The ‘Writing Sound’ symposium – combing cultural geography, experimental composition, and sound theory, as part of the Sonic Art Research Unit’s Significant Landscape series in Oxford – is now all available online, with sound recordings of the other papers and materials from the day (including Michael Pisaro on Francis Ponge and Oswald Egger), and a link back to my paper here on forest echo.
I’m working further on this research – currently, on the work done with forest recordings and concepts of echo and translation in Parking Non-Stop’s Species Corridor, with poet Zoë Skoulding – particularly this track:
We should have stayed in the forest, watching woodpeckers.
A knock on hollow wood and air rattles in the tree’s chambers
like a voice trying to remember where to put its tongue.
Wingbeats echo on the inside of a skull. A stutter slides in parallax
between two birds translating early autumn into insect drone,
sky into raised voices, mushrooms into footsteps on mud.
We should have stayed in the forest, drowned out
by hiss between the branches, but even there you can’t be sure
that what you hear as morse might not be scattershot. And now
you’re speaking. Hover and balance. Hover and stop : hold it.
We could have stayed in the forest and I could have said –
but I didn’t. And you could have heard something different.
As a note – my Cultural Geographies article Land Diagrams: the new twinned studies (on diagrams, disciplines, philosophy, and the Land Diagrams series), and my Journal of Historical Geography article ‘A local habitation and a name': Writing Britain (on literature, landscape, British history, and the Writing Britain exhibition) have also just been published simultaneously in the January issues. Starting 2013 with a double whammy!