Post-Truth and Beauty is an interactive experience exploring the blurring boundary between perspective and truth. Created in collaboration with Aphra Shemza, the luminescent sonic sculpture is ever shifting as the viewer’s head moves to different vantage points.
It returns in its next incarnation at We Are Robots Festival in Old Truman Brewery on Brick Lane in London. The festival explores the future of music and is open to the public for free over the weekend of 4-5 November. It also features work by my talented friend Yuri Suzuki and workshops from Music Hackspace and Hackoustic.
Back in 2012 I led a group of eight musical hackers at The Music Hackspace to reimagine the relationship between performer and audience in music. The outcome was The Cave of Sounds, an installation of eight unique musical instruments that use technology to create a widely accessible experience of collectively making music. See this video for a brief refresher. Following its debut at The Barbican in 2013, the work travelled to Canada and Italy. It was awarded the 2014 Sonic Arts Prize and it remains one of my most popular works.
So I’m excited to announce that Arts Council England have awarded funding to rejuvenate and re-engineer the work. The Cave of Sounds (Mk ii) will be revealed at Salisbury Museum where it will be exhibited 27 Jan – 12 May 2018.
We will also be doing an invitation-only private view in London later this year. Follow @CaveOfSounds on Twitter for updates and watch this space for your invitation.
After the exhibition at Salisbury Museum, we’re planning a UK and international tour of the work. If you’re interested in talking more about this please get in touch.
I’m excited to announce that Movement Alphabet, my new work with Jan Lee, will debut at Tate Modern. Come join us on the evening of 28 October at the first in their Friday Lates series.
A hieroglyph created from Jan’s movements using the software we developed for This Floating World.
Back in 2014 when I was creating This Floating World with dance artist Jan Lee, we created a central chapter where we used a 3D camera to let the dancer paint the wall behind with her body. As we played, we found various dance motifs created marks reminiscent of Chinese calligraphy. This turned into the Hieroglyphs chapter of the piece. It also left an interest in the physicality of writing: how the movements of the body are captured in the marks of a painter or the personality of someone’s handwriting.
With Movement Alphabet, we’re bringing these ideas into an interactive installation. The way we move our bodies, even as non-dancers, expresses a huge amount of our personality. Our characteristic movements are a tapestry of our past, blending conscious and unconscious influences with the unique mechanics of each individual’s body.
I’m excited to share a new interactive project, showing in London next week.
Anamorphic Composition No. 1 is a musical composition arranged through space rather than time. Originally commissioned by San Diego Art Institute for an exhibition about synaesthesia, this is the first of a series of works inspired by anamorphosis – 3D sculptures where an unexpected image emerges when you look from a certain angle.
In this piece, I’ve divided a moment of music into fragments of sound and arranged them as shards cutting through physical space. You can hear them as you move your head through the space, which is tracked by a 3D camera. Where the shards meet, sweet spots emerge where you can begin to hear some of the harmony of that original musical moment.
A couple of compositions I wrote in 2010 that began with environmental field recordings.
The Piano Tuner is based on a four hour recording of our piano being tuned by the piano tuner Ojo. I was living in a house in St Mary’s Gardens near Kennington in South London at the time. After many hours of efforts on the day we moved in, we realised the piano was too big to ever go further than the hallway behind the front door. It remained there for the year we lived in the house. To play, you sat in the living room doorframe. Every time anyone came in or out of the house they had to squeeze their legs through the 12cm or so gap that remained.
Here is a sample of what things look and sound like in their earliest incantation. It’s an initial prototype experimenting with using sustained movement to control sound. Part of an ongoing research into sound, movement, space and interaction in collaboration with Jan Lee.