...
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PublisherLateral Addition2015
This audio comprises binaural and stereo recordings. As a result of the mix, it is best experienced when listened to on headphones. The binaural audio is related to the research I conducted during my residency at EMPAC in Troy, New York in 2014. During two weeks in May 2014, I created different architectural configurations employing 16 moveable walls made out of materials with various acoustic properties. I placed many speakers around them to compose sounds that focused attention in different ways, an approach that reinforces sonic hierarchies. In November 2014, I focused on one particular wall/speaker configuration and invited choreographer Jocelyn Tobias ...
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PublisherLateral Addition2014
1 – An aphorism interrupted by some anecdotal wood 2 – An aphorism interrupted by some anecdotal wood 3 – An aphorism interrupted by some anecdotal wood 4 – An aphorism interrupted by some anecdotal wool 5 – An aphorism interrupted by some anecdotal oven 6 – An aphorism interrupted by some anecdotal wool 7 – An aphorism interrupted by some anecdotal wood – HP
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PublisherLateral Addition2017
In Collapsing Ourselves from 2014, Hong-Kai Wang and Mattin presented a formal exploration of a dialogue in disorienting spatial contexts: four tracks layered over each other with varying levels of audibility, Chinese, English, sounds from different spaces, digital artifacts, snippets of self-reflexive conversation. This was done not as a way to innovate a new compositional framework or sound, but rather to problematize the social experience of playing the recording back, listening to it, and reflecting on it. With this next iteration of the project, the process of superimposing four recorded conversations is repeated, though this time it was done with material ...
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PublisherLateral Addition2018
IMPORTANT: Do not click the “LISTEN” button that you see above. The only way to experience this piece is to never listen to any of the audio. Listening to the audio, or any part of it, will make you unable to experience the piece. You will not only be not experiencing the piece while listening to the audio, but the possibility of experiencing the piece in the future or the past will also be destroyed. Even if you go a long time without listening to the audio, but then you decide to listen to it sometime in the future, you will ...
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PublisherEBM(T)2014
What you are hearing right now, if you’re at 1:48 of my recording, which I did via my iPhone’s “Voice Memos” function, is me typing the words you’re currently reading. I’m in Bobst Library, which is New York University’s library. I’m in a computer lab with 24 Apple computers. I’ve probably been in this computer lab 2000+ times. Besides me, there are 6 people in here. I haven’t counted the number of computers or estimated the amount of days I’ve beeninhere—that I can remember at the moment—until today, and I’ve been using this computer lab for something like the past ...
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PublisherFailed Architecture2019
Contemporary urban discourse relies overwhelmingly on visual representation. While it may be more effective both in conveying the actual appearance of a particular urban space and in communicating the intentions of the architect and the planner, this kind of representation leaves little room for individual interpretation and cannot possibly capture the full range of feelings and emotions that people attach to particular places. For this, we must also turn to the more immediate sensations of touch, smell, taste and sound. This episode explores the last of these sensations, considering what it means to represent cities and architecture through sound. Unlike the ...
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PublisherGruenrekorder2008
Field Notes is concerned with the phenomenon of sound from varied perspectives: artists, musicians, journalists and scientists. They add to Field Notes with their essays, interviews, travelogues, anecdotes, notes and picture series. This first issue features six articles written by Costa Gröhn, Tanja Hemm, Christoph Korn, Stefan Militzer, Marcus Obst ( aka Dronæment), and Aaron Ximm (aka Quiet American).
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PublisherGruenrekorder2009
Our second issue features Marcus Kürten’s interview with the passionate phonographer Walter Tilgner, the second and final part of Stefan Militzer’sessay about “Tones, Sounds and Noises,” a collection of old Chinese texts regarding silence and noise – compiled by sound artist Lin Chi-Wei –, anecdotes by Yannick Dauby regarding his recording and hearing experiences with frogs as well as thoughts and reports based on Gabi Schaffner’s personal experiences with accidentally deleted or never recorded sounds from Finland. The magazine closes with an essay of the componist and sound artist Andreas Bick regarding the construction of meaningful correlations when listening – “listening is making sense.”
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PublisherGruenrekorder2012
Traces begins with Tom Lawrence’s fascinating and soon unsettling insights into Ireland’s largest wetland Pollardstown Fen and its ongoing destruction through men. Furthermore he describes his elaborate attempt to record the fen’s rich world of water beetles and talks about the startling discoveries he’s made. ♦ Regarding the question ‘Phonography: Art or Documentation?’ sculptor Scott Sherk examines the history of photography and its parallels to the developing world of phonography via selected historical imagery. ♦ From moments of excited listening in his childhood Jim Cummings carries us to the founding of his label EarthEar and his eventual step into scientific fields with the Acoustic Ecology Institute. ♦ ‘Something which lasts, passes by’ is Marcus Kürten’s ...
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Publishercontinent2017
What would a conversation with a piece of asbestos, or a piece of plastic stranded on the shore of the Schuylkill River be like? And how could a conversation transpire, between things and researchers and other things, if they landed in the same place and found for themselves a common language? Imprinted by Philadelphia’s singular industrial and technological history, the soils, water systems, and infrastructures of the Delaware Valley tell a story of the Anthropocene, the contentious and debated terminology for this “new” and anthropocentric geological era in which human activities have forever altered Earth’s ecosystems. For the Anthropocene Campus Philadelphia ...
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PublisherLateral Addition2013
Field recordings, MP3 compression 2013 Recordings often ask you to listen out-of-body by immersing yourself in the stereo image that the medium is reproducing. As if music were a window whose objects you could only perceive by imagining yourself on the other side. Immersion Loop asks you to stay where you are, to view the surface of the window and feel its effects in your space. The music is immersed, not the listener. Go about your business as though this sound is equal to all others: chatter, wind, traffic, footsteps, radios, appliance noise, etc. – JTP
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PublisherLateral Addition2018
Southwest Key Programs’ website was unavailable on the night of June 19th. “Under Renovations,” a static page read.[1] The next day, Southwest Key offered a second static page in place of its full corporate site: a few FAQs and a statement that the Program “does not support separating families at the border.” Southwest Key Programs does not support separating families at the border. For 30 years, our work in offering youth alternative justice, immigrant children’s shelters and education has served to improve the lives of thousands of young people. We believe keeping families together is better for the children, parents and ...
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PublisherLateral Addition2015
On June 6th and 18th of 2015, I recorded the sounds Enrico produced from manipulating empty aluminum cans. Discouraged by the boomy sound of Enrico’s living room (let alone the noises coming from a few hyperactive neighbors) we decided to take the car out and go in search of a quiet spot in the country. On the crest of a hill we found an almost anechoic slope, populated by dense tall grass. We wanted the recording to be “pure” – as dry and close up as possible in order to verify with plenty of sonic detail the reasons an object ...
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PublisherLateral Addition2013
Sound is contingent on material yet it has no material component of its own. In some of your recent work, you focus on the material that shapes acoustic environments (such as the wood in Tonewood Hills and the awning in Eve). By emphasizing the physical reality of sound, the non-ethereal, material aspect of aural perception is accentuated. It is my belief that part of what distinguishes the culture surrounding sound practices from the wider field of visual culture is the tendency to look inward and deal with the formal aspects of sound while neglecting the outward, external elements that also ...
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PublisherLateral Addition2013
Iteration · December 8–10, 2012 · Philadelphia Counter-variation · Strict partial order · Samples · Apartment · Two rooms subdivided into four sections, connected by another · Two to four doorways · Peavey bass amp · Water · Vans Outline/blurb assigned numbered coordinates · Comments referencing room sections, objects occasioned, faulty time coding: https://soundcloud.com/lateral-addition/abd/s-3B10u · Lament metanalysis Nonrandomized domestic recordings: four linear tracks, seven breaks · Contingent irregularities — exception: three guests arrive · Additive objects and/or surfaces substitute, account for one another’s duration — obfuscatory spatial treatments · Per lack of attention, nonproportional proximity the rooms the podcast · Admeasure · Aural ...
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PublisherLateral Addition2016
It has a season that has to have with a lot of setting up the one who likes to its feet or skeleton of a gun and ordered anyway the hello to have a little likelihood of home slow white lights that he only one child at home has to have it has totally into the case is the percent theater were aimed at setup a look at two outs. That’s a that’s the story to a record of as I’ve started with four of the sixth to its petition as the status of Jerusalem as its citizens that came ...
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PublisherUrbanomic2019
In this epic osteogeographical podcast recorded entirely on location, we go back to the future and take a tour around Cornwall with author Thomas Moynihan to discuss his book Spinal Catastrophism. In the last section Shaun Lewin joins us at Plymouth station to talk railway spines. 00:00:00 Introduction 00:06:34 Pencallenick Obelisk 00:12:00 The Creepy Recurrency of a Peculiar Idea 00:14:30 German Idealism and Trauma 00:16:15 Copernicanism, Deep Time, Organic and Inorganic 00:18:55 Unconscious as Indigestion of the Idea 00:20:52 Wakefulness as Retrograde Amnesia 00:22:04 Wrongmindedness, Methodology, and Theory-Fiction 00:23:23 Desiring-Theory and Metaphorology 00:25:50 A Cave, Trevaunance Cove 00:26:44 Into Eternity, the Mines of Falun, Slowtime 00:30:15 Xenocommunication 00:31:54 Depth as Memory, Nicholas Steno 00:34:13 ...
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PublisherLateral Addition2013
This recording was produced during a sculpture critique with Irina Arnaut and David Barr. – SL

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