Hostname: page-component-586b7cd67f-r5fsc Total loading time: 0 Render date: 2024-11-28T17:21:07.108Z Has data issue: false hasContentIssue false

‘For the Birds’:1 A sound installation

Published online by Cambridge University Press:  11 January 2012

Ruth Hawkins*
Affiliation:
Department of Music, Goldsmiths College, University of London, New Cross, London SE14 6NW, UK

Abstract

This paper describes the background and development of a sound installation which, over a period of time, brings together site-specific field recordings, and acoustic and amplified sounds in a complex of natural and technological sources. During the installation diverse genres of recording and territories of sound become potentially, transiently available as local birdsong, background noises and the sounds of recordings and audio technologies are realised through enculturated experiences of recordings and ambient modes of listening. The work has closely evolved out of an existing field recording practice and the version described here remains a proposal – at the time of writing – to be completed in spring 2011. The way in which the installation has contingently emerged has become a critical part of the work which – instead of being conceived of as a untransferable ‘new reality’ essentially related to a site – will be used to open and connect recorded sound to the prolific wider circulation of mediated sound and – across different milieux – to the world ‘itself’.

Type
Articles
Copyright
Copyright © Cambridge University Press 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

1

Title taken from Cage 1981.

References

Adorno, Theodor W. 1991. On the Fetish Character in Music and the Regression of Listening. In The Culture Industry: Selected Essays on Mass Culture. London and New York: Routledge.Google Scholar
Adorno, Theodor W., Levin, Thomas Y. 1990. The Form of the Phonograph Record. October 55 (Winter 1990): 5661.Google Scholar
Attali, Jacques. 1985. Sacrificing. In Noise, The Political Economy of Music. Manchester: Manchester University Press.Google Scholar
Baudrillard, Jean. 1994. Simulacra and Simulacrum, trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press.Google Scholar
Cage, John. 1952/53. Williams Mix Score. http://www.johncage.info/workscage/williamsmix.html (accessed on 27 February 2011).Google Scholar
Cage, John. 1981. For the Birds. London and New York: Marion Boyars Publishers.Google Scholar
Cusack, Peter. 2006. Interpreting the Soundscape. LMJ16 CD Companion. CD Curators Introduction on Vox ex Machina, http://lea.mit.edu/lmj/cusacklmj16cdintro.html (accessed on 14 March 2009).Google Scholar
De Waard, Franz. 2006. Review of Kiyoshi Mizutani Scenery of the Border: Environment and Folklore of the Tanzawa Mountains (CD by and/Oar) Vital Weekly No. 526, Week 20, http://www.vitalweekly.net/526.html (accessed on 1 March 2011).Google Scholar
Dunn, David., Van Peer, Rene. 1999. Music, Language and Environment. Leonardo Music Journal 9 (December 1999.Google Scholar
Edgeless website. 2011. http://www.edgeless.org.Google Scholar
Gould, Glenn. 1966. The Prospects of Recording. In Tim Page, ed., The Glenn Gould Reader. London and Boston, MA: Faber and Faber, 1988.Google Scholar
Iges, Jose. 2000. Filippo Tommaso Marinetti, 1927–1938: A Landscape Heard (Un Paesaggio Udito). In Soundscapes: A Historical Approach, http://cec.concordia.ca/econtact/Histories/HistoricalApproach.htm (accessed on 1 March 2011).Google Scholar
Kahn, Douglas. 1994. Surface Noise on the DeMarinis Effect. From The Edison Effect – A Listener's Companion on Apollo Records ACD 039514.Google Scholar
Kassabian, Anahid. 2001. Ubiquitous Listening and Networked Subjectivity. ECHO: a music-centered journal 3(2) (Fall 2001), http://www.echo.ucla.edu/Volume3-issue2/kassabian/kassabian.pdf (accessed on 2 March 2009).Google Scholar
Kittler, Friedrich A. 1999. Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz. Stanford, CA: Stanford University Press.Google Scholar
Lanza, Joseph. 1991. The Sound of Cottage Cheese (Why Background Music Is the Real World Beat!). Performing Arts Journal 13(3) (September): 4253.Google Scholar
Lopez, Francisco. 1998. Environmental Sound Matter. Liner Notes of CD La Selva: Sound environments from a Neotropical rain forest (V2, The Netherlands), http://www.franciscolopez.net/env.html (accessed on 10 March 2009).Google Scholar
Mackenzie, Adrian. 2002. Transductions: Bodies and Machines at Speed. London and New York: Continuum.Google Scholar
Mizutani, Kiyoshi. n.d. About my work, http://www.kaon.org/kiyoshi_mizutani/index.php (accessed 4 March 2009).Google Scholar
Nattiez, Jean-Jacques. 1990. The Status of the Sound-Object. Music and Discourse: Toward a Semiology of Music, trans. Carolyn Abbate. Princeton, NJ: Princeton University Press.Google Scholar
Nature Recordists Group. 2005. http://tech.groups.yahoo.com/group/naturerecordists (accessed on 1 March 2011).Google Scholar
Norman, Katharine. 2004. Several Infinities (an Emblem Book), Sounding Art: Eight Literary Excursions through Electronic Music. Aldershot: Ashgate Publishing Limited.Google Scholar
Robair, Gino. 2007. Going Wild with Bernie Krause, http://emusician.com/em_spotlight/bernie_krause_interview/index1.html (accessed on 1 March 2011).Google Scholar
Schafer, R. Murray. 1973. The Music of the Environment. In Cox, Christoph and Warner, Daniel, eds, Audio Culture: Readings in Modern Music. New York and London: Continuum, 2004.Google Scholar
Schafer, R. Murray. 1977. Schizophonia. In The Soundscape: Our Sonic Environment and the Tuning of the World. Randoph, VT: Destiny Books, 1994.Google Scholar
Taussig, Michael. 1993. Flash of Recognition: Spacing Out. In Mimesis and Alterity: A Particular History of the Senses. New York and London: Routledge.Google Scholar
Ultrared. 1997a. Worldrecord: Globalism and the International Ambient Culture, http://www.ultrared.org/lm_world.html (accessed on 21 July 2009).Google Scholar
Ultrared. 1997b. Deadrooms: From the Death of Ambient Music to Listening Material, http://www.ultrared.org/lm_dead.html (accessed on 1 March 2011).Google Scholar
Westerkamp, Hildegaard. 1988. Listening and Soundmaking: A Study of Music-as-Environment. Master's thesis, Simon Fraser University, http://ir.lib.sfu.ca/handle/1892/6830 (accessed on 2 March 2009).Google Scholar
Wollscheid, Achim. 1999. Does the Song Remain the Same?. In Labelle, Brandon and Roden, Steve, eds, Site of Sound: Of Architecture and the Ear. Los Angeles, CA: Errant Bodies Press.Google Scholar

Hawkins sound file

Sound file

Download Hawkins sound file(Audio)
Audio 6.6 MB