related links:

Outside the Circle of Fire
Touch
The Wire

Chris Watson: Digital Musics Jury Member

In 2000 you have won a Distinction in Digital Musics for 'Outside the Circle of Fire', a collection of field recordings made at exotic locales while you were working on documentaries. What is fascinating you doing such recordings? How do you edit them?

Watson: I have long held a fascination for the voices of animals. Their voices have a special beauty, rhythm and texture and although we can not understand we can appreciate the eloquence, range and power of these sounds - when we have the sounds of the natural world all around us - who needs music? The richness of many of these sounds is in the detail and that is why I record in close up – to try and reveal something of the hidden beauty and to listen to and enjoy these sounds in a new way.

For me the selection and editing process is part of the overall composition which begins with careful microphone placement. I then simply listen and use my judgement and experience when producing the tracks, for me they are individual pieces of music.

The music category of Prix Ars Electronica has been 'redesigned' in 1999, giving more emphasis on 'popular culture'. How do the work awarded by Prix Ars Electronica reflect the main evolutions in digital musics in your opinion?

Watson: Although obviously 'current' work the awards reflect potential and future directions for artists to investigate, and in that way I hope that as well as rewarding individual and particular works the awards will stimulate others to discuss, argue, challenge and create ...

It is the first time that you are in the jury. What kind of works do you hope to hear? What kind of work would you personally like to award a Golden Nica?

Watson: I come to the jury with an open mind. I want to be surprised, shocked and amazed by what I hear - produced by any means ...




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