Infrastructure Soundworks (a working title) examine the hidden works and underpinnings of the Industrial Antrhropocene era, through a series of sonic journeys. 

"Oil and Gas" is one such sonic journey through desert landscapes of fossil fuel production, composed of field recordings made in the shale gas fields of the San Juan and Green River Basins of Colorado and New Mexico. These lands are an epicenter of fossil-fuel extraction for the present and the near future, and are positioned as strategic energy resource for energy security for the United States.

A wilderness filed with machines, vast areas of remote high desert territory are spiderwebbed with access roads, pipelines and wellheads. All this industrial infrastructure is what makes possible an energy-use profile unprecedented in the history of life on earth. We turn our ears toward this infrastructure, to better understand ourselves within the world.  


Oil And Gas (mix25)

A sound poem about the Federal Food Safety Enhancement Act

Food Safety Enhancement is sound piece, a soundpoem of sorts, commissioned by dancer/choreographer Rowena Richie. It was created as a kind of personalized response to a piece of legislation which was being discussed a lot in the spring of 2009 – the Federal Food Safety Enhancement Act – and in particular a part of it which some were calling “Scorched Earth” – which promoted the idea of creating “Sterile Buffer Zones” around farmer’s fields. But really the piece is about disconnects: About technocracy trying to regulate the interstice where commerce and industry meet growing things. It ended up taking this fragmentary, internal narrative sort of form, hinting at internal imagery and confusion at the information in the news.


Food Safety Enhancement Act - 09-0722

A beautiful indian summer afternoon, October 11 2015. The surf was unusually high and the water very warm. 

Recorded using Sony PCM-M10, EM173 microphone capsules in Sonic Studios WHB with fur covers. 

In memoriam Coco Pavao Lazenby, 4/16/2003 - 8/8/2015

Waves For Coco - Platforms Beach Oct 11, 2015

In memory of my old roommate Dante Salvatierra.  Dante spoke this message of love at The Evergreen State College graduation ceremony in 1998.  May he rest in peace, and may the message continue!

This sound comes courtesy Jon Engelman who posted the video on Facebook and who says: "Thanks to all the hard working folks at the Evergreen archives for digitizing this video on short notice."

Dante Salvatierra Talk - Evergreen State College Graduation, 1998 LOVE IS THE MESSAGE

Scenes from "Synchronous Forest 3" environmental installation, CCA Playspace Gallery 2009 

This is the environmental soundscape for the gallery. Drifting from the airy to the mechanical to the ethereal, it was played through a diffuse speaker array designed to envelop visitors in a bath of sound.

Slow and gently crossfading images projected onto a large spiral of diaphanous fabric, drifting from a rotating tree-trunk bark-scape to a daydream of gold-green flowering branches wafting in breeze.

Sound of urban beehive activity, filtered so that the bees themselves are nearly absent. Followed by a soundscape of distant crickets and electrical wires in mist, punctuated by the violent and banal passing of a minivan speeding through the landscape.

A small bench awaits in the center of the spiral, a place to sit and listen to small, naked speakers dangling from wires, playing heavily processed and edited bird recordings.

At the center of the spiral, a “trunk” is formed of discarded etched panels, bright copper on white fiberglass.

A wicker garden bench is positioned outside the spiral, so one might sit and regard the spiral as one might regard a garden.

Synchronous Forest 1 Outside Number One, Point Two, 2009

A short jam session on the Buchla at TESC, from June 1992.  Posted in memory of Don Buchla. 

Great photo of the instrument from jsonb on flickr:
https://www.flickr.com/photos/jsonb/14313113011

[Ti_DATmaster1_23] Buchla Jam TESC H Studio, June 1992

I have been working on a new form of polytemporal documentary with filmmaker Rachel Strickland. The idea is to map different timescales into the range of human perception, not only in image but in sound. The first instance is “Folia” a 24-minute film which centers around street trees on Folsom street in San Francisco, chronicling the activities of a particular 24 hour period. It will be released in late 2016 or early 2017. 

The fast “swooshes” are cars driving by at 60x speed; buses and sidewalk sounds are presented at 20x and 10x speed, while other sounds play in real time.  


Folia Mix (Excerpt)  2016-07-14v16 LtRt

A warm spring day in the Mission district, San Francisco 2009, at the backyard garden beehive of Tree, an original Digger and radical food activist. I spent several hours deeply immersed in observation of the bees and recording of their sounds… with small microphones in the hive, microphone pairs at its entrance, and following them with microphones. Returning from this experience I felt as though I’d been travelling for weeks in a foreign land, the impression left on me was so strong. 

Tree's Bees - Hive Entrance From Top (Excerpt)

The base field recording of crickets involves a “recording performance” wherein the microphone is moving through the array of crickets and insects at the edge of a Massachusetts wood - static point source sounds thus become spatially animated. This base is superimposed with sounds of street traffic, re-recorded through the tube /membrane resonator of a drum as a kind of distancing factor and musical, tonal frequency generator.

Tweak Crickets (Excerpt)

Mechanical clocks made tangible and observable the objective measure of something we had, since the beginning, experienced so ephemerally: the flow of time. To their first users clocks must have seemed like a form of magic: bringing heavenly perfection onto earth. In technological terms, they could be thought of as the great grandfathers of modernity.

Deep Clock

Bees Without Bees (Excerpt)

A short excerpt of the forty minutes I spent voting at San Francisco's City Hall, November 7th 2016 (I voted one day early.)

While Voting at San Francisco City Hall - 2016-11-07

Two edits were done to remove floor creaks. No EQ. Microphones: Sennheiser MKH-8040 and MKH-30 MS-decoded to stereo, Recorded to Sound Devices 702T.

Page Street Paving Crew (JM 0292)

Live performance at The TANK Center for Sonic Arts, Rangely Colorado, Summer solstice 2018.

Composed and Performed by: Jeremiah Moore

Vocal utterances and scrap metal by: Mark McCoin, Lois LaFond, Adam Baumeister.

Recording equipment used: 
DPA 4006 wide AB pair with pressure balls, Charter Oak E700 omni center, Grace Designs m108 preamplification and a/d. 

Amplification via Meyer Sound UPJunior pair and HP500 subwoofer

Headphones or quality speakers recommended for listening.

jeremiahmoore

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