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Buildings, and the spaces and atmospheres that they enclose, are primarily experienced through seeing them and hearing them. Visions of them are the trajectories and alterations of light
that travel within them to the observer. Audition of them is via the patterns of reflected and diffracted sound that repeatedly pass the observer as their energy decays and spreads. Just as buildings have a visual signature
(what they look like) so they have an aural one. Each is dynamic: changing how a room is lit will change how it looks, making different kinds of noise within it will reveal different aspects of its sound. However, exploration
is bounded by the laws of physics and perception and the fixed nature of the buildings themselves. Useful techniques and modes of expression such as feature exaggeration, time manipulation, rapidly changing or impossible
perspectives and micro/macro-scoption require augmentation of reality, but enable boundaries to be exceeded. It becomes possible to experience not just what a building is, but how it is in our perception; how, for example,
the different elements of its geometry and fabric relate to each other and the individual contributions they make to the whole.

The fixed nature of buildings is one of their defining characteristics. They often stand immutable amongst the peoples, their cultures and technologies, that create them and use them. They are perhaps the person made things
that change most slowly over time and reach furthest into our present from their past. The National Centre for Early Music is housed within the Medieval church of St Margaret in the Walmgate area of York. Traces of Sound and
Light was site-specific fixed-media installation created by this author and the visual artist Annabeth Robinson. Based on data obtained from light detecting and ranging (LIDAR) and acoustic impulse response measurement (AIR)
it used technological augmentation of the both the observer and the space to literally enable the audience to see and hear the space which they are within in new ways that would otherwise be impossible. A 3D animation derived
from the point cloud obtained from the LIDAR process was delivered to head-mounted smartphones worn by the audience, and audio created solely from the AIR measurements and readings of text fragments inscribed within the space
was diffused via multiple loudspeakers.This is binaurally captured (and therefore ideally suited to headphone listening) audio from the version of the installation presented in St Margaret's at the 2019 Audio Engineering Society
International Conference on Immersive and Interactive Audio.

Image: Annabeth Robinson

This is a composition of field recordings taken at various wind turbine farms over the last year. They are recordings taken as part of a sound project
I’m working on which looks at infrastructure; a sonic exploration into the unseen mechanics which underpin our daily lives: Power, transport, sewer systems, communications and supply logistics.
The recordings presented here are in a fairly raw state and will be developed and augmented within the wider body of work. However, I think they hold different value in their 'solo' and raw form
- and may be of particular interest to listeners of TouchRadio. The modern wind turbine is an awe inspiring machine - gracefully benign from two miles away, yet from within their shadow they
assault an image of improbable violence on the senses. Designed to perform modern day alchemy through a screamed slicing of the troposphere, they detune the very skies which hang overhead and
broadcast infrasonic resonances into the ground which i was able to record through a geophone from over half a mile away. Within the setting of ‘nature', these machines are the very definition
of unnatural; up close, their rotating violations of nature's laws feel viscerally threatening.But then these locations too are, by necessity, raw and unforgiving environments. Bleak moorland
at raised altitude or wide unsheltered flatlands; horizon to horizon, exposed, desolate, dystopian. The wind howls across these plains, transforming the totally inert into the wildly volatile
at an instant; bracken, heather, gorse, singing fence wires dissecting arbitrary shingle boundaries for mile upon mile.

The source material was recorded in multichannel spatial format using various ambisonic and stereo air mics, geophone and contact microphones matrixed to 5 channel surround.

Equipment: Sonosax SX R4+ | Ambeo / DPA 4060 / MK-416 / Telinga Mk2 | JRF contact mics matrixed to 5ch / JRF prototype geophone

Thanks to Jez Riley French for the geophone loan, Rudi at Helix Branch and Emily Mary Barnett for her photography/patience.

Simon Fisher Turner – The Youth Choir

Machinefabriek – Moving Noises 2015

Whilst on holiday in Sicily Stuart wanted to capture the sound of the local church bells. Choosing to record at 12 noon every day seemed a reasonable way
to record more elaborate bell combinations whilst also fitting in other holiday plans with his travelling companion.

An edit of ten minutes from each location is included here, with 12 o’clock being positioned in the middle at five minutes to afford some context of the local area. Sicilian dialect
has been used to indicate each day. Church names have been used to indicate location rather than street names, and bells from nearby churches can also be heard as the timing on each
church is slightly different. Some churches ring twice, and one church not at all. The bird sounds were made by an old man hiding behind the tree that I was recording under.

Recorded using a Sound Devices Mix-Pre 6, and a stereo pair of LOM Usi omni-directional mics attached to a coat hanger.

Màrtiri – San Francesco di Paola, Palermo
Mèrcuri – Cattedrale di Palermo and Parrocchia Ss Maria Assunta
Iòviri – Parrochia San Girolamo, Mondello
Vènniri – Chiesa di San Domenico, Palermo
Sàbatu – Cattedrale di Monreale
Dumìnica – Chiesa del Gesù, Palermo

"Between the City and the Forest" collects field recordings made between 2015-2018 in areas around Los Angeles, Mojave, and the Sierra Nevada.
The piece features a millipede walking on a tent, many species of birds, treefrogs, electromagnetic and other urban city textures, as well as some websdr recordings.

Special thanks to Bill, Laurel, Greg, Russ, and all those I met on the Sound Recording and Analysis Workshop in June 2018.