@plate34: Thanks, the artist will be chuffed to hear that!

I love this Stephan : ))) I feel much better now listening to it <3 hmm...that word for wind in the trees...??

Ingrid and Joshua, improv recorded on iphone.

Deer in a Darker Tuning

prepared harps & St Pancras church (extract) London Nov 2014

Climata 2CD + digital download released 29 April 2016 https://robertcurgenven.bandcamp.com/album/climata
Recordings in this particular extract were made entirely in Turrell Skyspaces in Limelette (Belgium), Norfolk (England), Tremenheere Sculpture Garden (Cornwall) & Zuoz (Switzerland). Photo: James Turrell with Robert Curgenven listening to skyspace recordings in Tremenheere (photo credit: CJ Everard). Interactive sound map with all Skyspaces covered for Climata http://www.electronicbeats.net/skypspaces-map-for-climata/
For best effect and interaction with the sound which you may enjoy or ignore. In the same way one wouldn't shine a torch into one's eyes in order to look at light, this sound is best heard quietly diffused in a room, not listened to on headphones or directly from laptop speakers - the effect works best when one can feel the air move between the speakers and one's ears. For best results use an external speaker, pointed upwards or away from you - perhaps toward an open window to allow the sound to modulate the air from outside, Move about in the room to find the points where the sound is fullest, especially from the walls. Listen not so much to the tones, but the air - the growing awareness of hearing the air itself move, the sound filling the room, as water fills a pool and in turn laps at the sides. 
This extract is from the installation version previewed in 5-7 August 2015 at the National Gallery of Australia skyspace in Canberra. Double album version on CD available now via Dragons Eye Recordings & Recorded Fields Editions. More details about the project at http://www.recordedfields.net/records/rfe_03/

Climata

Climata Extract

Latest release on Visible Near Midnight Recordings
3-minute sampler | www.visiblenearmidnight.org

stephan barrett | sea . forest . wind | cdr | vnmr0002cd
released: 31 july 2015 

01 illumination i: this isle is full of noises
02 exploration i: liminal wanderings 

composed and recorded by stephan barrett
cover concept and layout by a company of enthusiasts
special thanks wonderful nellie . mama and papa barrett . dan strange . jim hoult . john younge . david saunders . razia begum . octopus collective and georges kaplan, wherever he may be.

@stephan_barrett
@soundfjord

sea . forest . wind | stephan barrett

Agna Rita – many voices, one message - review by Abi Bliss 
All fish weirs on the Thames and the Medway and throughout England are to be entirely removed, save on the sea coast.
You may be forgiven for not immediately identifying that as a line from the Magna Carta, the document revered across eight centuries as one of the icons of British freedom and democracy. But the treaty signed by King John in 1215 was chiefly about restraint. It offered royal subjects freedom through protection, whether that meant limiting the power of the crown to seize property and demand taxes, standardising weights and measures of wine, ale, corn and cloth – or stopping the obstruction of waterways. 
View it from a distance through the foggy lens of history and the Magna Carta makes a fine symbol of liberty; examine the details up close and you discover clauses such as: No-one is to be taken or imprisoned on the appeal of woman for the death of anyone save for the death of that woman’s husband. It seems that freedom is more for some than others.
In contrast, electroacoustic music entices with the promise of a world without limits. Confined only by their own imagination and the available technology, composers can sculpt sounds, synthesise, manipulate and refine them to levels of detail more delicate than any human ear can perceive. They can recreate worlds or shape impossible new ones, bend the laws of physics or, as Jo Thomas did on 2010’s Alpha, merge human with machine into a cyborg future.
In a similar way to abstract visual art and sculpture, electroacoustic music offers listeners – indeed, demands that they exercise – the freedom to interpret. And if composers are rulers only in the most intangible sense and only for the length of each piece, still it is here that they should feel the need for self-restraint, to allow listeners space to build their own houses of meaning around these orphaned sounds and furnish them with individual experience.
Diffused across 22 speaker channels and more than an hour in length in its installation form, Agna Rita is Thomas’s largest and boldest work to date. Even in its stereo CD version, the scope is striking. Yet although at times it confronts and challenges, there are no bombastic displays of power here. Instead, it welcomes in listeners on a human scale. 


Single

GrantedbyGod

Granted By God Agna Rita

recorded by Ryan Edwards at the Blanton art museum as part of the 2016 No Idea festival. this is the first time Steve and i had ever played together. 

No Idea Festival 2016

jeph jerman/steve jansen 2 28 16 austin

V22 Summer Club Radio highlights

Field recordings made around Rainham Marshes, near the Tilda factory and landfill site. Features sounds of recorded voices from the wind-up audio information point.

Tilda

From the album, 'Anything bright or startling?' out now : http://www.secondlanguagemusic.com/SL022.html


sea . forest . wind | stephan barrett

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