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GHY-3 Sound Worlds: Goonhilly Downs SSSI is an acousmatic composition bridging insect communication and satellite signals, inviting exploration of interconnected realms in a more-than-human sonic landscape. Crafted in the composer's home studio with noise machines, synths, and field recordings from Goonhilly Downs Earth station, the piece captures aquatic creatures' worlds, including vocalizations and rhythms. Many insect vocalizations are from endangered species, reflecting climate change impact. Stemming from two years of field studies at Goonhilly Downs SSSI, the composition employs three sonic categories—Loop, Drone, and Melodic Fragment—to explore sound worlds and structure. It integrates natural growth patterns, Fibonacci sequence, and Golden ratio, accentuating circular rhythms and patterns through bio and eco acoustics. The piece introduces innovative sonic recording technologies for attentive listening (making inaudible sounds of the insect and satellites audible), embracing a post-war Musique Concrète aesthetic with granular synthesis and spatial audio techniques. It delves into circular rhythms, natural patterns, and insect/satellite communication, presenting a holistic more- than-human environment. The continuous narrative weaves insect vocalizations, electromagnetic satellite sounds, and the delicate balance of the natural world.

GHY - 3 Sound Worlds- Goonhilly Downs SSSI Cornwall UK

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Field recordings done on site and music composed and arranged by J R House.

200 km above the Arctic Circle, in the magical light from the midnight sun and the northern lights.
-20 degree intermittent snowstorms and blizzard.

I and a team of Aurora scientists led a group of artists into the unknown.Over the following days I made extensive field recordings and time lapse Photography.

Aurora Borealis: Solar Winds

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Zoom F3
Pre mix D pre amp
X6 Lom stereo mics
Beyer Dynamic headphones
Mic stands with acoustic foam

Listen with the trees to a binaural recording I made.
*Wear headphones*

Listening out to the sounds, or susurrations, of trees is something I have always done, which my grandfather taught me to do. Different strengths of wind and different species of trees bring varied sounds from gentle rustling almost inaudible timbres and crescendos which can transport me to other worlds within my world.

I think listening with nature to navigate our world is crucial, otherwise how are we augmenting and understanding our world? Through the sounds of TV, electromagnetic waves, the sounds of chainsaws cutting down trees, fake news?

Susurrations: Sounds of wind in trees

PLEASE NOTE COMPRESSED QUALITY FOR SOUNDCLOUD
Zoom F3
Pre mix D pre amp
X6 Lom stereo mics
Beyer Dynamic headphones
Mic stands with acoustic foam

Listen with the ebb and flow of the sea to a binaural recording I made.

What creatures are receiving me and know I am here? What ecosystems living within these pipes that have been a silent witness to many atrocities in the war.

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Cremyll WWII Oil-storage depot pipes

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Field recordings,composition and mixing by J.R House.

Sad Piano for a Dying Planet

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Binaural recording (WEAR HEADPHONES) using 8 microphones and contact mics of a working marine shipyard,capturing the natural sounds of wind filtering through objects.
*Binaural recording wear headphone*
In the boatyard, a cacophony of enduring winds orchestrates a myriad of rhythmic sounds, creating textures and tapping, both constant and dynamic. My attempt to capture the wind's essence reveals its whistling resonance, intertwining with reverberating sails, wires, and walls, producing gentle timbres reminiscent of icicles. Amidst the gusts, a vocal-like whistling emerges, accompanied by the sound of small objects falling or friction between surfaces. This recording encapsulates the unspoken poetry of the wind. Wind sails' rattling becomes a natural refrain, echoing the dialogue between human design and the untamed forces, a testament to the harmonious conversation between human and more than human soundscapes.

Marine Wind

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Caradon Hill Cornwall UK
Wind and pylons: interference and resonance
Sounds in the wires

Sound Devices 302 D mixer
Zoom F3
X6 contact mics

I harbour a profound appreciation for pylons and wires. It seems to me that pylons are a great example of multifaceted noise.
The Sonic noise above my head out of reach fizzing and crackle in the ether as high voltages zip and zap along the cables. It’s a noisy sound. crispy crackly textures, at once constant and moving, static and dynamic. 

The wind and rain at Caradon hill as every visit are intense and unrelenting, fog obscures the towers, sheep and landscape, closing down my visual field and opening up my auditory perception. I attach my contact mics directly to the wire as the wind whistles off the wires and send vibrational drones that I record and listen to over hours attuning to the rhythms, harmonies and dissonance vibrations.

The natural frequencies of the wire are determined by the integer harmonics of the fundamental. In very long wires such as the wires here reach at their pinnacle 780ft which are also very thick the fundamental is well below one Hertz. As I listen to wind, and tension of the wires as the wind contorts them creating higher harmonic frequencies which fall into the auditory range of humans (I am interested how the sheep and birds perceive these sounds). The very high harmonics become so crowded they cease to have discrete frequencies but rather tend to beat together, creating second-order frequencies of lower pitch. the length of the wire a family of interacting segments, each with its own fundamental within the auditory range sing in the wind. There is a vocal-like quality of the wires vibrating in the wind containing the sound of numerous ‘voices’, each competing for harmonic dominance.

The method of fixing the contact mics is an art in itself with  no single best method. Rather, attunment and knowledge of wing and weather patterns in which different conditions require different methods, which are established by rre-visits and experimentation.

Caradon Hill Transmission Mast Cornwall UK

Geophones, hydrophones, contact mic and 6 omnidirectional microphones

Notes
As the light diminished, the volcanic palette undergoes a kaleidoscopic transformation, revealing an iridescence a spectral shimmering.

The sands embody the ethereal interplay of otherworldly pigments that defy earthly conventions.
Listening with multispecies ecologies: volcanic rock pools teeming with life , hermit crabs, Black Sea urchin, Goby and Shrimp, with tides crashing nearby. Human perception and language too limited to describe these multiplicitous worlds.

Using  geophones to  convert ground movement (velocity) into voltage, in attempt to pick up subterranean vibrations. The deviation of this measured voltage from the base line is called the seismic response and is analysed for structure of the earth.
In this majestic Canary Islands. We discovered alien, enigmatic volcanic landscapes, lava fields and magical caves and art by Cesar Manrique. An island carved and shaped with creativity and art.

Speculative Field Trip: Timanfaya National Park in Lanzarote

Mixed media sound sculpture, sea buoy, speakers, string, seaweed

Experimental underwater eight hydrophone recording rig
Recordings taken every hour over an eight-hour period

Non-invasive speculative approach for listening with species, assemblages, and environmental variables within often marginalized freshwater ponds. Using bio acoustic  recording techniques collected over long durations from small waterbodies, alongside environmental and anthropogenic noise. The recording explores habitats for a range of aquatic, terrestrial, and amphibious life. Rare and declining species highlight the sonic difference in insect and plant behaviours in the day and night. Clear diurnal patterns in the soundscape with active night sounds of insect vocalisations and quieter day periods of plant photosynthesis where heard.

Watery Bodies

Mixed media, Anthotypes,  photographic prints of fabriano paper, rust, oil, six microphone recording for binaural headphones, 2024

Speculative field studies at post industrial WWII site that explores the remains of abandoned oil tanks designed for the war effort. Encountering the dynamic interaction of plants and the surrounding environment. I have worked with and alongside plants, polluted water and soil onsite, utilising them as photographic processes and sonic artefacts. The fragility and instability of these plants using the alternative photographic Anthotype process that uses photosensitive material from plants under the influence of light. An unstable emulsion is made from crushed flower petals or any other light-sensitive plant, fruit or vegetable. Images in this series will fade and be ravaged by time and light constricted, smothered echoing the plants slow demise in toxic soils giving way to the nature of entropy.
This a exhibition 2024 at KARST contemporary art gallery UK.

Surface C8H18

Multi-screen video sculpture 
Binaural Field Recordings by Jamie House

A collaborative piece made especially for this KARST contemporary gallery UK test space.

The Plymouth Plan: Armada Way is a poignant exploration of environmental impact and urban transformation.The haunting aftermath of the felling of over 100 healthy trees in Armada Way in 2023 . The sound captures fragments of devastation, inviting audiences to confront the consequences of progress. In this work, I aim to provoke reflection on the delicate balance between development and preservation, urging us to consider the legacy we leave for future generations."

Jamie worked closely with Paul Hilion to respond sonically to the themes and emotions of the work .The sounds you hear are  recordings of trees  produced using specially designed contact mics sensitive to faint  vibrations opening up sounds inaudible to the human ear of quiet popping sounds made as a result of the water passing through the cells of the Xylem tubes and cavitating as it mixes with air on its way upwards toward tree branches. In the background is a loud deep rumbling noise that is produced by the tree moving and vibrating. This work is partly an attempt to show trees (even when humans and town planners  think they are dead) have agency and are living dynamic organisms that support wider ecosystems and have huge benefits to all living beings and processes.

The Plymouth Plan Armada Way

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Geophones and ambisonic microphone array converted to binaural headphones

Spiders are affected by vibration in various ways. They use their orb webs to transmit and detect vibrational information, allowing them to sense potential prey or mates, as well as abiotic sources like wind.

Under stones and human detritus, in subterranean realms, lives troglodytic species of spider Nothophantes horridus. Nocturnally roaming in narrow fissures in this rich limestone habitat sporadically emerging. A UK biodiversity Action plan priority species, extremely rare and only exist in these two places in the world (both in Plymouth UK).
This rare arachnid  last home was a quarry, filled in with concrete and destroyed to make space for luxury unaffordable housing.

Planning permission was refused for this site in 2015, however the property developer is trying again with greenwashing plans for eco pods and activity park treating the natural world as a spectacle to be consumed and extracted from. Will this refuge for extremely rare spiders exist for much longer? Or will human greed and commerce make this spider extinct?

Failure to protect this site would be catastrophic.

A more than human space between the world that people and arachnids inhabit.

Vibrational Arachnid soundscape Radford Quarry Plymouth UK, 2024

Jamie combines art practice with electronic sound composition to enable non- anthropocentric readings of post-industrial sites. His experimental practice research methods include multi-sensory technological methods of observation, employing VHF, radio waves, Geiger counters, handmade synths and devices. Alongside using the latest software applications of granular synthesis and spatial audio Jamie creates immersive sound installations and extended electroacoustic/acousmatic compositions.
Jamie is a multi-award-winning artist researcher, has presented his work at International and National symposia and has exhibited and published widely including:

Jamie's work in sound has been broadcasted on Radio 3 Mixing it London (UK) and Resonance  FM  London (UK).Most recently Migration Sounds Oxford University UK,Sites and Memory Project and working with The Freshwater Sounds Archive in collaboration with Dr Jack Greenhalgh Canada Foundation for Innovation.

-Speaker at 6th International Conference of Photography & Theory (ICPT2022) Cyprus EXPANDED VISUALITIES: PHOTOGRAPHY AND EMERGING TECHNOLOGIES
-CAST Cornubian Arts & Science Trust Helston (UK). Test Space: Expositions of practice-led research Symposium.
-Feature on my field recordings on Resonance FM London UK
-Phytogenesis II Provocations of Plants, Philosophy and Photography. International Symposium University of Plymouth, North East Photography collective, Newcastle University. I delivered an academic paper on my practice through the lens of Deleuze.

Jamie House

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