forthcoming....


forthcoming:

may 18th-19th: field recording workshop, malmo, sweden

june 13th-20th: field recording workshop with Chris Watson & Jez riley French, Iceland

22nd june - 2oth august 2013: audible silence: the tate, sleeping and waking' - headphone piece exploring the hidden sounds of the Tate modern building, Tate modern, London

september 6-8th: field recording workshop with jez riley french & chris watson, norfolk, uk - places available

october 4-13th: installation (room tones / littorals), Spazioersetti galleria, Udine, Italy

october 11th: resonant terrain walk, castletown, portland as part of the b-side symposium

december 6-8th: field recording workshop with jez riley french & chris watson, norfolk, uk - places available

jez riley french - ‘instamatic: snowdonia’
a document of listening, simply
6 tracks focusing on fence wire recordings & listening to the wind
available as a limited edition, full size taiyo yuden cd mounted on an art card + additional postcard
Review by Daniel Crokaert from 'The Field Reporter' website:
In his Instamatic series, Jez riley French invites us to share his moments of fortunate listening like they are, without make-up nor intellectualizations, retouches or alterations of the source, except a careful selection and probably a bit of equalization…
A hike within some magnificent natural region of North Wales, namely Snowdonia, led Jez to look particularly into the wind, that wind which speaks to us, while sweeping at the same timeendlessly across ever changing landscapes…
that air which circulates, lifts, makes particles, objects and surfaces vibrate, suggesting their outlines and concrete features…
But, far more than a report about a physical truth, the work quickly switches over to the extra-ordinary, underlining a very personal way of experiencing, of giving another dimension to things, and our environment…
Vast palette of amplified metallic resonances of fences planted in the isolation of a still preserved nature…agitation, vibrations, ferruginous supplications…a whole universe stands out, and submits to the laws of another one…a unhurried play of echoes and reflections coming out of the insignificant, and which reminds us constantly that our perceptions are fluctuating, eminently subjective, and tributary of their “captation tools”, but that they can also be the starting point of unexpected emotions…
“There’s an aesthete within us all “ seems to be, roughly speaking, what Jez whispers to us.
Through his care, his methodical record, his sense of listening, the creation of his own range of microphones, Jez acts like a revealer, a non-standard intermediary…
“Snowdonia” succeeds in closing our eyes slipping us into a long travelling through shaggy herbs, dishevelled by an insistent breeze – a Malickian scene…
Just next to us, trembling & bending wires, streaking the rust tones of a jaded vegetation…pebbles shrouded in history shape long grey veins studding the country as far as the eye can see…in the faraway, the shadow of hills asleep, peaceful guardians of a permanent sight…
In our ears, clicks, muffled murmurs of cold metal, aeolian moan, all the tense sensoriality of the world…
“Snowdonia” ends up ringing like the name of a mythical place where one has rendezvous with the other-worldliness…that other-worldliness, disguised under common appearances, here finely caught, and alongside which we often pass by in total indifference…

Wednesday, 9 March 2011

four questions # 28 - Hiroki Sasajima

JrF: when & why did you become interested in field recording ?
HS: In recent years we can easily own the equipment such as the high-performance microphone or recorder. It was a chance to have owned one portable recorder before, and it caused an interest for field recording. By experiencing some field recording, I was able to know that a lot of sounds that we cannot predict were included in daily life and nature. The possibility that they have is unknown. This element of expression can be, with sensitivity, endless. I am interested to explore this.
JrF: how do you use your field recordings in your own artistic output ?
HS: Field recording is very important in my all works. When I express all characteristics of the material, sometimes I use them unprocessed. Or when the focus it on a specific part of the material, I approach an outline of the material and the internal details through processing several times. I restructure them again and compose meditative soundscapes. I usually reflect the inside of the material that it is difficult to notice. And their existence becomes clear again. Also, I believe that it affects the inside of listener.
JrF: do you regard 'natural' sounds as a musical element (bearing in mind that the conventional definition of 'music' is rapidly becoming obsolete) or as sound ? is this definition important ? does it matter ?
HS: As for natural sound, the expression of every field is possible with feelings or a scene. I think about these as a musical element. In addition, these can change in various styles by the thought of the listener. I do not like limiting a way of hearing of the music. I think that is to lose a part of the possibility. Of course even if it was only a simple sound...
JrF: has the act of making field recording had an effect (positive or negative) on the way you listen to your everyday surroundings and how has it affected the way you listen to other music and sound (if at all) ?
HS: Field recording has really many influences for me. There is still frequently a change in the idea to the sound now. As for me, such a new discovery is very exciting. And such an environment will bring growth of the music to me later.
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