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JANUARY THE 9TH 2021

by INFECTED SENSES

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1.
A - 7.18am. The Bedroom. 02:20
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2.
B - The Stairs 00:37
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3.
C - The Kitchen 00:40
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4.
D - The Bathroom 02:59
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5.
E - The Kitchen 00:56
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6.
F - Coffee 00:47
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7.
G - TV and coughing fits 01:14
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8.
H - The Desk 02:21
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9.
I - 8.20am. The News 07:16
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10.
J - 10.05am. The Bathroom 07:43
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11.
K - 11.15am. Walk to the cornershop 08:15
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12.
L - 11.34am. Making brunch. 07:42
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13.
M - 11.46am. Eating at The Desk 03:20
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14.
N - 1pm Friends birthday box 02:13
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15.
O - Friends chat 04:20
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16.
P - More friends chat 14:14
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17.
Q - Friends chat 08:11
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18.
R - Friends say goodbuy 02:49
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19.
S - Happy birthday 00:10
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20.
T - Chat by the playgound 03:12
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21.
U - Close chat with friend 01:26
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22.
V - The Park bench 12:21
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23.
W - Ball games in the Park 05:28
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24.
X - 5.20pm.The kitchen 06:00
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25.
Y - Spag Bol is served 10:14
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26.
Z - 6.30pm. The Car 03:47
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27.
AA - 6.40. Sidwell Street and The High Street 11:51
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28.
BB - The High Street 08:06
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29.
CC - 8.42pm. The Cornershop 07:18
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30.
DD - Microwave and Madonna 05:55
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31.
EE - 10.45pm. Bedtime 21:51
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about

A collection of field recordings all gathered on the same day, Saturday January the 9th, 2021 during a social lock down in Exeter, UK, due to the Coronavirus pandemic. It was also my birthday, so there was both personal and wider social context.

The recordings were made using the Zoom H2n, to WAV. I knew that I would be most interested in spatial capture rather than isolated, so the device setting was for 2-channel surround (2.1) utilising all five of the microphone capsules. I had hoped to use and experiment with other microphones, but access to Uni assets was prohibited for reasons of geography and Covid-19 restrictions. This lockdown also meant a change to my initial proposal of capturing sounds from a wider source in 'The Third Place', such as restaurants and pubs. Much of the days recording was obviously to be within the relatively controlled enviroments of my house, with the microphone placed within the given 'scene' of Bathroom, kitchen, or front room.

The other external locations, in the local park, outside my house and the cornershop, were less controlled sound enviroments than the interiors but as the nature of what I intended was to capture 'the everyday' as it happened and not to make an industry standard, sound library as such, I was happy to place the microphone anywhere stable and just let life happen around it.

Having engaged with 'The Sounds of the pandemic' an International online conference organised by the University of Florence in Decemeber, (1) I knew I wanted to go to the city high street to capture what I thought would be the relative 'sound of silence' there, compared to a non lockdown situation. I decided to walk the length of two streets with the mic hand held, although in retropect, I now think I ought to have decided on a single location for it. I have made a note of times and mic location for each recording with the track list below.

It offers a chronology of recordings that I think, operate within and intersect various 'field recording' schools of thought, sub-genres, debates and concerns. Soundscape, sound walks, A sense of place, 'boring', everyday sounds and casual conversation, audio diary, informal story telling, self reflexive narrative and (micro)social history and sound heritage.

I was aware of the requirement to produce, technically acceptable recordings within the context of this module and within the traditional phonographic practice of the objective or 'Neutral' field recording and sound capture principles of acoustic ecology but also given my background in radio broadcast, oral history and Heritage projects and informed by certain fields of thought within my first degree of Cultural Studies, I wanted to include some element of story telling and documentary. (2)

Drever considers field recording as originating not only from the work of pioneers of the 1960s such as World Soundscape Project, Luc Ferrari and Bernie Krause but also from much earlier precedents. Phonographers and sound archivists such as Ludwig Koch, Humphrey Jennings and the GPO Film Unit. (3)

Another influence I was aware of was from the sound walks of Hildegard Westerkamp, where she places herself within the sonic landscape with spoken and ‘self-reflective narrative’ to create an ‘autotopographic’ sound work about her relationship with enviroment. Whilst Westerkamp’s narrative is overdubbed in the studio, and as such it has the benefit of hindsight, mine are contained within the recordings where speech events happen. I may return to them myself a la Westerkamp as she uses this to her advantage by revising her active agency in regard to the soundscape, advising the listener of this in both contexts: in her recording of the field and in her manipulation in the studio.(4)

The third influence was from the more recent, Sound Diaries project by The Sonic Arts Research Unit at Oxford brookes University. The project explores what it means to record life in sound as Auditory archaeology and to acknowledge the 'boring' and mundane as potential sonic time capsules. (5)

“It's always exciting to hear someone documenting their daily lives in sound - and rarer than you might think given the technologies that we now have so readily available” (6)

credits

released January 12, 2021

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INFECTED SENSES UK

Infected Senses is the, DIY, electronic production & experimental project for Kev Winser aka DJ Louie Louie. Not afraid of pop nor the Avant Garde. He is also the co-founder and promoter of 'Music Is Murder' in Exeter, UK and has just completed an MA in Sound Design. ... more

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