{"id":367,"date":"2017-10-30T01:24:45","date_gmt":"2017-10-30T01:24:45","guid":{"rendered":"http:\/\/www.garywarner.net\/?page_id=367"},"modified":"2018-01-02T03:54:44","modified_gmt":"2018-01-02T03:54:44","slug":"sonic-sketchbooks","status":"publish","type":"page","link":"https:\/\/www.garywarner.net\/?page_id=367","title":{"rendered":"sonic sketchbooks"},"content":{"rendered":"

\"\"sonic sketchbooks<\/i> 2017
\npentagonal bench seat, 5 x stereo headphones, 5 x audio players, digital audio files<\/small><\/p>\n

sonic sketchbooks<\/i> comprises five new sound works for headphone listening constructed from field recordings in Australia and Japan and sounds made in studio, forest or street recorded with binaural, shotgun, contact and vintage microphones. These new compositions are abstract experimental immaterial sculptures of time, sound and conjured space.<\/p>\n

sonic sketchbooks<\/i> premiered at Articulate project space 497 Parramatta Road Leichhardt, Sydney showing from 28 October \u2013 12 November 2017.<\/p>\n

Following is the text of the room sheet…
\n_____________________________________________________________________
\nkyoto summer 2015
\nAIFF digital audio file, 132 mins<\/small><\/p>\n

A sampler of excerpts from hours of field recording I made during three weeks in Kyoto, Japan researching lotus cultivation and culture. Each excerpt is two minutes duration, the sampler over two hours in total.<\/p>\n

My general practice when field recording is to record for a minimum of 20 minutes to allow for event breadth and listening flow. The listener, if interested, is given time to forget about time, to inhabit the simultaneously evidentiary and conjured event space of the recording.<\/p>\n

For sonic sketchbooks<\/i> this important sense or state of flow is semblanced by dissolving between the excerpts to carry the listener from one scene to the next. Of course, no listener will sit for two hours. \u2028Each person boards or enters the experience at an unknown location and disembarks or exits when\u2028 they\u2019ve travelled, by their own estimation, far enough. This sketchbook is a sonic journey without destination, enabled by the technologic thaumaturgy of handheld audio recording.<\/p>\n

In 1996 the Japanese Ministry of the Environment realised the \u2018100 Soundscapes of Japan\u2019 project. From 738 submissions received from all over the country the Japan Soundscape Study Group selected a representative 100. These recordings of water, insects, birds, bells, steam locomotives and traditional agricultural and craft activities were intended to act as counterpoints to the exponential rise of industrial and consumerist noise pollution, to function as sonic talismans for local communities and to promote re-evaluation of the often ignored sonic fabric of everyday life.
\n_____________________________________________________________________
\naleatoric particles
\n 45 x AIFF digital audio files, approx 90 mins <\/small><\/p>\n

This sketchbook is a suite of 45 compositions, each of two minutes duration, created for a public art soundscape commissioned by Adelaide City Council. Primary recordings were made using modified turntables fitted with clusters of tins and boxes containing marbles, superballs, quandong seeds and ping-pong balls. As the turntables rotate at varying speeds, the objects fall and roll about striking surfaces to generate suggestively musical and percussive sounds in cyclic yet slightly variant patterns. I then manipulated and mixed excerpts from these recordings with my field recordings to produce this collection of experimental sonic sketches. <\/p>\n

Random shuffle play ensures a continuous variety of adjacency and correspondence between the 45 tracks. <\/p>\n