Kinokophonography brings together soundscapes from an international group of field recordists who share their recordings with each other and you—the public. Kinokophone have created a communal listening experience, a place for sharing sonic experiences in a visually dominated world. This is why I love Kinokophonography and always want to contribute to its happenings.
Sound cinema is for me a way of making mind travels to other spaces and places above and below water in this magical world, that I would otherwise never have access to. In a world of ecological transition, a listening event like this can become an alternative way of experiencing the soundscapes of other places and cultures, when we are trying to turn away from extensive fossil fuelled traveling and relearning to need less, crave less.
I have been doing field recordings in the Rst Archipelago in Northern Norway since 2010. In March 2010, I did my first recording of Vedy from the bay. The population of Kittiwakes was still around 4000 pairs, but nothing compared to a population of 22,000 Kittiwakes in 1980 or even more at the turn of the 19th century. And to accompany the Kittiwakes, 12000 pairs of Guillemots used to vocalize from their steep cliff homes. A niagara of noises. When disturbed by Sea Eagles, Ravens or Black Backed Gulls, Kittiwakes would let out an an intense cheer, similar to the sounds from crowds shouting for a goal in the world cup as they flew in and out of their nest sites. Today, when writing to you from my desk at Skomvr Lighthouse, only 4 summers later Vedy is silent. Only a thousand Kittiwakes are attempting to breed here and they are doing awful. The Guillemots are extinct from Vedy. Rst has lost its ancient sound mark.
"Ah, what an age it is. When to speak of trees is almost a crime. For it is a kind of silence about injustice!"—So wrote the German poet and playwright Bertolt Brecht in a poem in the thirties, apropos of the intellectuals silence on contemporary political disasters in Europe. I am listening intently to the grave voice of the Iranian born Swedish poet Athena Farrokhzad on Swedish P1, and she begins her 90 minutes contribution to "Summer on P1" and her voice is resonating Bertol Brecht words and are cutting straight to my heart.
I too find it hard right now to talk to you right now about my love for trees and about my passionate love for listening and field recording which is a fundamental part of my artistic practice, without also talking to you about the listening to spaces and places where inhabitants are diminishing, not even to mention those who already are gone. I still mourn the loss of the Great Auk. The last few of this species were slaughtered in the 1850s by eager collectors who all wanted to secure specimen for their museums or private collections, before it was too late. We can never experience the original northern flightless Penguin, Pinguinus Impennius. We can never listen to how it sounded or vocalized when it fed its chicks or mated or socialized. A description of the vocalization of a captive bird is all that remains: "The Auk s calls included low croaking and a hoarse scream. A captive auk was observed making a gurgling noise when anxious. It is not known what its other vocalizations were like, but it is believed that they were similar to those of the razorbill, only louder and deeper." The seabird mountains of the world are becoming silent as a result of decreasing populations due to lack of food in the warming seas. Climate changes, pollution, over fishing and pressure on habitats are amongst the many reasons for troubles in the marine ecosystems. It is not a local problem, it is global one. From the Farallones outside San Francisco, to Rst, The British Isles, The Faroese Islands, Greenland, Canada, North America, Iceland and Svalbard, the decline is at times dramatic and is clearly audible.
"For the Amahuaca, the Koyukon, the Apache, and the diverse Aboriginal peoples of Australia—as for numerous other indigenous peoples—the coherence of human language is inseparable from the coherence of the surrounding ecology, from the expressive vitality of the more-than-human terrain. It is the animate earth that speaks; human speech is but a part of that vaster discourse." —David Abram, Spell Of The Sensuous
I want to take this opportunity to ask you to begin practicing an all inclusive listening. A collective listening to coexistence. Try to listen horizontally—to embrace trans species listening. To listen beyond the dichotomy of nature-culture, beyond gender, beyond race, beyond… I think this is what one of my great inspirations, the composer and philosopher Pauline Oliveros Deep Listening practice is all about. We are interdependent of each other and all other living organisms. Don t you want to exist in a place where you can listen to voices of the other creatures, as well as your own voices and noises of the human world and its technology and industries I think that deep inside you or even at the tip of your tongue the answer is yes.
Elin yen Vister, Skomvr Lighthouse, 67°25′46″N 11°52′46″, Norway, 2014
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For The Amahuaca
Source: www.nypl.org
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