Rejects the idea the sound recording can ever be simply representational.
Sound recording is a creative act
Not about the species of animals
Uses untiled to draw attention to the sounds not the sound sources
“Profound or blind listening”
“This form of listening doesn’t negate what is outside the sounds but explores and affirms all that is inside them.” (Pp. 82 -83)
“Sound object”= “sound matter”
He identifies that sounds, but doe not provide this information with the recordings.
Uses blindfolds to disconnect from the representational meaning of the sounds.
Discourages “focal listening” to individual species or sonic events, but rather wants to achieve a whole sonic listening experience. The sounds of the forest, the trees, wind, rain, plant matter interacting with one another, a density of sound material that makes up the environment. The “sound-transmitting” and “sound-modifying” elements are just as important as the “sound-producing” components. Lopez uses multiple records to capture the environment from different places, together forming an interpretation of the environment in a creative way. This is not representational, because there are many decisions that need to be made in order to make this recording. The recording technology itself mediates the sound. There can never be a true representation of recordings from an environment. Things will never sound the same as if you were actually there listening with your own ears.
Sounds on Le Selva have not been modifies or processed in any way. Microphone placement is 100% of the process.
Microphones are “non-neutral interfaces”. Different microphones “hear” in different ways so they are the “first transformational step in the recording process” (pp 84).
‘Hyperreality is being conducted” (pp. 84)
“I don't believe that there is such a thing as the "objective" apprehension of sonic reality. Regardless of whether or not we are recording, our minds conceptualize an ideal of sound. And not only do different people listen differently, but the very temporality or our presence in a place is a form of editing. The spatial, material, and temporal transfigurations exist independently or phonography. Our idea or the sonic reality, even our fantasy about it, is the sonic reality each one of us possesses.” (pp. 85)
THIS IS NOT A PIPE - Rene Magritte
This analogy makes so much sense to me right now. The contradiction of field recording being a real representation of the environment just isn’t possible. The mediation of sound, the way we catpure it, the choces we make in order to then present it to someone in a different environment, means that it can never be the same thing that it was when you first listened to it from it’s original source in it’s original location.
“Sound web” - I like this way to describe the make up of a sonic environment.
Rather, It Is my belief that music Is an aesthetic (in its widest sense) perception/understanding/conception of sound. It's our decision-subjective , intentional, non-universal, not necessarily permanent-that converts nature sounds into music. We don't need to transform or complement the sounds. Nor do we need to pursue a universal and permanent assignment. It will arise when our listening moves away and is freed from being pragmatically and representationally oriented. And attaining this musical stale requires a profound listening, an immersion In the inside of sound matter” (pp. 87)