'Sonic art is an extended form of sonic creation that does not resort to reference models or formalized
Active Crossover- a project curated by Simon Whetham
Live performance held in Leeds at the Armley Mills Industrial Museum. Consisting of Phil Harding, Ben Gwilliam, Rhodri Davies, Oliver Dover, Simon Whetham and myself. The idea behind the project was for one artist to perform for 15 minutes, followed by another artist participating for a further 10 minutes, before continuing with their own 15 minutes performance.
For further information about Active Crossover, and to download the complete works released on the portuguese record label Cronica please follow this link.
Excerpt from the crossover section with Oliver Dover and myself for Active Crossover- 1'27
Project based on an incidental recording created by John Kannenberg of a recording made in Fayoum (Egypt) in May 2010 using a makeshift Hydrophone and in John's very own words was 'banging relentlessly against the rock of the shore which in turn ruined his little microphone but accidently produced a rather interesting result.
My interpretation of this event can be listened below. Also for other versions of the project please visit the following link
Hydrophonia is a festival of underwater recordings (hydrophonics), dedicated to raising awareness of ocean noise pollution. The project is based entirely on samples recorded & collected by sound artist Gianni Pavan & CIBRA.
A total of 56 sound artists were involved in the project from all around the globe and is due for release sometime in the near future. I'll keep you posted.
Anthropogenic Noise Emitter 5'59"
Ear to the Earth-Listen to
to the Weather is a web-based project, produced for the
Ear to the Earth festival, which uses sound to examine
the role water plays in our ecosystem, as well as in our collective psyche.
from various international locations recorded weather data from the area they live
in, then using the data combined to create their own sound piece.
was recorded on England's National Day St George's Day 23rd April ( Some guy
named George romped around on his big white horse wrestling a few dragons or so
the fable goes anyway), focusing on wind speed, min-max temperature, Air
Pressure and humidity. Then using the figures provided each range of
numbers were transformed into frequencies of sound.
works from this project can be purchased on vinyl only at the following link
Vague Terrain 15 .mircosound
The latest edition of Vague Terrain, celebrating the tenth anniversary of the .microsound community. Guest curated by the American composer Kim Cascone, providing a range of commentary and context on “sub-atomic” musical aesthetics and a window into this globally distributed community of electronic musicians. For those unacquainted with this zone of musical production, this collection of work provides a perfect introduction.
Additional audio contributions include Yota Morimoto, Jorge Castro, Gintas K, John Kannenberg and Kim Cascone.
The work concentrates on the sound of data when transferred across at network server. Comprised from 16 different servers and from 1200 different ports, collecting close to 16,000 sounds. The first section of the piece is the sounds heard when the data is being ‘Sent’ and the second half of the piece is the perceived sound of the data being ‘Received’.
0002_0001_001 5'48"- Part of the Send & Receive project
released on Con-v
The ROOM (soundleak project)
A study of hearing through walls, partitions, and visually blocked areas by Keiko Uenishi. The piece was created by attaching two contact microphones to the wall, bleeding into the conversation in the room next door. Within the walls were series of waterpipes connected to a very old heating system that dominates the sonic environment.
The project was performed in Wels, Austria as part of the Soundleak project.
As part of the Pixel Palace programme, Tyne side Cinema selected a series of new sound pieces titled Step Sequence, offering an alternative sonic experiences for visitors to the central stairwell. The Installation will be available between March & April.
This was part of a two week residency within the Amazon Rainforest in Brazil, where I was invited to share the unique experience of collecting the sound from the surrounding area, covering approximately one thousand miles of the river, documenting the time spent through the recorded sound.
When not recording, living mainly on a river boat, where the days were spent getting very wet, eating Piranha and relaxing in my hammock. When on land I spent three days as a guess in the village Careiro, living amongst former tree loggers, now making a living through fishing and hand crafts.
Encontro das Aguas 5'08"
The piece consists of a series of recorded hoax telephone calls made by obtuse individuals to the fire service during 2008. The core sounds throughout the piece was created using a lightreader(self-made device used to transform light energy into sound), focusing primarily on sirens and general light sources emitted from a Fire Engine.
The project is part of the SoundNetwork, Liverpool Biennial 2008.
a project designed by Elaine Speight
Project designed by Elaine Speight and supported by the Arts Council North West and the University of Central Lancashire. The work explores a disused railway track and tunnel in Preston, Lancashire, and was developed through the process of questioning the idea of 'what makes a space a place'.
My role was to design the sound that reflects what can be heard within Miley Tunnel. Naturally a very dark place, swarming with rats, detritus and general city waste. With walls 10 feet thick the majority ofsounds available were the sounds created through your own presence, so the rustling of the pebbles along the railway track, the wind running throughout the tunnel and the light (using my Light Reader) at either the end was the basis of the sounds used.
For further details about the project please follow the link below
The audience dips in and floats around within the swimming pool, both ears submerged, absorbed in sounds coming from underwater speakers. Before tackling the project I began to think about the unknown possibilities of recorded sounds you might hear on a daily basis, only for the output to be performed beneath the water and with relatively little indication of what the results might sound like between the source and the receiver, excepting the possibility that all original nuances and sonic textures maybe lost at sea, whilst only to be replaced by something completely unfamiliar.
A large percentage of the chosen material used was carefully selected due to the high frequencies and because of their opposed relationship to aquatic sounds. A proportion of the sounds are field recordings and granular sounds collected over the years.
Hungry Hedgehog was recorded on a recent trip across the Yorkshire Moors, England (Hound of the Baskervilles country) where it was my intention at the time to collect insect sounds. However, once I placed two nails in the ground, attaching a contact microphone to each, I stumbled across a very active and inquisitive Hedgehog in search of food. The recording basically accounts 3 minutes in the life as this very brave and hungry little fella or lady of course.
The work was part of the Con sordino, musiques électroacoustiques feutrées, focusing on the experience of listening to low level diffusion sound.
Hungry Hedgehog - 3'15"
Sympathetic Vibration(prolongation of sound by reflection)
Developed over a period of 12 months a number of recording devices were set up in key areas across York St John University. Adopting a slightly voyeuristic approach to the collection of the audio,focusing on telephone conversations, delivered teaching sessions and the placing of a small microphone inside an internal envelope, quite literally recording the journey of an internal piece of mail.
To try and get an understanding of the importance of sound to the people that work and study on campus, a number of YSJ students and staff were asked key questions about their encounters and how the sounds they hear can affect their experience.
In addition to several audio microphones in use, photoelectric sensors were used. The sensors were attached to the eye piece of a telescope, emitting a small pulse of electricity generated from the light they receive which was then be converted into sound. The idea behind using the sensors was to reflect not just the audio that can be heard but the light that is obtained.