Processing Fog

Thanks to CFAT’s residency I have been able to collect a fair amount of recordings of fog horns, oceans, seascapes, seagulls and other sounds using their portable zoom recorders. It is always challenging finding just the right time to go out collecting because of course it depends greatly on weather there is fog at the same time as an available recorder and timeframe in my schedule. I have managed to record a number of foghorn recordings right in Halifax harbour and even from outside my kitchen window (if the wind happens to be going the right direction).

I am still sifting though these recordings and trying to make sense of the foghorn sound in relation to the FUTURE TELEPHONE as this projects continues to drift between fact and fiction, past and future, communicative media in general and specifically telephones, all of which is connecting somehow to making an attempt,to communicate with limited means and skill-sets while in isolation. I’ve been sometimes enjoying finding a balance between thrifty resourcefulness, and finding solutions that would be somewhat irrelevant to our current networking systems. By reaching backwards, repurposing past technologies to fit the needs of a speculative future, media objects seem out of place, yet serve a function that may not be utilitarian as much as it is allowing for experimental and unexpected results.

Throughout this residency this has remained a challenge, and has led to some conversations with my friend Colin Hill, whom I have begun collaborating with on some aspects of this projects. Colin lives in Toronto, so it seems appropriate in a way to work with someone from a distance, which is way more possible today than ever before. I met Colin during my MFA at NSCAD where he completed his MFA in painting  at the same time as I completed my MFA in Intermedia. Colin works in many media other than painting, and has always taken a keen interest in sound, music and audio. His methodology of working with audio is very different than mine, a little more processed and layered, whereas I tend to leave recorded media as somewhat of a found object or readymade. This has already been a fantastic opportunity to challenge the boundaries I have unconsciously made for myself. Working with Colin has been refreshing, and rejuvenating, and his talents as a sound editor and musician have already taken this work places I would not have thought to take it.

Otherwise, since my latest post last Tuesday, I have managed to head to Saint John to drop off all of my gear for the SIGNAL/FLOE installation. I think this will be a very physically challenging install, lots of moving heavy ice and water in cold weather, and constant problem solving. I hope to update you on that soon in a couple of weeks. In the meantime, I’ll be editing here at the CFAT lab as much as possible and working out shipping etc for my STATION installation at the Yukon Arts Centre which begins in early March.

 

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