‘I lost track of information’
2018
Continuing work with Rebecca Gill
Shown at Tramway as part of Last Futures
SOUND SAMPLE
PUBLICATION/INSTRUCTIONS
Notes on the work:
Motion sensors are located the space. By engaging with the work using a mobile device, the participant puts on personal headphones and logs on to a live broadcasting network. Their body then becomes immersed, transparent, the tool for manipulation of the audio they hear, marking the constructed space with the sound, a fluid medium.
This allows the audience the opportunity to meditate on the amount of agency one has over their body and the space they occupy. We are hoping to offer a platform for debate that references the mediation of configured environments and the suggestion of surveillance in relation to this. The spaces we inhabit in day to day life are rarely, if ever unmonitored. Our borders are drawn and patrolled with the intent of keeping unfamiliar bodies out.
The audio (which we are planning to develop further) references the political discourse addressed in our conversations around fluidity and the stagnancy of borders and free movement. Compositionally, the sound will function in parts, each section corresponding to a different set of sensors. The sound will be an expansion of previous exploration into ambience and field recording from Kate’s practise. The piece incorporates layers of textural sound including archival broadcasts, spoken word and computer and hand-made synths.
We are planning to further this together using hand built induction mics and handmade piezo technology that we are developing together.
Through the textuality of the sound, we invite participants to consider their own agency in the discussions around the fluidity and stagnancy of free movement.
The work at Tramway ran on a performane schedule.
2018
Continuing work with Rebecca Gill
Shown at Tramway as part of Last Futures
SOUND SAMPLE
PUBLICATION/INSTRUCTIONS
Notes on the work:
Motion sensors are located the space. By engaging with the work using a mobile device, the participant puts on personal headphones and logs on to a live broadcasting network. Their body then becomes immersed, transparent, the tool for manipulation of the audio they hear, marking the constructed space with the sound, a fluid medium.
This allows the audience the opportunity to meditate on the amount of agency one has over their body and the space they occupy. We are hoping to offer a platform for debate that references the mediation of configured environments and the suggestion of surveillance in relation to this. The spaces we inhabit in day to day life are rarely, if ever unmonitored. Our borders are drawn and patrolled with the intent of keeping unfamiliar bodies out.
The audio (which we are planning to develop further) references the political discourse addressed in our conversations around fluidity and the stagnancy of borders and free movement. Compositionally, the sound will function in parts, each section corresponding to a different set of sensors. The sound will be an expansion of previous exploration into ambience and field recording from Kate’s practise. The piece incorporates layers of textural sound including archival broadcasts, spoken word and computer and hand-made synths.
We are planning to further this together using hand built induction mics and handmade piezo technology that we are developing together.
Through the textuality of the sound, we invite participants to consider their own agency in the discussions around the fluidity and stagnancy of free movement.
The work at Tramway ran on a performane schedule.
