Occasional Solo Outings | Solo Expanded Guitar | Acoustic | Electric | Electronic |

| Heroes | Antiheros | Zeros |
john fahey, robert johnson, christian fennesz, godspeed you black emporer, animal collective, ry cooder , woody guthrie, leadbelly, richard thompson, nick drake, skip spence, 6 organs of admittance, sunburned hand of the man, boris, sunn o)), pauline oliveros, hidegarde westekamp, halim el dabh, nas al ghiwane, yellow swans, lee ranaldo, glenn branca, django reinhardt, scott joplin, sir richard bishop, james blackshaw, bert jansch, tom rush, karen dalton, explosions in the sky, lemchaheb, jil jilala, low, modest mouse, blind lemon jefferson, mississippi john hurt, buster keaton, brothers quay, david lynch, jan svankmier, lumiere brothers, henry miller, ben okri, marquis de sade

Some Past Gigs

August 8th 2007 @ Songbird, Visions Bar, Dalston

August 18th 2007 @ Plac.Art.X, Regensburg, Germany

February 22nd 2008 @ Scaledown, Soho, London

Year:  2007-2009
Location: England
Worktype: Grimprovisation Duo
Materials:  noise, distortion, loops, voice, self devised instruments, radio, electric guitars, fx

Open Form Festival of Indeterminate Music
March 10th – 13th March 2007
Realisation of Cornelius Cardew’s ‘Treatise’ (page 47)
By Adam Asnan & J_Milo Taylor
London College of Communication

At the time of writing Treatise, Cardew was also exploring the possibilities outlined by free improvisation as typified by the group AMM who were in the process of moving towards ‘sound’ rather than ‘music’. This double articulation of Cardew’s practice, spontaneous improvisation embodied in real-time human interaction, coupled with a rejection of this in favor of notation has informed our approach to the work.

My vector into Treatise is situated in our practices as a sound artists, rather than improvising musicians, although we both improvise regularly as part of David Toop’s Laptop Orchestra. An early concept to transform the score into a map for ‘prepared’ guitar was quickly rejected but the concept of transformation was kept, and carried through to this current iteration of our response. While we were developing our work, it quickly became clear that Adam’s strategy was to be a highly formalized deconstruction of Cardew’s graphic score. It was less an interpretation, more of an extreme re-mapping of the possibilities imagined by the composer.

This in turn, prompted me towards a more direct intervention, into the work, my own practice and into reality. I re-imagined my role and decided to embark upon a process of de/re-constructing the score, and transforming it into a sculptural sound object; this object would be definitively derived from the score, limit my choices in performance, whilst facilitating these choices. Score as object, or score as instrument, a kind of physical embodiment of an originally abstract intention.

P-47 Misery Box: Sample 1

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P-47 Misery Box: Sample 2

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P-47 Misery Box: Sample 3

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P-47 Misery Box: Sample 4

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It is my feeling, that although respectful of Cardew’s intentions, we are also aware of our own situatedness, and the possibilities of articulating an alternative discourse removed from the rarefied ambience of the music academy. Our work, while a radical de/construction of the score, would, we hope, sit well with Cardew’s broader social and political aims.

The piece was presented in the Royal Academy of Music, Oslo in a workshop led by Christian Wolff.






This work of dedicated to the Cardew’s memory, with the hope he would have enjoyed our response and to Siri, Lena, Else and everyone who have been so welcoming to us during our time in Oslo. Takk.


Locations: Node.london Festival, E:vent Gallery. Shoreditch, Ev*a Fringe Festival, Limerick
Worktype: Circuit-bent puppetry performance
Info: with theatre designer/puppeteer Barbara Fuchs and artist/circuit bender Spax (Joel Cahen).


Year: 2003
Location: Germany
Worktype: Sound Installation / Performance
Materials: Mobile Webcam, space, location, found objects and people
Info: Factory Berlin

Between 2002-2004 I made a series of visits to an artist-run space in the old industrial area of Schöneweide, East Berlin where I presented a number of sound installations and performances. This short film documents some of the activity from that time.

Tief und weit / dunkel / kuehl / klar / heel und unbegrenzt / ist der indusrielle raum.

One of the largest areas of now abandoned industrial production and around Berlin can be found in Berlin-Schoneweide. It forms part of the European industrial cultural heritage. Beautiful monuments create the atmosphere of this part of Berlin. They bear witness to the former industries and determine to this day the lives of those who live there. Most of the warehouses and factories gleaming in yellow brick are situated alongside The River Spree. A road runs through their middle. The workers’ living quarters were erected on one side of this road, the sites for production in the other. When AEG/TRO and KWO closed down in 1996, about 25,000 men and women lost their jobs.”

Deep and wide / dark / cool / clear / bright and endless / is the industrial space.

Factory- Berlin

This local area and its current state
Vacant industrial sites
Position and articulate
Within the chosen concept
Recognised / realised / ignored / overcome / resolved
Diversity of the location
Immmerse
Paths of exploration
The enviroment that helped shape those works
He’s doing artificial things