Burning peanuts, popping candy, wild american pond weed, ditches, insects, streams and chalk are just some of the spaces, objects and creatures which Lee uses to produce sound. Using contact microphones, hydrophones and amplifiers unexpected noises of lakes which sound like tropical rain rainforests and deep sonic echoes from zinc springs and dissolving sedimentary rocks.
We listened to a collection of sounds, a live performance and watched a video made in collaboration with Luke Fowler in 2009 called A Grammar for Listening (parts 1-3) in which the two artists worked together to explore the acoustic possibilities of rural outdoor location and more urban environments.
"Over the centuries, Western culture has relentlessly attempted to classify noise, music and everyday sounds... Ordinary noises and the mundane sounds that are not perceived as either annoying or musical are of no interest.' Luke Fowler, (see suggested references, Lux)
As a group we silently walked to Victoria Park where we threw a few handmade hydrophones into a patch of pond weed. Sharing headphones and recorders we each listened to the underwater amplified sounds. Simultaneously we were joined by a big yellow Labrador, a bevy of swans and a number of boat pedlars, which affected the noises produced on the hydrophone.
We listened to a collection of sounds, a live performance and watched a video made in collaboration with Luke Fowler in 2009 called A Grammar for Listening (parts 1-3) in which the two artists worked together to explore the acoustic possibilities of rural outdoor location and more urban environments.
"Over the centuries, Western culture has relentlessly attempted to classify noise, music and everyday sounds... Ordinary noises and the mundane sounds that are not perceived as either annoying or musical are of no interest.' Luke Fowler, (see suggested references, Lux)
As a group we silently walked to Victoria Park where we threw a few handmade hydrophones into a patch of pond weed. Sharing headphones and recorders we each listened to the underwater amplified sounds. Simultaneously we were joined by a big yellow Labrador, a bevy of swans and a number of boat pedlars, which affected the noises produced on the hydrophone.
More recordings coming....
Suggested References
A Grammar for Listening (Part 1) by Luke Fowler and Lee Patterson, UK, 2009, 22 minutes
Colour, Sound (separate digital file), 16mm
http://lux.org.uk/collection/works/grammar-listening-part-1#sthash.KRxfFWxR.dpuf
A Grammar for Listening (Part 1) by Luke Fowler and Lee Patterson, UK, 2009, 22 minutes
Colour, Sound (separate digital file), 16mm
http://lux.org.uk/collection/works/grammar-listening-part-1#sthash.KRxfFWxR.dpuf
Listen to sounds created from burning peanuts and pondweed.
http://thewire.co.uk/audio/tracks/hear-exclusive-lee-patterson-sounds
A video made with Luke Fowler and Lee Patterson in 2007, using only 100ft fuji colour film: http://www.thislongcentury.com/?p=4229&c=119
David Toop and Max Eastley - suggested artists
David Toop and Max Eastley - suggested artists
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