As the artist Budhaditya Chattopadhyay describes himself hunting for the sounds of Bangalore, he writes how he spends several weeks with pure listenig. Eventually, one day he happens to meet a group of young activists, who work on a film about the migrant workers on the giant construction sites of Banglore – and joins the film crew to contribute with his stereo microphone and his recorder:
[…] I finally set out to hunt down the sound of the city that
I am trying to figure out so far.
As a straightforward approach, the first thing that prompts me to record is the industrial drone within the repetitive rhythm of machines at one of the busiest metro construction sites. There is no more obscure listening, no more indulging in a thought process of procrastination, no more philosophizing the auditory faculty; the immediate actuality is of urgent need to enter into the recording medium and gets signaled down as wave scriptures; […] the act of recording sound becomes an immersive activity; one event merges into another, keeping residue of the natural crossfades entangled with each other; it becomes difficult to take a conscious pause in the intensifying process of field recording as the act gets more instinctive in its execution, and the microphone increasingly becomes an extension of man (McLuhan, 2003) […]
Budhaditya Chattopadhyay • Soundhunting in a City, published in 2012, Field Notes #3.
What I like about this text is, that it reflects the “making of sound“ as a process and as a physical experience. I share the vision of intuitve work (in documentaries, at least). In my imagination sound is something liquid.