The line between observation and composition is actually inevitably blurred in any instance of field recording. Whenever I decided to use the field recorder, I had effectively made a compositional decision. Deeming certain sounds more interesting than others (and subsequently hitting the record button) is a naturally, automatically happening process. This inevitably shapes the composition as well. Even if one has certain idea in mind about the sounds, or wants to make the sound a certain way, one will always encounter these kinds of elemental relationships with the employed instruments. Furthermore, when assembling and sequencing the recorded material, I select and omit certain parts for the final project. This process acts as yet another filter through which all audio material passes, and this extra step firmly cements the endeavor in the creative realm.
Allowing a certain amount of time to pass (between recording the material and revisiting it later) was helpful. This allows one to have a fresher ear, as if hearing the material for the first time again. It also encourages one to process the material relatively quickly, as opposed to pursuing ideas of accentuating certain audio details that have developed in the mind, for example. Working in this way, perhaps one gets closer to the essence of the thing, as opposed to one’s own interpretation of it.