For anyone interested in sound and sound recordings
3Priiises volume 4 is now available on Earsheltering, it's 3 pieces dedicated to the field recording, and as all good things in this world it's available as a free download.
1 - Kris Limbach - Zanshin Particles
Christoph “kris” Limbach (born in 1978, Germany) is a sound artist living in Berlin. His background in applied physics and his sound work for filmmakers has a significant influence in his current field recording and improvisation based sound art. In 2009-2010 he published the first two parts of the long-term sound incidences series called begin_ if _ (). Kris has participated in sound projects and bands such as the noise-punk-experiment “reward lost puppy”(2005) and "dentro sonido"(2003). Founder of the emitter19 studio in Berlin he s curating - together with Pierce Warnecke - the emitter micro festival and label.
2 - Flavien Gillié - La pelouse devient jardin
During the Occupy Brussels movement in Saint-Gilles (Brussels, Belgium) in june 2011, a temporary garden has been created on a public space.
This space was an unaccessible lawn, there have been activities for children, gardening, music, assemblies with the neighbors as well.
This recording is a montage of what happened during those days.
3 - Joe Stevens - Hospital waiting
1. hospital corridor; where's the nearest loo bro
2. get you a number
3. did you call 17
4. are you waiting for somebody
5. got used to it
These field recordings were made during my time waiting at hospitals and reflect memories of the last year. They capture moments in time and different spaces within the hospital environment. For me these field recordings unfold the beauty of what appears to be something commonplace.
Hospitals, I find, are places that cross the boundaries between public and private spaces. They can feel quite open and accessible, while also being very private places (consultations with doctors, data protection, and us revealing very personal information). While additionally NHS hospitals here in UK are institutions that are changing from publicly funded spaces to privately financed.
I’ve long been interested in public space; in the public/private spaces we inhabit, how we use and claim ‘ownership’ over these places. I also get a lot of my inspiration from working in the public realm and interacting with people. Using sound, photographs, video and writing, to testify how we use public space; how we move through it, sit in it, lounge or conduct ourselves in it, and above all how we relate to other people and objects.
These recordings aim to peer beyond the facades, to discover something that hopefully will chime in your own imagination.
My practice is people orientated and explores issues in an engaging and creative way. My vision is explored through print, photography, moving image and sound. I feel that each different subject area under investigation demands different approaches to achieve defined representation. I’ve always been interested in trying to express my collaborative work in a way that is moving and non-judgmental.
My main motivations is to make sense of the world around us and to help serve as my visual memory. Whether it is exploring personal memories or looking at how we relate to our surroundings or simply looking more closely at the objects and spaces around us. Through field recordings, the listeners can experience the sound of places that they might never be able to visit. That is not only a quality of a field recording but also of photography – both record media can easily complement one another. Their authenticity is not as important as their prospect of recording moments, atmospheres, noises and images and making them accessible, so that people can visualise a place they did not know. The new experiences and discoveries inspire people and make them "see" their world in a different way.
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