Langsett Landscape Lab → Sonic Acts of Noticing

001A

Curlew
force of the wind on the microphone diaphragm
points of departure
breath
Recording technologies
effects of human systems on more than human lifeforms

002A

Lugging kit around the landscape
Partial knowledge
more of a Yorkshire twang than I realised- journeys carried within the voice
plane up high
the moon
I can hear a siren but it's not in the recording

003A

Partial sensing
ha- happenstance, layers of places
leaps
storms as tis creature that appears in the sky
Runs, trickles, pulse
sky and air and earth
Ungainly devices
tiny stream
breath of the earth
Sedimentation
hydrograph

004A

for any given- contingency
'a difference in the shape of the hydrographic for any given rainfall event'
held in the air
the planes are pretty constant
Ideal vs reality
hyrdographs / hydra/ water godess
voices in the background, birdcall in the foreground
Greece

005A

speculating together
Living as well as possible - practice of care
Definitions / relative / signs and signifiers
shall we?
as we were standing here.
holding into place
where and when shall we try things out>
spatial triggers
prompts, props, propositions,

006A

Feet-ears
materiality of trousers
meeting of the bodily and the earth
Remembering this place in the cold and wet
ha! kit
constant rhythm of movement, resolve to move
Squelch not trudge
purpose/ purposeless

007A

approaching something
friction, as way of learning
purpose but what purpose
breeze, dream
sweet smell of bracken
collaboratively identifying it

008A

Massive steel and concrete fish pass
plane again?
going into a leisurely way of being (and countryside as place of leisure for many of us) in order to think otherwise...
Sledgehammer to crack a nut
the shotgun mic is so directional
that is what happens when we move it
broadband noise muffles the surroundings

009A

emerging from a manmade intervention
plurality proliferates
a closer trickle now
where does the man-made end and nature begin?
human proximity and perspective guided by the ear
Detail in the white noise
;)
locating, focus\\
Stuart's ears

010A

kind of intimate
this trickle could be domestic
Reading poetry
This sound goes on all day and all night even when we’re not there
Omg they’re taking their shoes off

011A

friendships- extended and offering and passing forwrad, translating to context
Slippery stones
Soundscape of a methodology
Branches and woody debris. Channel still rough cut
our ear- our bodily listening surface
trying something - improvising
requires a bit of trust
woody debris

012A

extending your listening surface
how uneasy we were really with standing on slippery stones- fish out of water
Heading through feet
hypersea
Hearing
'feeling distant touches' - Anastasia
capturing earth
breath
what are the limits and boundaries for us in the office of together-doing-
how can this shift here and we have more agency, of what is okay?

013A

persecution
Visualising molecules travelling and carrying
poacher turned gamekeeper
landowners want to hunt game
Organisations
medieval
who are we making our knowledge for- and how might it be misused?
Hidden landscape
what's the fixation with killing stuff?

014A

Red lines
Rough terrain of conflict and smooth plains of consensus
wind on the mic again
this landscape- our imaginary and
planes again
Sandra
infrastructure as a more-than-human project
Cut gate, ancient highway

015A

hey, ey, joyful interruptions/ layer
Original transport infrastructure
what happens if we rethink this water infrastructure as a more-than-human project?
thinking with, what kinds of thinking are we doing together?
in what way?

016A

that reverb wouldn't be there if we hadn't intervened
who and what has been considered unnatural historically, and why?
SPLASH
New habitats for waterfowl. Service stations for ospreys migrating north
did that work? try again

017A

compost-ition
ears now under the reservoir
Farmyard sounds
electrical signals
tiny aquatic critters
Grunt grunt
Oink
Julia said it was like a xylophone when asked

018A

I find it transfixing
signals from an other world
Completely fresh experience of this waterscape
you can almost hear us talking in the background
reversal

019A

we are outside of the centre
The upside down
Emerging out of the water
Functional
industrial prospect
water treatment works

020A

capturing the water
captives
peril
an intensive process of water treatment; removing chemicals and the brown peaty colour
Intensive but not loud

021A

'people don't like brown water coming out of their taps'
The water isn’t of itself. It has been purposed
what we need to unlearn- water colour
nearly back at the car park
clunk click, an ethnography of gates and styles
The whole landscape is a collage of purposes
crushing the pathways
collage of purpose
friendships, walking the paths together

001B

'I started my writing commission by drawing connections between Laplanche’s concept of “alien-ness” and the moon rock. But it soon became clear that I could only communicate what I found so enlightening about this psychoanalyst’s work tp other art users by setting up a situation where both versions of alien-ness — Laplaches’s and the moon’s—could be brought together. To do this, I had finally to use the theory.

[…]

Alien Position Three
Find out the date and time of the next full moon
Take up a position where you can watch the full moon rise.
Wait until the moon is at its zenith.
Look at image 80.*

You are looking at an image of the earth taken from the moon.
Lift the book to the night sky with the image of the earth facing you.
Position the image of the earth so that you can see the moon at the same time.
Hold the image of the earth and the moon together and wait…'

002B

Take a walk at night. Walk so silently that the bottoms of your feet become ears.

001C

'The question of how to listen became gradually more pressing for Freud and his circle as they created the job of professional listener. Of course doctors, priests, and faith healers had been doing it for years, but they would tend to follow up their listening with a definitive course of action – surgery, Hail Marys, rituals. Psychoanalysis was different in that the quality of listening was foregrounded. The listening itself explicitly formed the cure. The trick was somehow to listen in a way that that enabled the other person to hear themselves afresh. In order to do this, Freud developed the idea that the analyst’s "evenly suspended attention" should form a counterpart to the analysand’s free association.'