First thing, I released This [Orchestra] Practise This – a track based upon a sonic phenomenon recognised and recorded by my younger son while on a school trip to Osaka this year. It’s a genuinely collaborative piece. The sample was too complete in itself to require any further development beyond a sonic scrub and a broadening of the stereo field. The father of Musique Concrète, Pierre Schaeffer, believed that one should preserve the character of the found sound as far as possible. After all, that is what drew one to it in the first place:
The holiday over, I return to my inbox and worked my way through: requests for references, tutorials, and meetings; exchanges between my colleagues about e-submission of course work; notifications about chapters, dissertations, and PhD proposals submitted for me to read and comment upon. As a matter of principle, I always deal with the most urgent and irksome correspondence first.
After lunch, I returned to the Art/Sound: Practice, Theory & History 1800-2010 module, inserting slide markers into the lecture’s text:
The module’s lectures are written in full. This has been my practice every since I began teaching. It enables me to keep to time, and to think through and articulate complex ideas in advance of their delivery. I’m not bound to the script, however, and usually extemporize around the text.
I fitted the new reverb effector to Handboard 1 and tested the system:
An evening with the family.