Everyday sounds from a back yard in Loughborough Junction, South London.
Ad hoc rewilding project on a patch of land between houses, roads and train tracks. Sounds of human and non human inhabitants with machines (traffic, extractor fan from the Cambria pub, overflight of planes and helicopters). Starlings, sparrows, goldfinches and other birds. Hens. Squirrels.
'Unresolved patch of the planetary garden' (3rd landscape - Gilles Clément) - with changing flows of sounds and organisms over days and nights, and through the seasons. Experimental field of the acoustic commons.
Live stream on the Locus Sonus open microphone network, mainly continouous since September 2011 with a series of devices: a streambox built by Locus Sonus (from Angus Carlyle at CRiSAP), a Pure Data patch on an old iBook, a series of Raspberry Pi based streamboxes.
The Pi boxes have been developed in collaboration with Locus Sonus and soundCamp with input from Udo Noll at Radio Aporee and Max Baraitser Smith, using the open source streaming software Darkice by Ákos Maróy, Rafael Diniz and others, and various soundcards including the Icicle from Blue Microphones (mono), the Wolfson audiocard and the discontinued Cirrus Logic soundcard for the Pi. Stereo streams use pairs of microphones based on the Primo EM-172 capsule (with thanks to Zach Poff). Pis have included the earliest model 1 (versions B, B+ and A+), Pi 2 and Pi 3.
For a period in 2015-16 the stream included an application developed by/with Christian Nold to send live decibel data to Xively, generating a graph of noise under the Heathrow flight path, which supplemented the live audio feed.
The current device is in a dribox with microphones installed under the overhanging lid, and synthetic fur and foam windscreens. It runs on Power over Ethernet from a socket indoors linked to the main router with a TP-Link via the mains wiring. The whole system runs on a solar array on the roof of the house.
The live is not the simultaneous. It is about connections through real time processes (Jean Cristófol). To listen with delay is to become a stranger in your own house. This strangeness at the heart of the familiar and the everyday is what attracts us perhaps to the live field..
Exchanging real time sounds creates a paradoxical live archive: a sketch of an acoustic commons in the making