Listening on the stairwell of Lincoln’s Library.

When given the task: Sit and listen. Write down everything you hear – all speech noises etc, to create a literary soundtrack I decided to do this in a secluded corner of the first floor stairwell.
I thought that this location would be a quiet place, and that I would find myself only writing down things I heard in the distance…

There is a low humming sound. It sounds as though it is coming from something electrical, perhaps the large light above me.
Doors are creaking in the distance, with the accompaniment of footsteps. The wind is blowing through a gap in the door. It is creating an eerie sound which is reminiscent of a woman’s scream.

When the wind stops, you can hear a distant sound of traffic, cars racing by. An engine stalls, but the driver manages to restart it within a few seconds, and they drive away.

Footsteps in the distance, getting closer and louder. The door next to me creaks as it swings open. Footsteps. One, two, three, four, five, six, seven, eight – the footsteps are getting quieter and quieter – nine, ten, eleven, twelve, thirteen, fourteen, fifteen, sixteen, seventeen – I can barely hear them now – eighteen, nineteen… There is silence.

The wind continues to howl, with the undertones of the electrical humming. Several footsteps can suddenly be heard in the distance.

A door from the second floor opens quickly and closes with a huge bang. There are footsteps… too many to count. There must be two or three people creating those footsteps. There are three. It sounds like someone is rustling something, perhaps in a bag. I hear one person say “Yeah, five until seven, what?” to which another replies “yeah five until seven, i know.” All three people laugh. The laughing only lasts a couple of seconds, then the door next to me slams.

I return to the noises of the wind and humming. Once again I can hear the traffic in the distance.

I hear faint footsteps, the door creaks open, but only half way. I hear someone say “exclusive report, even though his contract is only worth twelve pounds fifty.” The door slams shut, with nobody coming past my secluded corner. Suddenly, it creaks open again and I hear footsteps as someone walks past me – one, two, three – and so on.

As this person continues stepping up the stairs, another person steps down. One, two, three, four, five – they stop. A phone rings. “Allo, allo? Oui Je regrette beacoup” were the only french words I could pick out. The person speaking is laughing, then suddenly – six, seven, eight, nine, ten – footsteps back up the stairs, and a door slams.

I can no longer hear anyone.

In just five minutes of listening, things could be heard that you wouldn’t expect to hear in a library. More importantly, on a stairwell. It proves that no library is “quiet.” Sound will accompany any environment.  It made me question, is there really anywhere that is truly silent?

Jessica Bark

Transforming Spaces

Forced entertainment did a project in 1995 called Nights in this City. It was a guided tour on a bus through Sheffield. The performers guided the tour but “avoided facts in search of a different truth.” (Tim Etchells, Certain fragments – Eight Fragments on Theatre and the City) They told imaginary stories which put the city into a different light. A certain place can have one official name, history and function, but any individual could look at it completely differently. It may hold a particular memory or have a feeling attached to it. One can take a space (as we did with the library) and over its actual map, draw another “map” – one of emotions, thoughts, memories and associations. In Certain fragments – Eight Fragments on Theatre and the City Tim Etchells says: “Did I tell you that up on West Street someone has written on a burned-out building GET WELL SOON? Did I tell you that in some parts of the city the phones in the call boxes ring to empty streets at regular hours of the day and night? Are these events connected? Are there persons here, working in concert? In the city as in all the best performance, I`m left joining dots, making my own connections, reasons, speculation.” This paints a picture of the city as a place of lots of little wonders and of people who create them. It is up to each person to find connections between them and to give meaning to them. Krzysztof Wodiczko said about the city: “What are our cities? Are they environments that are trying to say something to us? Are they environments in which we communicate with each other? Or are they perhaps the environments of things that we don’t see, of silences, of the voices which we don’t, or would rather not, hear. The places of all of those back alleys where perhaps the real public space is, where the experiences of which we should be speaking, where voices that we should be listening to, are hidden in the shadows of monuments and memorials.” (quote from the PBS art21 website: http://www.pbs.org/art21/artists/krzysztof-wodiczko) Krzysztof Wodiczko takes buildings and monuments and projects images and videos unto them. The images he uses comment on or criticize political issues. The architectural structures he chooses for the projections can make the images seem very controversial. Concerning war memorials Wodiczko said: “We still have to see those symbolic structures, war memorials, in relation to contemporary situations.” (https://www.nfb.ca/film/krzysztof_wodiczko_projections) In 1988 he projected images of homeless people on the war memorial in Boston. The average person passing by a war memorial might take a moment to remember the victims of that war. However, at that very moment there are similarly tragic things happening that people don`t regularly think about or avoid to think about. Wodiczko`s projections transform spaces people frequent every day into meaning something different, into bearing a message. People are led to think and talk about the issues presented and “to open up and speak about what’s unspeakable” (http://www.pbs.org/art21/artists/krzysztof-wodiczko).

The Third Floor

The third floor of the library is very atmospheric. The only thing you can hear when sat down is the quiet tapping of the keyboards, and the whirring of the computers. This creates a sort of eery yet concentrated environment that reflects the hard working passion of the students that inhabit it. Compare this to the history of the building and it would have been a very different story. The typing and flicking of pages, would be swapped for the banging and crashing of the Railway Goods Warehouse. From the picture below, you can see the clear time jump between the past and the present. The way they have managed to maintain the history of the building, while also adapting it for modern day use. This combination of old and new creates a unique location for performances.

The Third Floor bridge between times
The Third Floor bridge between times