8.15 am. Into light:
9.00 am. The Art/Sound lecture moved into methodology mode this morning — charting the ocean of possibilities that present themselves in the intermedial, interdisciplinary study of the art history of sound. 11.00 am. Vocational Practice. We explored the relative merits and preparation of notational and verbatim scripts for lecturing, and reviewed a pair of contrasting examples of lecturers in action.
2.00 pm. Back into the studio, to eke out time for The Bible in Translation project. To complete both the visual and aural elements of this output by the deadline will require considerable time management, good timing, micro planning, and graft. In the background, I began putting together the modified versions of the sound sample that I’d worked on over the weekend. The objective was to finish the piece by the close of the day. (Often, projects take as long as you give them.) Contrast and abrupt transitions between distinct timbres was the key to resolving the recomposition:
6.20 pm. Practice session 1. 7.30 pm. I dedicated the evening to furthering and completing my modification of the sample. By 9.30 pm, Hatton Cross (so named, because the sound of the original sample reminded me of the noise in the sky above that Tube station in London) was ‘off the bench’. The finished re-composition evokes the noise of underground trains as much as it does overhead aeroplanes. This was an unexpected and satisfying outcome.
9.40 pm. Practice session 2. 10.40 pm. ‘The night watch’. I updated my website, posted news, and attended to a number of overdue emails.