As you layer on field recordings, what you’re actually doing is creating a hyper-memory. Creating tiers of documentation of time and thereby creating an imagined new time.
With the climate change issues that were happening in Venice – the flooding and the regular weekly high tides – I felt that this was a really important time in history to rush back to Venice and go to every corner of every part and just record everything possible. Because we were never going to be able to hear this city again. It is literally Atlantis, sinking. There’s going to be stories in a thousand years about Venice and they’ll never know if it was real or not.
I always thought field recording was just an audio snapshot, really. Now, taking the audio snapshot and adapting it to our present moment – who knew our times [would] so drastically [change] in a matter of two weeks. And my god, all of these field recordings that we’ve all been doing for the past 20-30 years, especially as the hand-held recorders got more and more accessible for the general public – I used to think of it all as, What are we going to do with all this stuff? It’s just trash, everybody’s just recording field recordings. I’d always roll my eyes. Now I’m like, You’re such an idiot. Thank god everybody was recording our world because it’s gone.
Now that I’ve changed my mind about all of these ridiculous amounts of recording, I think somehow we all knew. That we were privileged in some way to live in this world. Everybody I knew that was really into field recordings was just frantic – once they got hooked on it, it was like a rabbit hole. Now I just feel like, My god, we’re so lucky. Now we need to make a library of everything that everyone has done and it’ll be audible postcards of our past that we’ll never be able to hear again.