78rpms, popular music, hungarian, greek, Caribbean, american, british, arabic, jewish, calypso, jazz, soundtrack, country, ballad, rembetika, blues, childrens’

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dusty, unclean, dirty, unmixed, unmastered, surface noise, decay, reactivation

original shellac discs
collected Jafo, Tel-Aviv, Israel. Autumn 2010

by sainsŵn and 612 D.J’s

for Mathilda

Motion in Place Platform: Project Website

The Motion in Place Platform brings together a cross-disciplinary group to develop new technologies allowing researchers to move out of the studio,to map and measure the human experience and response when moving through places.

The MiPP team uses motion capture (mocap) systems to record different forms of movement data on site. A first system developed in collaboration with Brighton-based motion-capture company Animazoo, adapted their IGS-190m, currently the most advanced inertial motion capture system on the market, for use outside a studio. Using gyroscopic sensors attached to flexible suits, this system allows the collection of high-resolution, full-body data from two people in a fixed area over limited time periods, recording, for example, the movements needed to collect water from a well.


following Takahiko Iimura, Observer/Observed/Observer, chapter Camera 1/2 – Monitor 1/2

Exhibition at Quare Gallery, London.
Curated by: Marialaura Ghidini



Year: 2010
Location: Quare Gallery, London
Worktype: Sound Installation
Materials: found speakers, 5.1 amplifier, squalor, dirt, voices, granulation, resonance, darkness.

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Live performance commission based around the concept of ‘source-code’ which became an econo sound installation exploring some of the theoretical writing about sound proposed by Salomé Voegelin in her Listening to Noise and Silence: toward a Philosophy of Sound Arts, Continuum Press, NY, ISBN: 9781441162076

Exhibition documentation including video piece “Observer-Observing (Ears, Eyes, Ears & Mouth)” (2010) following Takahiko Iimura, Observer/Observed/Observer, chapter Camera 1/2 – Monitor 1/2

Quare Gallery, London
http://www.or-bits.com/

the context
a view of the water’s surface as the membrane of a primitive conciousness
the body of water begins with relative stillness
organic materials decomposing
the sound of rain from high above
wind creating ripples and waves
the seasonal freezing and melting of the water – transformations from liquid to solid and back again
life, as yet is unknown in this environment
the volume of water increases and decreases related to icemelt, daily evaporation, and flow into and out of the pond

narrative one
a primitive lifeform struggles into exisitence, spasms into beingness, twitches, pulsates in irregular, unregulated beingness
it begins to increase in complexity,though remaining highly simplified. neural links connect matter, and unanimated matter, becomes imbued with life. a cellular lifeform comes into being.

narrative two
on the other side of the pond, a similar process occurs, but an all together different life form is generated. it slowly becomes self-aware

narrative three
lifeform 1 in coming into existence, betrays its location to lifeform 2. how does it react? does it attempt to conceal itself? does it attempt to communicate? does it attempt a violent confrontation? which is hunter. which is prey? lifeform 2 must also react? co-modulation of behaviours. co-evolution. in this way a neural connection between seemingly distinct entities contribute to the emergent conciousness of the pond as a whole.
narrative four
following the resolution of the issues outlined in narrative three, a further life-form comes into being. more complex. the next generation of life in the pond. how does its apperance affect lifeforms 1 and 2? how does it change their relationship?

narrative five
a contextual cataclysm – a flood / a drought. all life comes to an end.

Inspired and dedicated to David Dunn.

Torture Garden

Modus Arts is a creative platform exploring the intersection between sound space and body space. We are structured as a soft edged network comprised of a core team of artists and associated artists, technicians and administrators, producing a range of installations, performances and theoretical writeups.

modusarts.org

http://www.scrapclub.co.uk/

Member of Adachi’s Group at “Speaking Out” Symposium. Tate Modern, South Bank, London

This symposium focused on the use of the spoken word in artistic practice and its manifestations in sonic and audiovisual art works. Taking the lead from the recently published anthology of works Playing with Words: The Spoken Word in Artistic Practice, this event encompasses performances, talks and conversations by artists and researchers who employ spoken words as their material and inspiration.

Contributors included Adachi, Caroline Bergvall, Dani Gal, Brandon LaBelle, Cathy Lane, Oswaldo Macià, Nye Parry, Inua ‘Phaze’ Ellams, Imogen Stidworthy, David Toop and Trevor Wishart.

Organised by CRiSAP

http://www.adachitomomi.com/

http://www.tate.org.uk/modern/eventseducation/symposia/20795.htm