In my work I explore concepts of absence and presence, stillness and movement, and time through the creation of site-specific immersive spaces, and acousmatic composition taking inspiration from sources such as Taoism, phenomenology and Tibetan Buddhism. I work primarily with found sound, applying both digital and analogue sources including open source processing techniques to create varied compositions.
Much of my work relies on synergies and dialogues within the sonic landscape, that of impermanence, transience, and location and materiality as a methodology and process. By doing so a dialog is created which allows the materials to have their own voice. I work with field recordings to create acousmatic and electroacoutsic compositions. Projections, combined with mixed media / paintings, and artificial/ natural light are manipulated to create visual phenomenon analogous to my installation work.
#Flow #sublime #glitch aesthetic #TheWayofZen
Are you an Artist, Scientist, Technologist/ Maker or Other?
Summarise what areas of Science/ Technology/ Art are you looking to explore?
I am looking to explore open source technology further with an interest in the sublime (holography and the work of David Bohm (Quantum Mechanics)
Why do you want to take part ASMbly Lab?
More recently I have been working on using GEM/PD applications to develop this new work. I am interested in taking place in ASMbly as I would like to further experiment with other scientists and visual artists to develop a new installation project with the view to showcasing the work further through potential funding if it evolves in a collaborative way.
A little bit about the project idea:
In Flow I used several connections to the sublime including a glitch aesthetic. This included changing and corrupting code in the architecture of the file, which was based on a pure data patch creating malfunctions in the sound and images. In relation to the sublime, some discussion behind my research is discussed below.
My influences for this work originated in a pivotal work by William Basinski and The Disintegration Loops. The background to this work is based on him picking up a book off a shelf in the studio called The Way of Zen inspiring him to preserve some old tape recordings of music he recorded in the 1980’s by transferring it to digital format. In the process of transferring the tapes to digital format he noticed the tape was gradually crumbling as it played. This affected the sound by creating a decaying process from the audio. He repeated the format though.
This process took place around the time of the September 11 attacks and from his rooftop space in Brooklyn he recorded on camera the smouldering Manhattan skyline. The next day he merged both the decaying tape sounds that were now digitized with the video footage creating a melancholic work. The process is gradual but focuses attention on what is left and what is not. Just as in the work of Eliane Radigue, the focus is a gradual process encompassing the sharawdji effect.
The idea of sharawadji can be found in Jean-Francois Augoyard and Henry Torgue’s book, Sonic Experience, a Guide to Everyday Sounds.
My original aim was to have one or multiple stand alone 16mm projectors that could be used to project my own kaleidoscopic images onto the wall/ceiling of the space but this would have been limited to a certain area and volume of space. I aimed to mix the sounds algorithmically using a pre- designed music patch and use of delays and filtering to create similar fractal sounds and images that a kaleidoscope creates.
Michel Chion’s Audio Vision: Sound of Screen (1994) proposes three effects sound has on the perception of an images time. The visuals and audio will be scattered and displaced creating spatio- temporal rhythms.
Fluxus artist Nam June Paik’s Zen for Film creates similar phenomenological experiences for the visitor to the work. In the same way, the projections and projector become molded and shaped into the body of this piece.
My approach to the sound in this work is similarly phenomenological, experiential. The integration of body, emotions and mind and choices are still made in the selection of sound sources and use of technology, however, unpredictability and experimentation within the composition process adds to the spontaneity of my working method.
Is this a new/ existing project, artwork or piece of research?
New, but strongly based in other projects and processes I’ve been working on for years.
Are you looking for collaborators?
Yes, I would like to work with scientists or other visual artists.
My teaching experience ranges from music composition / sound art and music technology to performance direction and musicology at a variety of levels within the Further and Higher Education sector. My employment as a Freelance Practitioner at The Hepworth Art Gallery in Wakefield is based on the changing exhibitions. Within this role I deliver music production workshops across a range of age groups from early years to adults. I would be very interested in sharing my passion for Sound Art through workshop collaboration and experimentation.
Where are you based?