Tuesday, 17 April 2012
Christopher Richard Watson is a Sheffield-born musician and sound recordist specialising in natural history. He was a founding member of the musical group Cabaret Voltaire, and Watson's work as a wildlife sound recordist has covered television documentaries and experimental musical collaborations.
Watson was a founding member of two influential experimental music groups, Cabaret Voltaire and The Hafler Trio.
He has released three solo albums of field recordings: Outside the Circle of Fire, Stepping into the Dark (which won an Award of Distinction at the 2000 Prix ARS Electronica Festival in Linz, Austria), and Weather Report.
He has also released a variety of works in collaboration with other artists, including Star Switch On, a collaboration with Mika Vainio of Pan Sonic, Philip Jeck, Hazard, Fennesz, AER and Biosphere. In 2007 he released Storm with BJNilsen, and in 2011 "Cross-Pollination" and "El Tren Fantasma". All of these recordings were released on Touch.
2003's Weather Report was named as one of the thousand albums you should hear before you die in The Guardian.
His sound recording career began in 1981 when he joined Tyne Tees Television. His television work includes Bill Oddie Back in the USA and Springwatch.
In 2006 he was awarded an honorary Doctor of Technology degree by the University of the West of England "in recognition of his outstanding contribution to sound recording technology, especially in the field of natural history and documentary location sound".
In 2010 he devised an art project at Liverpool's Alder Hey Children's Hospital, using sound recordings made by children to calm other young patients as they received injections and other treatments.
The Musiara Gate - Touch Sampler 2
Mara River At Night - Stepping in to the Dark
Demonic Laughter - Touch Sampler 3
Out Of Our Sight - Outside the Circle of Fire
Selected radio programmes:
The Reed Bed - Series of five, fifteen-minute radio programmes, broadcast on Radio Four from 19–23 March 2007.
A Guide to Garden Birds - Series of five, fifteen-minute radio programmes, broadcast weekly on Radio Four from 22 May 2007.
A Guide to Farmland Birds - Series of five, fifteen-minute radio programmes, broadcast weekly on Radio Four from 22 August 2011.
Selected album discography:
Stepping into the Dark (1996, Touch (UK) Touch Music)
Outside the Circle of Fire (1998, Touch (UK) Touch Music)
Weather Report (2003, Touch (UK) Touch Music)
El Tren Fantasma (Chris Watson album) (2011, Touch (UK) Touch Music)
Star Switch On with Mika Vainio, Philip Jeck, Hazard, Fennesz, AER, and Biosphere (2002, Touch (UK) Touch Music)
Number One with KK Null and Z'EV (2005, Touch (UK) Touch Music)
Storm with B. J. Nilsen (2006, Touch (UK) Touch Music)
Cross-Pollination with Marcus Davidson (2011, Touch (UK) Touch Music)
Further information here, here and here.
Saturday, 14 April 2012
BBC2, 25/12/1972, 90 minutes, colour. Director: Peter Sasdy. Production Company: BBC. Producer: Innes Lloyd. Script: Nigel Kneale. Cast: Michael Bryant (Peter Brock); Jane Asher (Jill); Iain Cuthbertson (Collinson); Michael Bates (Eddie); Tom Chadbon (Hargrave).
Jill drives to the mansion now being used by Ryan Electric products and is almost crushed by two of their removal vans as she enters the grounds. Collinson meets Peter as he arrives and the rest of the research team arrives shortly afterwards. Peter shows them around their new top-secret research facility. They are to work on a new type of recording medium in attempt to beat the Japanese competition. Jill will correlate their research using complex computer programmes. Collinson tells Peter that the computer storage room isn't ready after all. The men have refused to do any work there. Peter pulls off some of the rotting wood panelling and reveals a set of stone stairs that don't seem to go anywhere. They have apparently been there since Saxon times and the house has been built around them. Jill, left alone, suddenly hears a scream. She collapses and is helped by Peter and Collinson. Peter is convinced that she is subconsciously trying to get his attention as he has been cooling off from their affair recently.
Peter takes Jill to the local pub and Alan, who works there, admits that he used to play at the mansion as a child. They go to see the vicar, who tells them that the previous owners made an application for exorcism. Collinson confirms this, explaining that it was granted in 1892, two years after the death of the maid Louisa after falling from the stairs in the room. As the workers refuse to refurbish the room, Peter, after hearing the screaming himself, decides to find out where it comes from . The team attempt to record it, but their equipment only registers them, not the screaming. Jill, however, actually sees Louisa at the top of the stairs. Alan is invited to visit, but he flees in terror once the screaming starts. He says that when his friend Jacky was inside, he was visited not just by Louisa but also by others.
Peter Brock: [on analyzing a ghost by electronic means] Let's say it's a mass of data... waiting for a correct interpretation.
Jill calculates that there have been 8,000 appearances since Luisa's death. The team try again to record the phenomenon using heat sensors, but are again unsuccessful, although this time two people see the maid. Crawshaw is developing a new washing machine for Ryan but Peter won't let him use any of his space. Jill has a breakthrough, positing that the room itself acts as a recording device but that it depends on the individual's sensitivity. Peter tries to control the visitations with vibrations and pushes his team to the point of physical and mental exhaustion. Pushed by Ryan, he has promised to deliver results soon. Jill's computer starts typing out individual words like 'pray' and 'soul'. When Peter's experiments fail after bombarding the room with sound, it becomes clear that he has, in effect, 'wiped' the recording from the stone.
Crawshaw is installed by Ryan in the mansion as Peter's results have been to slow in coming. The men go back to fitting out the room for the computers now that the screaming has stopped. Jill is now sure that Peter has only erased the top layer, and there is something far older beneath it that he may have energised with his experiments. He refuses to listen to her and insists she take some leave. Jill goes to the room and is surrounded by ancient elemental forces. She goes up the stairs and reaches an ancient sacrificial site that used to be there. She falls to her death. At the inquest, Peter says that she was unstable. He has all her work shredded as she was exploring the possibility of looking at elements from 7,000 years ago. He refuses to take any responsibility for what happened to her, and Collinson hits him. Peter visits the room again and is pursued by the sounds of Jill screaming for his help.
Watch The Stone Tape here.
The bulk of the following text is edited from the Wikipedia page concerning Psychogeography, as it stands, as of 15 August 2013. With additional text and images, here and there, as and when.
Judging by the concerns expressed at the outset ('This article may be too technical for most readers to understand') and the amount of citations dotted here and there (Who?), Wikipedia is not entirely happy with the entry.
However The Hauntological Society does not find it wanting.
“I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness-in a landscape selected at random-is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern-to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal” A section from Vladimir Nabokov’s 1966 (revised) autobiography: ‘Speak, Memory’
Psychogeography was originally developed by the avant-garde movement Lettrist International in the journal Potlach. The originator of what became known as unitary urbanism, psychogeography, and the dérive was Ivan Chtcheglov, in his highly influential 1953 essay "Formulaire pour un urbanisme nouveau" ("Formulary for a New Urbanism").
The Lettrists' reimagining of the city has its precursors in aspects of Dadaism and Surrealism. The idea of urban wandering relates to the older concept of the flâneur, theorised by Charles Baudelaire. Following Chtcheglov's exclusion from the Lettrists in 1954, Guy-Ernest Debord and others worked to clarify the concept of unitary urbanism, in a bid to demand a revolutionary approach to architecture. At a conference in Cosio di Arroscia, Italy in 1956, the Lettrists joined the International Movement for an Imaginist Bauhaus to set a proper definition for the idea announced by Gil J. Wolman "Unitary Urbanism - the synthesis of art and technology that we call for — must be constructed according to certain new values of life, values which now need to be distinguished and disseminated". It demanded the rejection of functional, Euclidean values in architecture, as well as the separation between art and its surroundings. The implication of combining these two negations is that by creating abstraction, one creates art, which, in turn, creates a point of distinction that unitary urbanism insists must be nullified. This confusion is also fundamental to the execution of unitary urbanism as it corrupts one's ability to identify where "function" ends and "play" (the "ludic") begins, resulting in what the Lettrist International and Situationist International believed to be a utopia where one was constantly exploring, free of determining factors.
In "Formulary for a New Urbanism", Chtcheglov had written "Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams". The Situationists' response was to create designs of new urbanised space, promising better opportunities for experimenting through mundane expression. Their intentions remained completely as abstractions. Guy Debord's truest intention was to unify two different factors of "ambiance" that, he felt, determined the values of the urban landscape: the soft ambiance — light, sound, time, the association of ideas — with the hard, the actual physical constructions. Debord's vision was a combination of the two realms of opposing ambiance, where the play of the soft ambiance was actively considered in the rendering of the hard. The new space creates a possibility for activity not formerly determined by one besides the individual.
However, the Situationist International may have been tongue-in-cheek about some parts of psychogeography. "This apparently serious term 'psychogeography'", writes Debord biographer Vincent Kaufmann, "comprises an art of conversation and drunkenness, and everything leads us to believe that Debord excelled at both". Eventually, Debord and Asger Jorn resigned themselves to the fate of "urban relativity". Debord readily admits in his 1961 film A Critique of Separation, "The sectors of a city are decipherable, but the personal meaning they have for us is incommunicable, as is the secrecy of private life in general, regarding which we possess nothing but pitiful documents". Despite the ambiguity of the theory, Debord committed himself firmly to its practical basis in reality, even as he later confesses, "none of this is very clear. It is a completely typical drunken monologue with its vain phrases that do not await response and its overbearing explanations. And its silences". Before settling on the impossibility of true psychogeography, Debord made another film, On the Passage of a Few Persons Through a Rather Brief Unity of Time (1959), the title of which suggests its own subject matter. The film's narrated content concerns itself with the evolution of a generally passive group of unnamed people into a fully aware, anarchistic assemblage, and might be perceived as a biography of the situationists themselves.
Among the rants which construct the film (regarding art, ignorance, consumerism, militarism) is a desperate call for psychogeographic action:
“When freedom is practiced in a closed circle, it fades into a dream, becomes a mere image of itself. The ambiance of play is by nature unstable. At any moment, "ordinary life" may prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Every game takes place within the boundaries of its own spatial domain”.
Moments later, Debord elaborates on the important goals of unitary urbanism in contemporary society:
“The atmosphere of a few places gave us a few intimations of the future powers of an architecture that it would be necessary to create in order to provide the setting for less mediocre games”.
Quoting Karl Marx, Debord says:
“People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is animated. Obstacles were everywhere. And they were all interrelated, maintaining a unified reign of poverty”.
“Perhaps it’s that you can’t go back in time, but you can return to the scenes of a love, of a crime, of happiness, and of a fatal decision; the places are what remain, are what you can possess, are what is immortal. They become the tangible landscape of memory, the places that made you, and in some way you too become them. They are what you can possess and in the end what possesses you” Rebecca Solnit, A Field Guide to Getting Lost
Since the 1990s, as situationist theory became popular in artistic and academic circles, avant-garde, neoist, and revolutionary groups emerged, developing psychogeographical praxis in various ways. Influenced primarily through the re-emergence of the London Psychogeographical Association and the foundation of The Workshop for Non-Linear Architecture, these groups have assisted in the development of a contemporary psychogeography. Between 1992 and 1996 The Workshop for Non-Linear Architecture undertook an extensive programme of practical research into classic (situationist) psychogeography in both Glasgow and London. The discoveries made during this period, documented in the group's journal Viscosity, expanded the terrain of the psychogeographic into that of urban design and architectural performance.
The journal Transgressions: A Journal of Urban Exploration (which appears to have ceased publication sometime in 2000) collated and developed a number of post-avant-garde revolutionary psychogeographical themes. The journal also contributed to the use and development of psychogeographical maps which have, since 2000, been used in political actions, drifts and projections, distributed as flyers. Since 2003 in the United States, separate events known as Provflux and Psy-Geo-conflux have been dedicated to action-based participatory experiments, under the academic umbrella of psychogeography.
Psychogeography also become a device used in performance art and literature. In Britain in particular, psychogeography has become a recognised descriptive term used in discussion of successful writers such as Iain Sinclair and Peter Ackroyd and the documentaries of filmmaker Patrick Keiller. The popularity of Sinclair drew the term into greater public use in the United Kingdom. Though Sinclair makes infrequent use of the jargon associated with the Situationists, he has certainly popularized the term by producing a large body of work based on pedestrian exploration of the urban and suburban landscape. Sinclair and similar thinkers draw on a longstanding British literary tradition of the exploration of urban landscapes, predating the Situationists, found in the work of writers like William Blake, Arthur Machen, and Thomas de Quincey. The nature and history of London were a central focus of these writers, utilising romantic, gothic, and occult ideas to describe and transform the city. Sinclair drew on this tradition combined with his own explorations as a way of criticising modern developments of urban space in such key texts as Lights Out for the Territory. Peter Ackroyd's bestselling London: A Biography was partially based on similar sources. Merlin Coverley gives equal prominence to this literary tradition alongside Situationism in his 2006 book Psychogeography, not only recognising that the situationist origins of psychogeography are sometimes forgotten, but that via certain writers like Edgar Allan Poe, Daniel Defoe, and Charles Baudelaire they had a shared tradition.
Psychogeography, as a term and a concept, now reaches more British eyes than ever before, as novelist Will Self had a column of that name which started out in the British Airways Inflight magazine and then appeared weekly in the Saturday magazine of The Independent newspaper until October 2008. The concepts and themes seen in popular comics writers such as Alan Moore in works like From Hell are also now seen as significant works of psychogeography. Other key figures in this version of the idea are Walter Benjamin, J. G. Ballard, and Nicholas Hawksmoor. Part of this development saw increasing use of ideas and terminology by some psychogeographers from Fortean and occult areas like earth mysteries, ley lines, and chaos magic, a course pioneered by Sinclair. A core element in virtually all these developments remains a dissatisfaction with the nature and design of the modern environment and a desire to make the everyday world more interesting.
"Psychogeography could set for itself the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals" From Critique of Urban Geography (1955) by Guy-Ernest Debord
Further information here, here & here. Video content here, here & here.