This sound exploration of Walmer Yard House 2 begins with the sound of a wooden door scraping against the rough concrete floor, the two materials crackling and scratching against each other in ear-pleasing sonic friction.
It was the first sound I recorded during my two days exploring the building, stopping me in my tracks when I first heard it, my brain taking a moment to calculate where it was emanating from. The only door in Walmer Yard to make a sound as it opens and closes (rather than gliding smoothly), in some buildings this would be considered a flaw. Knowing some of the philosophy behind Walmer Yard, I like to think it was a design choice, a sonic reminder, more subtle than the huge metal staircases that boom and oscillate with every footstep, of the materials that make up this fascinating, mysterious, sometimes disorientating collection of houses.
Those materials are explored further in this piece using contact microphones, which uncover hidden resonances in physical objects such as metal light fixtures, handrails and staircases. Miniature microphones are used to discover new angles and extreme close-ups of sound, getting into positions that larger traditional microphones might now allow.
My presence in the space is rarely heard. As a performer I'm activating some of the materials, using beaters, brushes and cello bow, but like most sound recordists, I've developed the stillness to avoid imposing my physical self on recordings. Even the smallest movement, shuffle of feet or poorly timed breath will be picked up by the microphone.
In contrast, my felt sense of the space, the 'how does it make me feel?', is present and informs the composition and treatment of the original recordings.
Photo by Helene Binet.
Thanks to Laura Mark for inviting me to take part in the Lesser Senses series of events.