PRS#3 - M2
Sludgescapes: Towards an exploration of atmosphere and sonic experience through gallery-based installation.
PROJECT#3
Black River
Through a series of field recordings, I investigated the soundscape of the ‘Black River’ in Nha Be, a suburban district of Ho Chi Minh City in Vietnam.
The title reflects the physical qualities of this stretch of a canal that is heavily polluted by the domestic and industrial wastewater lead with a characteristic odour of rotten eggs due to heavy metals presence, but also echoes a project at the beginning of my PhD journey, in which I deconstructed a local Heavy Metal band within the form of a sound installation that occurred at Gallerie Quynh in downtown Saigon, Vietnam.
To capture the micro noises of the canal, I used a number of specialist contact-microphones and hydrophones to allow the place to speak to me by unveiling micro noises and audible silence.
These explorations have developed my understanding of the tidal values of the canal (all waterways in HCMC are tidal), and its impact on the atmosphere of this part of the city due to its highs and lows. These micro noises I have explored through alternative explorations and compositional methods, are elaborated on the theme of: Reflection, Absence, Presence, and Atmospheric Black Metal music.
These have led to develop sound works that reflect the atmosphere; acoustic conditions, and ambient characteristics of the space and place, through the verticality aspect of the canal’s water level.
The Research: Black River (Cay Me canal)
Methodology: Collecting Data
My research employs a practice-based method through the production of creative works that conduct analytical and reflective outputs. A series of visual sketches has been produced to highlight the sonic intensity and atmosphere that was occurring along the canal at the intersection with the bridges.
These sessions participated in developing different types of aural topography / cartography of the spaces and places.
Audio Devices and Equipment
In addition to experiencing the fields in person, various techniques for capturing the soundscape were also created. I employed various types of microphones such as Lavelier, Shotgun, Contact Mic and Hydrophone hooked up to a ZOOM H4N audio digital recorder mounted with a pair of stereo mics.
The Fisherman Camouflage
Additionally, depending on where I was recording, I developed specific techniques to extend the distance between the audio recorder and the microphone by using props. During this period, I began to adopt a form of camouflage to beter fit into the environment, especially when other people were present. As shown The Fisherman Camouflage (see below image), I adopted a posture similar to that of a fisherman to blend in. This way, I aimed to be respectful of the space and not disrupt it by adopting a similar activity than others.
This approach also helped me prevent people from asking questions while I was recording, avoiding any disturbances in my recording sessions from nearby human voices, which is not a focus of this project.