As part of Documenting Britain, I will develop a series of sound works that uses field recordings from the British landscape. The land and the sea, the culture, people, and spirit that lay in the present, the past, and the imagined.
Soon it’ll be eight weeks since my relocation to Aberdeen from London and this seems an appropriate time to start reflecting on this passage. A passage for it is taking place, still now, as an experience of a new environment. And of course an environment that now has a very different–scape than the urban/metropolitan one I got used to.
London now looks like a break—a long one, between my upbringing in the countryside and my research about to start now on the sonic-aural landscape in composition set once again in a much different urban location.
I have been exploring the region in the past few weeks, beyond Aberdeenshire to the Highlands of Scotland with much interest in the shape, colour, content, and outline of the landscape.
I am now working with some of the documentation I’ve recorded in Braemar and Helmsdale to develop a composition that is rooted in what Tim Ingold defines as the visible and the visual, while I’m being hunted by romantic ideas of the sublime.