By the mode of 'sampling', I am documenting moments that evoke certain feelings in a space or situation: as though to extract the feeling from a space and time.  The sampling forms these Audio Journals - recorded audio clips, with accompanying written log and photo or video.  I am seeking something worth paying attention to in the periphery of typical experiences.  It is to perhaps eventually form a particular style or aesthetic in my works, or work as Scenographic Foley to create works from, like a painter would have different colours of paint. It is to affiliate with the raw-ness of my surroundings to find something to play with.  As written by Dewey:

"In order to understand the esthetic in its ultimate and approved forms, one must begin with it in the raw; in the events & scenes that hold the attentive eye and ear of man, arousing his interest and affording him enjoyment as he looks and listens: the sights that hold the crowd - the fire-engine rushing by; the machines excavating enormous holes in the earth; the human fly climbing the steeple-side..." (Art as Experience, 1958)

This tool is about looking to my surroundings just as they are and rendering some form of performativity out of them, mostly without directly intervening or deliberating a change to what I witness.  The media accumulates to create further spatial audio arrangements, to presentable as 'Sonic Scenographies'.

An example of these Sonic Scenographies is my collection of SoundStamps.  The SoundStamps are fully realised compositions in response or ode to a particular moment in a space.  
This collection was selected for presentation at Oxford-Brooke's University's Sonic Art's Research Unit (SARU) project 'Sound Diaries' in mid 2019.  The SoundStamps can be found here