“I Live a Quiet Life: A Sonic Diary”
“I Live a Quiet Life: A Sonic Diary” is a compelling exploration of memory and sound that employs ambisonic techniques to create an immersive auditory experience. Utilizing an eight-channel sound system, the artwork captures the essence of a weekend spent in Tai Po, presenting a unique sonic collage that functions as a diary, devoid of traditional textual narratives. Instead of words, the diary unfolds through a collection of sounds that evoke both the mundane and the significant moments of daily life.
The artwork is structured around two distinct categories of sound: what the artist deems “unimportant” and “important” sounds. The first four channels feature ambient recordings from various locations in Tai Po, such as an MTR station, bus station, and restaurant chatter. These sounds, processed with reverb effects, result in a blurry, alienated auditory landscape. This processing technique emphasizes the artist’s perception of these sounds as less significant, mirroring the way memories can fade and blur over time (Ernst, 2016).
Contrasting this, the remaining channels focus on sounds the artist considers pivotal to their memories of the day. These include a local football match, personal piano practice, a street performance, and a recording of a football game played by the artist. Unlike the processed ambient sounds, these recordings are presented without effects, yet they occupy a lower volume in the mix. This intentional choice serves to create a sense of intimacy and exclusivity, as if the artist is reluctant to share these significant moments with an audience. The decision to understate these important sounds challenges conventional approaches to audio expression, where the focus is often on amplifying key elements to capture attention.
The overall structure of “I Live a Quiet Life” encourages active listening, inviting the audience to engage with the piece on a deeper level. The listener must navigate through the layers of sound, seeking out the quieter, more personal recordings. This engagement aligns with the principles of sound art outlined by artists like Westerkamp, who emphasizes the importance of listening as a practice that enhances our awareness of the sonic environment (Westerkamp, 2007). By requiring patience and attentiveness, the artwork fosters a more profound connection between the listener and the sounds of Tai Po, transforming the act of listening into an exploration of memory and identity.
In conclusion, “I Live a Quiet Life: A Sonic Diary” is a thought-provoking piece that deftly uses sound to explore themes of memory, significance, and personal history. Through its innovative approach to ambisonic sound and layered auditory experiences, the work invites listeners to reconsider their relationship with sound and memory. It challenges us to reflect on what we deem important in our lives and how those choices shape our narratives, ultimately creating a rich tapestry of sonic experiences that resonate long after the listening ends.
References
Ernst, W. (2016). Media archaeology: Approaches to the study of media. In J. Parikka (Ed.), Media archaeology: Approaches, applications, and implications (pp. 1-15). Peter Lang.
Westerkamp, H. (2007). Soundwalking. In Sonic environments and the contemporary urban experience (pp. 1-12). Sound Heritage, Volume III Number 4
Link: https://drive.google.com/drive/folders/1nXKSvg_Hkpj5EpF0bqdprOk_ICt36ISK?usp=sharing