English field recordist and musician Peter Cusack has developed ways to play field recordings ‘live’ as a free improvising soloist and with other musicians. He conceptualized the ideas of Sonic Journalism, the practice where field recordings play a major role in the discussion and documentation of places, issues, and events, and of Sounds from Dangerous Places, about areas of major environmental/ecological damage, or nuclear sites, or the edges of military zones, that can be both sonically and visually compelling, even beautiful and atmospheric.
Belgian, Berlin-based hyper-pianist and sound artist Anaïs Tuerlinckx disarticulates the piano and takes its core, the frame and strings, as the main sonic material for her practice, saying that she wants to “reveal the physicality of the piano as a dirty monster”.
