Learning Without Results | Instructions:

• Take two sets of recording devices and microphones (beg, borrow &amp; steal where appropriate)
• Make your way to a recording location (outdoors, domestic, distant, close or otherwise)
• Press ‘record’ approximately 10 minutes before you arrive on one of the devices 
*If your recording location required no travel, press record and wait
• After approximately 10 minutes unpack and set up the second recording device
• Check position, mic, levels etc…
• Simultaneously press ‘record’ on second device whilst pressing ‘pause’ on the first device
• Wait for another 10 minutes
• Simultaneously press ‘un-pause/record’ on first recording device whilst pressing ‘stop’ on the second recording device
• Pack up all belongings and leave area 
*If your recording location required no travel, remain for another ten minutes
• Press ‘stop’ on first recording device
• Delete recording made on second recording device 
• Listen back to recording made on first recording device 

[edited excerpt from first recording device | 00:58 - 01:02 represents 10 mins when mic was switched 'off']


Elsewhere Fields # 2

Image credit: 
NOAA-18, London, 18 February 2022, 10:52 UTC. open-weather CC BY 4.0

This image was created by Sasha Engelmann and Sophie Dyer as part of open-weather, a project experimenting with images and imaginaries of earth using DIY community tools. https://open-weather.community/

Storm Eunice | Excerpt 03 | Mark Peter Wright

Storm Eunice | Excerpt 02 | Mark Peter Wright

Storm Eunice | Excerpt 01 | Mark Peter Wright

Accompanying Susan Hiller’s: 'Dedicated to the Unknown Artists' (1972-76). Built from 305, reassembled, 1-second sound recordings of the sea.

One of two sound installations commissioned by TATE, 2013.

305 Seconds at Sea, excerpt, TATE

"Can You Hear Me?", part of Continuous Drift by Sven Anderson, a quadraphonic public sound installation in Meeting House Sq Dublin. Featuring works from: Bik Van der Pol, David Blamey, Karl Burke, Taylor Deupree, FM3, Russell Hart, Slavek Kwi, Brandon LaBelle, Mattin, Danny McCarthy, Dennis McNulty, Garrett Phelan, Sarah Pierce, Raqs Media Collective, Steve Roden, Dawn Scarfe, Jed Speare, Stalker/ON, Wolfgang Voigt, Mark Peter Wright, and Miki Yui.

Assembled from recordings of laptops, mobile phones and hand-held smart devices, Can You Hear Me? explores the effort to hear and be heard amongst everyday technological noise. With voice recordings by: Ximena Alarcón, Tanya Boyarkina, Antoine Bertin, John Kannenberg, Iris Garrelfs, Jonas Gustafsson, Artur M. Vidal and Maria Papadomanolaki.

http://continuousdrift.com/location/
http://continuousdrift.com/can-you-hear-me/
http://www.e-flux.com/announcements/sven-anderson-continuous-drift/

Can You Hear Me? excerpt, Meeting House Sq

I, the Thing in the Margins, solo exhibition, front room sound.
http://markpeterwright.net/i-the-thing-in-the-margins

Super Unhomely, excerpt, IMT Gallery

Ongoing sound-essays that examine the negotiation of agency within human, animal and technological encounters. "Contact Zones" are comprehended in terms of ‘copresence, interaction, interlocking understandings and practices, often within radical asymmetrical relations of power’ (Pratt, 1992, p.7).


Contact Zone #1, excerpt, Platform A Gallery

Contact Zone #2, excerpt, IMT Gallery

Bio-critical Incidents (BCI) is a retrospective method and perspective within the context of environmental sound arts. These recordings amplify events and circumstances that are commonly silenced within human and nonhuman, mediated encounters. BCI’s demonstrate process. They function to disrupt and agitate environmental sound art's historically aestheticised outputs. Noise, microphone handling, severed cables, discussions, falling over; inaudible marginalised aspects, re-claimed as creative content for artistic production.  

BCI’s are not the recording subject per se but the surrounding incidents and peripheral hearings. Emphasising failure, they inevitably encounter biography, loss and uncertainty, and harness such aspects as critical material for reflection and production.  BCI’s are not autoethnographic documents for the sake of saying “I am there”. Rather, they are concerned with the specific agencies and entanglements bound within the process of arts practice. They aim to produce an anti-aesthetic that is not pleasant on the ear but necessary for greater understandings towards the intra-medial dynamics at play within asymmetrical encounters of humans and nonhumans. 

Published by Sonic Terrain as part of World Listening Day, 2014

Bio-Critical Incidents, Sonic Terrain

Originally commissioned and installed for The Royal Academy of Arts, London, 2018. The stereo installation consists of electromagnetic recordings from digital devices, routers, and infrastructures. It has since been featured in a curated listening event as part of the group exhibition Hyperobjects, Catalyst Arts, Belfast, 2019.

Artificial Natures Excerpt

Listening to Learning is an experimental audio documentary produced as part of a Leverhulme Trust Artist in Residence period at Manchester Metropolitan University (MMU), 2017/18. The project was developed with Dr Michael Gallagher and based in the Education and Social Research Institute (ESRI).  The work listens to the processes and methods of educational practitioners and researchers at MMU. It performs a form of institutional eavesdropping and is assembled from a mixture of interviews, acoustic ambiences and technological noise within the MMU building.

Participants include: Dr Geoff Bright, Dr Julian Holloway, Prof Maggie MacLure, Susan Bissat, Dr Christina MacRae.

Listening To Learning Excerpt

Recordings broadcast as part of 'An Overloaded Transmission from a Quasi-personal Stellar Source' A live, long form radio broadcast from Flat-Time House in collaboration with Resonance 104.4fm.

Commissioned by Sound Threshold, 2010.

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