In my previous work I have always devoted attention to the barriers of sounds and frictions between areas of dominion and impediment of the passage, making reflections on the transfer of the acoustic, and the resonance in the own physical impediment. In everyday life there are spaces of intermediate, territories of meetings and waiting, some in which requires the greatest possible silence, others in which domestic barriers exert a more or less successful isolation. In any case, whether in a public or domestic space, it can not be ignored that sound landscapes are produced that we tend not to pay attention to and have their value as intangible heritage and have their particular relationship with architecture. These sounds, from the perspective inherited from John Cage, turn out to be quiet music of strange beauty in its attenuation, detail and attention. They are in a frequency and volume that require a voluntary listening attitude. These have not been, in my opinion, sufficiently treated in the anthropological, artistic and phonographic.
My proposal is to make field recordings by means of an urban derivè methodology from annexed interiors, public rooms, and exteriors as enclaves to focus those spaces. A kind of discreet spy recordings through the adjoining walls where people gather, also from outside directed to doors and windows, and inside libraries and waiting rooms.
This would be done by means of contact microphones adapted for the walls, directional microphones, and other conventional field recording devices, including a parabola that can narrow the source of the muffled whispers, the steps, the squeaking of the chairs crawling, the people who cough, incomprehensible conversations, etc. That generate environments that we can define as Muffled sounds.