Window Watcher (2021)
Window Watcher is an Audio-Visual composition created whilst studying on the Sonic Arts masters at Goldsmiths. The composition uses subject matter from a dream, specifically the presence of a window that appeared in a dream. Footage was taken around North London of windows, and also field recordings were taken whilst standing next to windows, and these elements were combined with analogue synth sounds and a digital pitch-based musical system. This was then all incorporated into a generative system in Max MSP to form the finished composition. The composition is partially stochastic and therefore never repeats itself in the exact same way, this means it has no fixed duration. The excerpt on the left is a ten minute recording of it, created for the purpose of the masters.
Psychedelic Sound Sculpture Series (2020 - ongoing).
This is a series of sound sculptures created using various techniques and ideas. Materials used include: wood, acrylic paint, acrylic medium, glue, loudspeakers, electronic cable and sound.
The series is inspired by a period of deep thinking about loudspeakers, and wooden musical instruments such as guitars, and their relation culturally as objects, to works of art made out of wood and other similar materials. The idea is to explore what is recognisable, and what is unrecognisable, and bring this into play within the paradigm of the role of the loudspeaker within sound art.
The series of works is used in conjunction with psychedelic Max MSP synthesis patches, which were originally created for use in electronic music, but have been repurposed for use in this series of sound sculptures. The idea is to reappropriate the psychedelic sounds, and situate them within an art space, in order to encourage the visitors to think of the sounds as if they were a part of a work of art, not a piece of music. The intention is to encourage an altered way of listening to these psychedelic sounds. The sounds would usually be heard alongside other musical elements in a track, but have been isolated into one sound per sculpture, and have had any other musical elements left out and made absent.
I have noticed that often with this type of synthesised sound, it is as if a part of each sound is lost when they are combined with other elements and made into a piece of music, and there are ways of listening to the sounds that can only take place when the sounds are heard on their own. By isolating these sounds, and situating them in a gallery space, not only is a new context created, but also a new way of experiencing the sounds, which has been made possible through the creation of these sculptures.
There are numerous iterations/incarnations within this series of works, and the series is still ongoing.
BAMBTH is a sound installation that was made for the 2019 Tate Inside Job Staff Exhibiton.
The theme for the exhibition was movement, and BAMBTH explores electronic sound and movement, and how computers can be used to replicate the types of auditory movement that take place when real life sound occurs.
The installation is based on a two second recording from a demolition that took place opposite the staff garden at Tate Modern. The installation takes the recording, and manipulates it using Max MSP in order to make it feel longer. The product is an infinite loop of constantly changing sound, but with the same sonic makeup as the original two second recording.
The speaker for this installation was self-built. It was built from plywood, black paint, and speakers sourced from a second hand junk shop. The idea in doing this was to take full control of the installation aesthetically, and not leave the physical design of the speaker to someone else. The speaker, which has a physical presence, almost plays the role of a sculpture in an installation, and I wanted to have full control of this, and create it myself. The result of this is that the installation is just as much physical or visual as auditory. The speaker is just as much a part of the work as the sound playing from it.
Existential Feedback Loop (2018).
Existential Feedback Loop is a Sound Installation that I made for the Tate Staff Exhibition in 2018.
The piece explores themes of technology and speech and the relationship between the two themes and ourselves. The piece can be installed in any space, and is intended to be almost entirely made out of sound. The only parts of the installation that are not made out of sound, are unavoidable parts, such as the speakers, cables, and the space used.
In the end I used a pair of Hi-Fi speakers that I found on the road to install my piece. I removed the entire contents of one speaker and used it to house the computer and amplifier, and I used the other speaker to generate the sound. Available on the left is an audio recording of my piece in the space.
Audible Thoughts (2017).
Audible Thoughts was an installation that I made for the final year of my degree. It was inspired by auditory hallucinations, in particular the experience of voice hearing. Having heard voices before myself, I wanted to experiment with numerous different ways of incorporating my experience into my creative practice. The installation was intended to explore the more unusual types of auditory hallucination, in particular computer-like or synthesised sounding voices that some voice hearers report having.
Another theme that the installation touched on is the potential that there may be new types of speech sound that are not usually heard and are difficult to access or experience. The installation took the form of a quadrophonic setup, and was performed using an open mic. I would invite audience members to speak through the microphone, and that speech was then processed before being distributed through the speakers. Another audience member would sit in the middle of the speakers and experience the sound of the installation.
Electricity is Weird (2017).
Electricity is Weird is a Soundscape/Musique Concrete piece made in 2017.
The piece began as a collection of original scores that I created that allowed me to configue poems for performance by numerous people at a time.
I used these in conjuntion with my own poetry, and recorded a group of people performing them.
I then combined these with sounds made in Max MSP and Logic X.
Sonic Communication (2016).