Source: The Quietus.
Where is the field in field recording? Does it begin when the recordist enters the location, when they press record, or when we press play? If the field exists in the playback medium, to what extent does the signal-to-noise ratio affect its manifestation? What is really being captured and what are we not hearing? How does power function in all of this? How is agency performed and negotiated? In his new book, Listening After Nature: Field Recording, Ecology, Critical Practice, Mark Peter Wright writes “Field” with a capital letter to “stress the fabricated nature of its making”.