A multi-speaker sound diffusion piece installed at the Brunel Tunnels, Rotherhithe London, involving seven vintage test tone oscillators assigned to seven individual speakers
‘Always Optional’ involves the sonification of a selection of poems from the ‘Happiness’ collection by poet Jack Underwood. The piece is an intermedium between literature and sound-art, and is posited as a ‘text-sound-art’ or ‘’text-sound-composition’ piece as defined by the Fylkingen society for experimental music and arts, founded in Stockholm, Sweden in 1933. The poems are presented in a circular array of speakers, and exhibit a variety of sonic interpretations and approaches in response to Underwood’s texts.
A collaboration with Anthony Elliot incorporating his panning square wave FM oscillators in a multi-speaker array.
A collection of musical graphic scores derived from an exploration into Number-Form synaesthesia, in particular a recently identified sub-type termed Magnitudal-Spatial synaesthesia. Magnitudal-Spatial synaesthesia suggests an innate number-form perception that involves not only the visualisation of numbers mapped into distinct spatial locations, but includes non-symbolic magnitudes such as sizes, length, clusters, and even luminance.
The process involves the transposition of architectural space to sound space revealing mathematical continuity, connectedness and convergence – a process being presented as Sonic Topology. These images have been collected in Palermo Sicily, Favignana Sicily, San Sebastian Basque/Spain, Lisbon Portugal, Bergen Norway, London, England and Berlin Germany between 2011 & 2013
Reflecting the diverse and idiosyncratic nature of cognitive synaesthesia, one of the images – DotScore#16, is accompanied by musical and sonic interpretations of the score by the following artists :
Yumi Hara Cawkwell, Charles Poulet, Gisle Frøysland, Martin A. Smith, Charles Hayward, Alice Kemp, Helen Frosi, James Cauty, Colin Hacklander, Farah Hatam, Guy Harries
and will be presented as part of the Noise and Whispers exhibit at the GV Art Gallery, London :
Ear Cinema is a multi-disciplinary performance project incorporating film, various sound diffusion techniques, and live performance. The project is aligned with the ‘Expanded Cinema’ movement; a film and video practice which activates the live context of watching by transforming the traditional architectures of cinematic reception into sites of immersive experience that are heterogeneous, performative and non-determined.
A double viola string quartet piece diffused via transducers into wooden chairs. Each chair is allocated a separate instrument. Installed as part of Audiograft Festival, Oxford, 2012. Cello played by Greg Duggan, Viola and Violin by Alessandro Librio.
Ghost Quartet arrangement (all 4 channels bounced to stereo)
a link to a text written on the history of piano destruction : http://www.scrapclub.co.uk/texts/piano-destruction-text
Piano crushing at the Kirkaldy Testing Museum, London. Filmed and edited by Ana Godinho de Matos at ChameleonEye Films
Καιρός no 9. Wajid Yaseen
Number nine in a series of exhibitions and events.
Kairos (καιρός) is an ancient Greek word meaning the right or opportune moment (the supreme moment). The ancient Greeks had two words for time, chronos and kairos. While the former refers to chronological or sequential time, the latter signifies a time between, a moment of indeterminate time in which something special happens.
In Greek mythology, Kairos (Καιρός), was the personification of opportunity, luck and favorable moments. He was shown with only one lock of hair.
Kairos can easily be seized by the hair hanging over his face (“creeping down over the eyebrows”) when he is arriving. But once he has passed by, no one can grasp him, the back of his head being bald. The moment of action is gone with his hair: a neglected occasion cannot be recovered.
T H E M U E S U M | B E R L I N
J o n a s s t r a ß e 3 1
1 2 0 5 3 B e r l i n
a participatory/interactive sound installation incorporating 81 ostrich feathers providing a tangible user interface
directed by Nic Sandiland – an interactive installation next to Hungerford Bridge, along the Southbank, London commissioned as an education project by Candoco Dance Company