I knew that my hearing was really sensitive when I was a child.
So that interaction,
with sound I was younger was,
very directly emotional!
And a lot of times reactive. Like reacting to a really loud sound, or trying not to have my ears,
hurt by a loud sound, but at this point my relationship with sound, is so totally different.
I embrace.
The sensitivity to sound, and I try to exploit much as I possibly can.
How can I continue to awaken and renew my listening experience on my hearing
experience any sort of way.
It's the only problem about recording over here, you always have,
Trains.
Hearing like every recording, I have,
the challenge of finding,
those sounds, and keeping my ears really awake, and in tune,
to what's happening around me.
That's what I'm really focused on now like.
Could we just stop, and kind'a of listen,
and see.
what's gonna lies to the top and then,
how do we focus in on that and,
reveal what's interesting about it.
Is it because it, rises to the service, or is it because there's something,
there. A texture or a,
erm, a characteristic of that sound that really needs to be investigated.
So, I started recording with the cassette deck in 1996.
I developed this archive of every time I travelled, or went anywhere.
I realize that some of them have a more significant than others.
Flipping through, I find my granddad's recording.
Talking about fiddle tunes.
What he played and why played it.
It the last time I recorded my granddad playing before he passed away
If you know?
kind'a where it was recorded? Or maybe the day, or as recorded under the circumstances,
as to how it might have been recorded. Circumstances, as to how it might have been recorded.
I love just a tiny bit of context,
opens the door, and then,
Your imagination gets to fill in the rest, and I think sound does that.
For me especially more vividly than images.
We were living in "Fort Stockton Texas." And, I was probably three.
I had a "Fisher-Price" turntable sitting right next to my bed. And, I had a few forty fives that were there.
And, I had a few 45 that were there, so I would wake up in the morning put a 45 on, and play a record.
I didn't actively seek out music. I just,
devoured whatever was there. As much as I possibly could over and over and over again
So, what I like about using these loops that you get the percussive click.
But, then you get,
whatever is happening within the loop itself, so
You get all of that information that happens as it spins,
from this direction and then you get,
something that's gonna stop it, and like start the sound over again, which is the piece of tape.
So when some things looping
I think about the present being...
sustained but, then extended through time.
So, repetition happens a lot my work, and I think,
it's a way for me to talk about time but, in a
very specific way, like these things kind'a looping back around themselves.
Before it was always really separate and my mind.
DJing and all this other sound interest,
So, now everything's the same room,
and I can bounce about things around in here really, really, easily.
All right.
I like to do it like to take whatever the field recording is,
filtered down to a specific set of frequencies,
and had those frequencies.
Vibrate, and resonate another material.
This piece was called vibrational one.
And
I found this bucket.
Course.
The train.
So, this bucket was found under the bridge.
At "Roosevelt Park."
Just around the corner.
This is a small brass bell that my mom.
Had given me a long time ago.
I just thought that they, they would be were really nice conversation between materials and place,
and sound, and that.
The sound would be the sort of activating element in all of those things.
The Sparrows have their own sound, and that sound.
Is being brought together and combined with the sound of the brass bell.
And, then those two things, make one sound together.
So, a sound, that the brass bell, would not make on its own.
And, a sound that a Sparrow would not make on its own.
So, that's why I like to take these sounds and manipulate them, and really kind of,
bring out the harmonics within those sounds.
To resonate within whatever the natural material
As I keep working.
That marriage of object and sound is where I am really focused, now at this point.
I remember someone asking me like, why do you use sound in your work?
It's like one of those questions, why do you breathe?
I know but it happens, and I know that I need to do it.
But.
It,s just something like, of course i am going to use sound.
It's so primary to me, that I kinda have to use it.