Let your imagination loose on an in-the-dark journey with the work of theatre maker Jan van den Berg, lighting designer; Jennifer Tipton, physicist; John Pendry, sound poet; Jaap Blonk; and many more.Read More
Back in June I worked on 'The Listening Post' - an ambitious sound installation, co-commissioned by LIFT and 14-18 NOW that formed part of the 'After a War' exhibition at the Battersea Arts Centre. Writers James Wilkes and Tom Chivers led the project researching the history and lives of Battersea residents during the First World War. Their research into local archives and town records unearthed a wealth of material to work with, featuring stories from conscientious objectors, the struggles of munitionettes and the local paranoia surrounding activities of German bakers (below).
The pieces were produced and presented across more than 14 speakers spread throughout the installation, supported by work from graphic designer Lina Hakim and installation designer Gary Campbell.
Each section of the installation evoked a different feeling and theme, ranging from orchid growing to leisure activities (roller skating and hot air ballooning) before moving onto the darker tones of wartime industry and tribunals for conscientious objectors.
You can listen to James below as he gives a guided overview of the installation:
You can read a review of the event here.
Audio piece: A week of dreams detailed through a list of incoherent imagery, places and situations.Read More
A couple of weeks ago I took part in the ‘On Location: Writers, Sounds and Places’ event at the British Library, which was organised in collaboration with The Guardian and In The Dark.
The event explored British landscapes, both urban and rural, through a collection of sounds, words and film and included a panel discussion chaired by the Guardian’s Madeline Bunting. On the panel were writer Rachel Lichtenstein, T.S. Eliot prizewinning poet Alice Oswald and Professor of Literature at the University of Essex, Marina Warner. The event set out to explore how writers, filmmakers and artists explore and capture the essence of British landscapes within their work – and the different approaches they take to achieve their art. You can read a lovely write up of the event by Cherly Tipp here.
To begin the event, I composed several sound pieces, which were to accompany and compliment live readings from both Alice Oswald and Rachel Lichtenstein. These pieces were designed to augment the imagery evoked within the readings and provide a powerful listening experience through the combination of spoken word and abstract sound. The pieces were mixed live under the readings, which brought an element of performance to the soundwork - something which I'd not really explored before in the context of listening events. This also introduced some lovely moments of serendipity, as abstract sounds from the compositions aligned themselves with the words of the readers.
Listening to the landscape
In darkness, Alice opened the event with a powerful reading of her piece 'Sea Poem', which was followed by a piece composed from an old recording of Ted Hughes, reading his piece 'Wild Rock' (listen below):
After this came ‘A Whitechapel Walk’ from Rachel Lichtenstein, which introduced the sounds of moden Whitechapel into the auditorium. This was then followed by the second and final reading by Alice, who finished off with a her piece 'Epileptic' a piece which brought with it the sounds of night, fluttering wings and the distant tide.
You can hear the live recording from the event here: [soundcloud url="http://api.soundcloud.com/tracks/54471239" params="auto_play=false&player_type=tiny&font=Arial&color=7e5f57" width="100%" height="18" iframe="false" /]
The tracklist is as follows:
- Alice Oswald – ‘Sea Poem’
- Ted Hughes – ‘Wild Rock’
- Rachel Lichtenstein – ‘A Whitechapel Walk’
- Alice Oswald – ‘Epileptic’
To close the event I'd composed a final soundscape which blended elements of both the rural and urban landscape, moving from the noise of the country into that of the city. With this piece I wanted to demonstrate noise as a feature of both the rural and urban soundscapes and so pulled out elements of both. This piece features a modified version of a previous work, 'The Dustbin Man Cometh' - which was produced for an In The Dark listening event back in March.
In addition to the event are a series of podcasts over at the Guardian which continue the themes of landscape literature, dedicating an episode each to the works of Alice and Rachel. You can also view the short film 'Notes on Orford Ness' which was screened at the event here, an aurally rich portrait of this unusual location, featuring extracts from writer Robert Macfarlane's newly commissioned work, Untrue Island.