My final film for the Royal Institution features engineer Hugh Lewis and explores the growing problem with space debris. With over 18,000 objects being tracked in orbit and another 170 million too small to be tracked – the problem threatens not only our satellite infrastructure, but the future of space travel as well.
There was a lovely edition of BBC R4’s “Four Thought” broadcast last week called “Capturing Moonlight”. In this short programme, poet Astrid Alben discusses her experiences of using art and science together to better understand the nature of moonlight. What is particularly interesting to me is hearing about Astrid’s endeavour to navigate the complexities of science in order to deepen her own artistic practice.
Back in 2015 I collaborated with Astrid and Hester Aardse of the PARS Foundation to produce a listening experience for a Wellcome Collection event called ‘Some Like Dark‘, which formed part of her investigation into moonlight.
Together we crafted an audio work which centred around an interview recorded with physicist Sir John Pendry. The piece explores how our modern understanding of light developed through investigations by James Clerk Maxwell in the 19th Century and concludes with a playful discussion about trying to capture moonlight in a box (excerpt 4).
The 30 minute piece also included readings and audio works from theatre maker Jan van den Berg, lighting designer; Jennifer Tipton and sound poet; Jaap Blonk.
You can listen to excerpts below:
Video produced for the Royal Institution, for the 2015 Advent Project “A Place Called Space”. The piece is composed from multiple interviews with astronauts that were recorded between September – November 2015.
The film features 4 astronauts (Dan Tani, Helen Sharman, Jean-François Clervoy , Mike Barratt) and uses NASA archive footage to explore the ins and outs of living in space (spoiler alert: it’s fun, but it ain’t easy!).
All interviews were transcribed and then common threads were grouped together and collected on an edit timeline. The audio segments were cut down and edited together, then brought into FCPX where they were combined with video footage. I spent quite a while searching and logging appropriate NASA archive footage. Once the rough form was assembled, I introduced some music and refined the edit to work with the tracks I’d chosen.
The University of Oxford’s Big Questions podcast which I’ve been producing is now available online to listen to!
Each episode features narration from Chris Lintott and explores a ‘big theme’ in science, from matters of scale to hidden worlds. Featuring interviews with scientists from the University of Oxford the series incorporates music and colourful sound design to bring concepts and details to life – have a listen to a couple of my favourite pieces below!
The space between silence and noise
Last year, as part of an AHRC funded project, I was commissioned to make a short experimental audio documentary on the subject of silence. I was given freedom as to how I explored this subject and so I set out to capture the thoughts of those who worked with sound and in silent spaces.
The result, unsurprisingly, was that silence meant lots of different things to different people and so thematically it was very noisy! This relationship between noise and silence was one I was keen to explore through the production and so the piece is filled with hiss, distortion and feedback in an attempt to echo the noisy subject matter. This was explored further through the use of interviews but also with extracts of the poem ‘Describing Silence’ which are intercut throughout. This piece written by James Wilkes was a response to his time spent in total silence and explores some of the self generated noise born out of silence.
- The piece features interviews with Sophie Scott (cognitive neuroscientist), James Wilkes (poet and writer), Sara Mohr-Pietsch (BBC Radio 3 presenter), Cheryl Tipp (Natural Sounds Curator, British Library) and Vidyadaka (London Buddhist Centre).
- The idea of distortion and noise influenced the production from the early stages and as work continued I really wanted to create an intense build up of noise that would level off and really help mark the silence experienced later on in the anechoic chamber.
- The piece written by James Wilkes ‘Describing Silence‘ – can be heard in full below:
- The interview and reading from James was recorded in an anechoic chamber based at UCL. The space itself is very strange to stand in, the best comparison I can think of is what happens to your hearing when you travel in a pressurised aeroplane. In terms of recording audio in there, it was actually a pretty boring space to record in!
- Although it did crop up in several interviews I was keen to avoid referencing John Cage’s 4:33 – there are some great pieces on this already (particularly here: http://www.thirdcoastfestival.org/library/1258-john-cage-and-the-question-of-genre) and it justifies a much longer discussion than I could have accommodated for it.
- The piece was recorded on a Zoom H4n and a Marantz PMD661 with AKG D230 dynamic microphone. It was edited and composed in Ableton Live.
Distillations Podcast: The History and Development of Chemotherapy Drugs
Back over the summer I recorded an interview with Dr Viviane Quirke of Oxford Brookes University about the history and development of cancer chemotherapy drugs. The piece was recorded for the Chemical Heritage Foundation’s brilliant and award winning podcast ‘Distillations’ – which has sadly now come to an end.
The piece was edited by Mia Lobel and can be listened here:
The episode also features a very personal story by producer Christine Laskowski who looks at her father’s cancer treatment with a drug called Cisplatin – a drug that was developed in the 1970s and despite very nasty side-effects – is still used to treat cancer today.
If you don’t already listen to the podcast, it’s well worth checking out the Distillations back catalogue – with close to 200 episodes – there’s some great stuff there waiting to be listened to: http://www.chemheritage.org/discover/media/distillations/index.aspx
Neil Shubin on Finding Tiktaalik
This monumental find, is believed to bridge the gap in our evolutionary history between sea dwelling and land living organisms, occurring sometime in the late Devonian period (around 375 million years ago). As a tetrapod, Tiktaalik was able to support itself on limb like structures and along with basic lungs was able to make the big move from sea to land.
Essentially, Tiktaalik is the fish that finally got off it’s gills and made the effort to have a wonder about on land, for which we must all be thankful.
Shot on a Panasonic AF-101, with the Lumix GX Vario 12-35mm lens, close up stuff shot on a Tamron 70-200mm.
Seeing with your ears.
An audio feature I produced over the summer for Pod Academy, exploring the development of the vOICe technology and it’s impact on blind users. The vOICe is a computer program developed by dutch engineer Dr Peter Meijer which essentially converts images into sound. Through training and experience blind users can learn to interpret these sounds as a sort of ‘synthetic vision’. The piece explores the technology from the perspective of blind user Pat Fletcher, and uncovers some of the science and technology behind its use with it’s creator Dr Peter Meijer and cognitive psychologist Dr Michael Proulx (University of Bath).
It was my thought that technology and the computer would be my way out of blindness.
-Pat Fletcher, vOICe user
Download it HERE
Essentially, the software takes spatial information captured by a camera and converts this into a coded soundscape. Users can then learn how to decode this auditory signal into a visual one thanks to a process known as ‘sensory substitution’, where information from one sense is fed to the brain via another. Fundamentally what the vOICe is doing is re-routing information usually obtained by the eyes and delivering it through another sense organ, the ears.
Although the neuroscience and psychology behind the technology is still largely unknown, it is thought that the visual cortex is eventually recruited to process the incoming auditory information and through experience, is able to decode it as spatial / visual information. There’s a great article over at New Scientist that goes into greater depth about the neuroscience behind it – including a useful diagram depicting how the technology works.
The software is currently freely available and can be used with virtually any imaging device, from webcams to camera-mounted glasses – there’s even an android version available for mobile devices! With the increasing prevalence of mobile computing, the vOICe technology is liberating users from their blindness, allowing them to step outside and experience the world through a completely new visual perspective.
For more information visit: http://www.seeingwithsound.com/ where you can experiment with the vOICe for youself and learn more about how it works. I’ve also prepared a page with a collection of images as heard through the vOICe software, including some featured within the piece above.
- Hypermagic – Start Again Start
- Ed Prosser – Untitled
- – – b31
- No Color – L’Aube
- Hpermagic – Pico Bisco
- Ed Prosser – Untitled
- Marcel Pequel – Four
Freesound Credits (freesoundarchive.com)
- Alarm Clock – 14262__xyzr-kx__alarm-clock
- Camera Shutter – 16071__heigh-hoo__nikonf4
- Data sound – 3647__suonho__futuretrocomputing-10-suonho
I’ve recently started producing podcasts for a new non-profit organisation called Pod Academy – they release weekly podcasts on academia and research, covering everything from the arts and culture to science and the environment. There’s a really nice range of subjects covered by the podcasts and their library is growing on a weekly basis. You can browse what they have to offer here.
My latest offering takes a trip around the morgue of the Sunderland Royal Infirmary, with pathologist Dr Stuart Hamilton as a guide. The piece provides a glimpse into mortuary life, from working with the dead on a daily basis, to dealing with cross dressing ‘auto-erotic asphyxiation’ fatalities.
You can listen to the piece over at the Pod Academy website here. Or download it here. The piece takes material recorded for my larger documentary piece ‘The D-Word’.
If you want to stay up to date with the podcasts you can subscribe to their podcast feed via iTunes.
Chris is one of the worlds leading sound recordists and is well known for his work with the BBC Natural History Unit, including the recent Frozen Planet series.
There was a lot of interesting discussion during this interview about the nature of noise pollution and the considerable threat it poses to our quality of life. Worrying still, it appears that our noisy modern world is drowning out the natural soundscape and interfering with species of wildlife that rely on sound for communication.
What seems to be most alarming is that we’re largely ignoring this problem – our world certainly isn’t getting any quieter – and with more of us living in urbanised environments, noise pollution is fast becoming a significant health problem.
As only a portion of this interview was included within the Alder Hey piece, I thought it might be interesting to share some of the additional material. The interview was recorded at FACT in Liverpool, back in April of last year and explores some of the causes and concerns towards noise in the modern world.
- Further reading on the health effects of noise: a WHO report on the burden of disease from environmental noise
- Nature on BBC Radio 4 is recommended listening if you want to hear more of Chris and his stunning wildlife recordings.
- Touch Music also releases sound work by Chris, you can browse his collection here.