Installation created in collaboration with Sean Borodale and Volkhart Muller as part of our Hothouse residency at the Brewhouse Theatre and Arts Centre.
Two blocks of ice hung from hooks slowly melt into buckets resting on mirrors, the sound of dropping water amplified in the space through contact mics. A closed cycle, the melted water is re-frozen over night using a freezer located in the room, and then re-hung the next morning.
[ installations ]
when i am in spain i dream of spitzbergen (2007)
beating the bounds (2006)
I am currently artist in residence at The Brewhouse in Taunton, and have just installed a new sound piece called ‘beating the bounds’ (open mon-sat from 10-6pm). This is part of the lead up to a micro-festival I am co-curating called ANTISTATIC, which takes place on the 21st-23rd Sept. Look here for more info on that.
footfall (2006)
Recordings of footsteps on various ground surfaces at West Town Farm were recorded with local school children. A small polyrhythmic sound piece was created from the recordings and played back through miniature speakers, each speaker was embedded in the same ground materials the original recording was made in.
While at the farm I also created a soundwalk called 10walks
commissioned by Organic Arts / tExt Fest
schminky [ + Hewlett Packard]
schminky – a cafe based digital experience/game
Schminkywas a sound based game played on a wireless appliance in the context of the Watershed cafe in Bristol. It was developed as an experimental field trial to explore the role of pervasive computing in social spaces and how situated digital experiences might play into the way we engage with our environment.
The game is played on a handheld computing device and involves the solving of musical puzzles. The intention was to introduce something into the environment that would enhance and encourage social interaction. Consequently, the game allows users to form a group of people to play together.
Two wall mounted tablet PC’s present an audio/visual representation of the social network being constructed as groups form and play the game. These representations generate music that reflects the richness of the network connections, and indentify individuals players as orbs moving in a 3D space, connecting them to each visually if they have played together.
created in conjunction with Mobile Bristol / Hewlett Packard
Dartmoor sensing
Created in collaboration with Jocasta Lucas and Catherine Simmonds. This is a 3-dimensional soundfield piece in which listeners step ‘inside’ a space confined by four speakers.
Inside this confined space is a 4-channel sound environment capturing a journey by foot across Dartmoor accompanied by tones made from processed location recordings; on the outside there is a 4-channel sound environment of static, ‘hanging’ tones, location recordings and a poem constructed from edited interviews with wardens at Dartmoor prison. All sound is played at extremely low volume through miniature speakers placed in either end of 4 hanging tubes.supported by Aune Head Arts
FORMALITY (2002)
WHAT: residency – Clarks Bursary Award for Digital Arts
WHERE: Watershed Media Centre, Bristol
WHEN: 2002
Over a period of six months, ‘formality’ explored communication as it is organised, disrupted and distributed through digital systems. A series of interactive installations; Tag, Document and Dialogue, used mobile phones, databases, hidden microphones and printers to question the way in which we communicate and the values we assign it.
Formality (1): Tag
Tag was an interactive installation that looked at how people are categorised based on their personal information. Visitors were invited to contribute a personal mark (a drawing) into a database alongside their demographic information. The database was represented visually with the images being repositioned and resized based on their associated statistics. The value of these drawings changed as they became social categorisations and ‘suggestive statistics’.
Formality (2):Document
In Document, snippets of conversation were captured by hidden microphones in the cafe, fed into voice recognition software and printed out at regular intervals. The text was a turmoil of unintelligible sentences, misunderstood pronunciations and the phonetic attempts at spelling produced by the software. Throwaway, undocumented dialogues between friends suddenly became hard copy, giving them new value.
Formality (3): Dialogue
The silent chatter of text messages and emails was returned to its oral roots in Dialogue. Speech synthesis was used to vocalise messages sent to Watershed from both inside and outside the venue. The words were then passed from computer to computer, each one using a variety of processes to break down the language into its constituent parts and extend its fluidity when removed from the fixed visual world.
supported by
Watershed Media Centre
South West Arts
J.H.Clark Charitable Trust