Fifthteen Seconds is a response to production esthetics, the role it plays in maintaining conditions imposed by social influences and enters itself into the dialog for solutions to sonic discrimination. The sound compositions are generated as a result of the discourse between action and response. An operator is present as a conduit between action and response and resulting compositions become recorded audio transcriptions of the action response co-existence. There are no edits to this recording. Audio loops are digitally extracted with a priority placed on those that hold similar qualities found in conventional sound compositions. Delivery of this audio material requires an accessible platform, both physically and psychologically and thus using a social media app, Instagram, supports these requirements. Using a predominantly visual social media platform is required to access the visual dominate, short attention span media consumer. It is absurd to excuse the influence that sound esthetics play in determining the value and place of recorded sound composition. Subject to cultural constraints, bound by the listeners presupposed disposition, a controlled expressive environment is instituted. When maintaining any system of controlled expression, conformitivity and requinshing ones will to choose is vital to its permanence. To challenge this prejudice with social isolation and intellectual exclusion negates ones responsibility to their community and offers no expansions or connections to the greater existence with sound. Fifthteen Seconds are tangible, intriguing audio glimpses, offerings to welcome a wide audience into the greater living soundscape.
Host/Operator is a collaborative project with artist Charles Gershom that uses intuitive sound performance to address ideas of performative state; the mental and physical space we occupy when engaging with the creative process, the feedback loop of performance and existence inside the same moment of awareness.
To better understand the performative state, a tool is employed called the performative index which measures the ratio between the act of performing, to the performers awareness of self and others. The performer or group of performers awareness of external stimuli in combination with the influence of the performers own ideas or expression of ego determines the place on the performative index. Achieving a low result on the index allows us the freedom to act without hesitation and with the absence of intrusion.
Host Operator objectively subverts presuposed sensationalism between the functions of technology and the user. Exposure to mechanics, symbols of the labour workforce, science fictions tropes, the ephemeral nature of the manitestied material or digital product are all expressions often used to communicate misconceptions or misunderstanding of our investigated subjects. Results are displayed in various forms including international live and digital performances, video interpretations and over 24 hours of audio material across 50 audio releases.
Welcome to Double Beta, a Sci Fi, Fantasy universe explored through the mediums of graphic novels, motion graphics and video games. Created by artists Benjamin Buck and Charles Gershom to further their investigations into the misconceptions and misunderstandings surrounding the relationships with, and definitions of, technology, nature and narrative.
The story of Double Beta follows an ensemble cast of humans and robots, who act to preserve life through devastation and evolution. Surviving on an aged Earth ravaged by both human and synthetic life, believers of old prophecies fight to prevent the birth of a new and multiverse ending threat.
After many years of genocide by an Artificial Intelligence. The remaining members of the Synthetic Life Group, Natch Nashira and Mercy Yarns, undertake the dangerous mission to release a
Holotype from the Network. If they are successful, what life remains will have insight into their fate and may provide the chance to survive what is to come.
The world of Double Beta promises to host adventure, drama and intrigue. While providing stories of the fantastic to the surreal, life in the DBU is grounded in science fiction lore. While feeling familiar, Double Beta will bring suspense and surprise throughout it’s exploration of the nature of life itself.
Ornatures is the title given to a body of work which examines acts of manipulation to the natural environment in order to produce the ornate and consumable. Works under this umbrella place an emphasis on perceptions of the means of production in past and present day manufacturing. These include physical and biological manipulations, social disconnections between resource and product and sensationalism in image based media.
Subjects of the work focus on objects that appear natural, either by design or association to each other. Traditional and digital collages are complied, relying heavily on kitsch aesthetics distinguable by their vibrant, loud mix of many colors, textures and patterns. The works make reference to textiles, horticulture and marketing industries by referencing mediterranean ceramic tile, bonsai trees and branded consumer products. Decoratively framed, the works contain the coexistence of both the prestige and the ordinary, reflecting perspectives that reject the wild and unmanaged use of natural resources.
Sweet Spot was an exhibition held in the Crypt within St Paul's Church, Bristol. As an artist led event, my roles included co creation and documentation of the work entitled SINUSOIDAL POSITIONING, social media marketing for the event and documentation of the entire event which is featured in video.
A video teaser was co-created with Charles Gershom and was used on social networking platforms to promote the event
Collaboration with Charles Gershom
Inspired by the biomechanical systems of hearing and architectural navigation, ‘Sinusoidal Positioning’ is a site specific sound installation drawing on the themes of audience location, that are explored within the exhibition, Sweet Spot. Using a collection of placed sine wave generators to synthesize a location of shaped sound that invites the audience to experience audio and spatial coalescence. Sounds are selected through a process of acoustical engineering to generate audio within a specific frequency range that uses the interaural time differences in hearing to enable intuitive navigation in space.
Corexit 9527 is an animation based in a post post apocalyptic future where all life is fused with the machine with the exception of the humble shrimp. It’s the tale of consumption as our shrimp is taken from the deep sea, processed for energy and then used to obtain more shrimp. In this lifeless future we are reminded of the empty endless hunger that endlessly fuels endlessness.
The soundtrack was supplied by Host Operator.
Collaboration with James Griffiths
The Boat is a sound installation that deals with romantic notions of the past, independence and the ability to provide through an achievable set of skills. The ability to achieve mobility on water, the self-reliance gained from sourcing food through the act of fishing, are recreated to explore in the present what is from the past. Locating and then salvaging parts of lost and abandoned boats from site specific locations allows the build to be created with authentic objects. The authenticity of the object becomes the base of work, manufacturing an history, a personalized story that builds on the object and location of that found object. Rebuilding and adding to the boat further strengthens its newly constructed past. Found sound included “A Treatise of Fishing with an Angle”; part 1, from the Book of St. Albans, 1496, narrated by Dame Juliana Berners, 2006. “A treatise of fishing with an Angle”; part 1 was reworked into two parts.
String is a hybrid motion graphic and animation hand drawn on A4 paper using black ink. The images where scanned and arranged on editing software to give them the sensation of motion, adding blurs and fades. As the progressive complexity of the images grow and merge so does the sense of chaos, of disorder. The work finally evolves to an abstract collapse on itself, but in doing so can return to its original form highlighting the circular fate of unrestrained resource consumption.
Collaborations with Charles Gershom and Dr Shalako
Until the loops of quantum objects are thread into the fabric of the universe and gravity becomes the vehicle in which traversing the parallel dimensions we are at risk. Risk of being unable to radically re conceptualize the state of sound.
Formed in 2013, Gravity Risk members includes Dr. Shalako (Argentina), Charles Gershom (Wales) and Reverend Tate (Canada). Recorded individual tracks were sent back and forth, like messages in a bottle sent from one cyber island to the other, to be layered and reworked over 13 months. The generated audio reflects their interest in noise, drone, sampled sounds, hacked devices, circuit bending and electronic music.