Just click on the pictures below to find out more about each project.

Day x: 18.12.12

Thanks to all who came to the performance in November and left their most interesting comments, from suggestion of extending the performance to a planetarium to creating live drawings with a data glove. I am working on it! For now I have made some documentation videos of the project. No 1 is a video using a stereo room audio recording from the live 4-channel performance, No 2 is a stereo version from a practice session earlier that week.

No 1. Performance 18. November 2012

No 2. Practice session November 2012

There also are a few photos available on facebook. For those of you without access, here is a small selection, with thanks to Kevin Hewick and Helen Frosi:

Day seven: 18.11.12

12noon: Today I won’t be chatting much. It’s the last day at SoundFjord and people are due at 3pm to hear/see what I have been up to. It’s a lovely, sunny day

Day six: 17.11.12

11am: I keep coming back to Kandinsky, who, “suffering” from synaesthesia, embodied the connection of sound and vision. In a review of his Tate Modern exhibition in 2006 the Telegraph called him “The man who heard his paintbox hiss”, and black is the silence of the body after death. Drawing, for him, begins with a point, which is invisible, incorporeal and therefore silent (which must be, I figure, a silence that is not linked to death but to the body before birth…). Interesting for me is that Kandinsky then connects drawing to the voice, through speech (Wassily Kandinsky [1979]. Point and Line to Plane, Dover Fine Art). I don’t have synaesthesia, but I do “see” compositions as a basic grid like spaces (I might have watched Tron too may times when younger….), with sound unfolding in 3D – not unlike these films it occurs to me. So, very basically speaking, pop music for example operates on the “front” plane, with not much happening in the regions lying further back, and much of experimental music operates on a place that is tipped backwards, so all activity is further “back”. Has implications on aural expectations I guess.

Also, the Guggenheim museum has a nice online collection of his work  online at http://www.guggenheim.org .

2pm: It’s actually bloody difficult to do this live, as I keep getting pulled into Max, rather than responding to images. I guess, the “film” had an exploring phase (drawing), and an edit phase (slides), which on the sound side of things I am trying to role into one, and in response to something else… I have tried various approaches – from no voice processing to lots of processing – all of which need a bit of time to develop and don’t easily fit into a prescribed length. Further things to do, playing with formats:

• make an installation, which has the advantage of editing;
• as a 5.1 film, dito;
• both formats could work as a trilogy with edits from the 2nd,3rd and a future version in which I would like to explore the earlier animation idea-  this would explores different aspects of the idea;
• as another performance, this time with eye tracking!

Day five: 16.11.12

1pm: It’s a late start today, so instead of boring you with my own words, let me point you towards far superior writing. The links direct you to online versions to have a look at:

• Voice: Vocal Aesthetics in Digital Arts and Media
• A History of Singing
• The Study of Ethnomusicology: Twenty-nine Issues and Concepts
• For More Than One Voice: Toward a Philosophy of Vocal Expression
• A Voice and Nothing More
• Listening and Voice: Phenomenologies of Sound
• Dumbstruck – A Cultural History of Ventriloquism

5pm: Whilst my laptop is busy rendering, I have checked on a bit of information spied in today’s Metro, relating to improvisation and creativity, which I unearthed at  scientificamerican.com. They “…think that the creative process may be divided into two phases. … The first is the spontaneous improvisatory phase. In this phase you can generate novel ideas. We think there is a second phase, some kind of creative processing [in] revision”. This is not exactly news to me, as along with many others, this is how we work: First a recorded improvisation, second the editing or fiddling about. Honest, I am not making it up.

Day four: 15.11.12

10am: Last night, over a glass of wine and an Indian takeaway, I thought a bit more about how the last few days. Seems I am getting fascinated by the drawing side of things, always an easy thing to do when incorporating new aspects into practice – discovering new worlds! Not always advisable though. However, it confirmed that this residency is not so much about a finished piece of work, but getting to grips with an idea, a recurring theme in my practice. Thanks, Helen, for creating the opportunity!

Anyway, the theme is as follows: For many years I have been puzzled why one “arm” of work – photography/images making – has been in a completely different world as the other, sound-making/music. It’s almost like there are two different people, Iris the visual mark-maker and Iris the sound maker. Obviously that is not the case, so, what connects this activity of drawing with that of using voice? Where do the two meet? The original idea of using eye tracking as a connected, whilst technically intriguing, seems a bit of a cop-out at this point, abdicating responsibility for the process. It seems I have to look a bit more into voice again: ” In reality … the voice lies at the heard of what it is to be human” (Anne Karpf  [2006]. The Human Voice: The Story of a Remarkable Talent. London: Bloomsbury. p.3). And so perhaps the link is digital culture meets human expression???

Part of this connection, is also about how the piece works as a piece, and with that I am putting myself in the shoes of an audience. And whilst I am making it it’s an audience of one, myself. So now I need to triangulate: Iris the mark-maker, Iris the sound-maker, Iris the audience. But of of course neither of these 3 “individuals” is separate or unique entity, she shares concerns, tastes, habits with many others in the word, in her culture, in her cultural niche..

So, I have decided to do a little concert on Sunday too.

Day three: 14.11.12

10.30am: I am beginning the day looking for a good dentist – I have lost a crown last night. On a more interesting note, what is the attraction – at least for me – of working with basic tools? For creating the slideshows I am currently using iPhoto and I also open use Audacity as a wave editor. Perhaps it’s the focus this allows, preventing my dyslexic mind from following too many side-avenues. Anyway, I must find out more about visual patterns throughout the world, and aboriginal links between images and songs as maps. Also, found this interesting blog on permaculture and patterns: http://permaculturetokyo.blogspot.co.uk/2006/05/patterns-language-of-nature.html. And below are a few cave paintings that look relevant.

But now to making sounds.

4.30pm: Having said goodbye to my first visitors the afternoon progresses. Video is projected on the big screen and I am trying to respond to it in sound. Sounds easier than it actually is as I also have to keep track of what my laptop is doing with my voice. For that reason I am keeping it simple and using no processing on the voice, just a few loops picked out here and there. In keeping with earlier musings on limitations and restrictions there is no reverb or indeed any other pretty-fying VST. What’s puzzling: How to zoom into voice sounds? And why do I find such parallel applications image-sound at all interesting? I think tomorrow I need to go back to original thoughts and notes as to what I am after with this project. For now, here is an extract of today’s sound explorations: 

Day two: 13.11.12

4pm: You just never know which way things go. Having spent the morning at my place to do some scanning – yesterday’s attempts didn’t quite work out – I end up zooming into the pictures rather than animating them. Why? Primarily just to get something going before looking at new software. Goes to show that too much planning and thinking ain’t worth the time. Or was that needed to get to this point??? We will never know… However, I am rather liking the way traces within traces are revealed, and might continue with that theme. It feels like entering the world inside markings made with a pen, morphed into a digital trace and looking like a amoeba/Tron-grid hybrid come Hubble universe view. Yum!

6.30pm: Below are some image sequences, tomorrow I will begin responding to them with sound. I am beginning to wonder how an amoeba/Tron-grid hybrid come Hubble universe view might sound like, although a literal sonic “illustration” of such scenes is not what I had in mind originally. But, I didn’t think the previous versions really gelled, it worked in places but not coherently. So however divergent from initial ideas, this is a practical way trying to figure how an image/sound – sound/image connection might work for me. I guess these zooms present an attempt to approximate movement as a gelling agent, without losing the link with still images. We’ll see. For now I am off to see some friends play at Horse now, and as I am performing with some of them at Utrophia on December 1st this should be doubly inspiring!

Day one: 12.11.12

11am. I’ve begun the day in true bag-lady style, laden with the usual complement of gadgets to see me through a week. Not fun to lag all that across London on public transport during rush-hour! And rushing people do…

Yesterday’s sun has been replaced by greyness and I require gallons of Longjing tea to get me going- worth it’s weight in gold that stuff! Grand plan for today: go over the previous versions and take it from there; scan in some of the new images too most likely. More later.

2pm: First decisions of the day:

• Images could do with some grouping/merging together before a black-out.
• I want to try some very minimal animation on at least some of the images. Moving lines, twitching eyebrows, that sort of thing. Ah, new things to learn! Found this free 2D software that might do the trick: Pencil.

Day zero: 11.11.12

2pm: Getting ready for tomorrow I venture outside, to Surrey Docks Farm, for some last minute ruminations on things to come, butternut squash tart and a coffee. It is a welcome interruption from re-designing my studio come office space and sourcing the right height white bookcases. At 2pm the sun is already low in the sky, streaming into the busy cafe space in a most attractive fashion.

I have a couple of books with me to help get into the mood and overcoming the usual blank-canvas hurdle: Sound, edited by Caleb Kelly, and Lines: A Brief History by Tim Ingold. The latter —sadly, as I like Ingold’s writing a lot— is less useful than anticipated, whilst the former catches my attention with a conversation between Michael Snow and Christian Marclay (ironically, being dyslexic, I spot a spelling mistake on the content page, where the good man is renamed into Marclary as I later discover…).

Anyway, the conversation touches on knowledge versus ignorance/innocence, a theme that has been drifting through my mind for a while now. Spending my teenage years around Hannover in Germany, where punk was still tremendously active (on my last visit I still spotted a tartan-bottomed, black-topped couple with dog in the pedestrianised area) I always felt that there was a point to lazyness and ignorance that is usually ignored. Not that I can tell you exactly what that point is, but it is to do with freshness and directness, and keeping open a pathway to that space inside that does not get infiltrated by cultural conditioning. Saying that, the brain gets bored, and so knowledge has its own fascination.

But back to the blank canvas. Strictly speaking Traces in/of/with Sound is not even that. This residency covers the development of its 4th incarnation. Nevertheless, a big question is still unresolved, which, incidentally, also figured at an interview with Robin Rimbaud on Friday: How to really get at this information I am after, this nebulous thing called process, and how do I document it? For this reason I am opting for this navel gazing journal/blog, wouldn’t want to miss anything….

On 21st November I will be co-hosting a rare Sprawl event at Cafe Oto with Adam Bohman, Jasmina Maschina and Material Studies. Click here for more.  Between 12-18 November: residency at Soundfjord as part of the research projects series “Sequence Series: Turn, Move, Change”. More details tbc.

August 2012

On 6th October I will be performing with Scanner at the Liverpool Biennial , as part of Electronic Voice Phenomena  curated by Mercy. Venue is the HiFi, (formerly binanary cell) Seel Street, Liverpool. Click here for more information.

The following month, on 22nd November I will be playing at Phoenix Brighton, as part of Aural Detritus. Click here for more.

July 12

Change of date: The discussion between myself  and participants in over ride at  V22 Summer club in Bermondsey, originally scheduled for Saturday 13th July, has been moved to Thursday 26th July, 7-8pm. This will be streamed live via the project’s radio radeq. If you would like to take part, please contact me.

Two days after, Saturday July 28th from 2.30 - 6pm, I will be giving a workshop about improvising with wood, also at V22 Summer club. For more information and tickets ( £5/£4) click here.

May 2012

On Wednesday 7th June I will present a paper on my project over ride at the  Sound Sight Space Play symposium in Leicester, UK.

The following month, on Saturday 13th July at 6pm, you can catch a discussion between myself  and participants in over ride at  V22 Summer club in Bermondsey. This will be streamed live via the project’s radio radeq. If you would like to take part, please contact me.

April 2012

On May 8th I will be performing an 8-channel version of my new audio-visual project Traces in/of/with Soundat  City Lights: Transonic Transformations, City University, Performance Space, St John Street, London EC1V 4PB. Also performing are Cathy Lane, Viv Corringham and more. Find the details here

On May 17h will give a paper at SOUND::GENDER::FEMINISM::ACTIVISM at LCC , entitled  Escaping gender through technology: Sonic freedom and the machine.

Feb 2012

I will be playing live at the Performance Space in Hackney Wick as part of the Dismantled Cabaret on Saturday the 17th of March. More onfacebook.

Jan 2012

On Feb 6th, 5.45-6.45pm I will be giving a talk about my project over ride at the Sonic Art Research Unit listening group at Brookes University, Oxford.

Dec 2011

Here is a review of  Simon Whetham And Friends – Meditations on Light  on igloomag.com, which I have a piece on.

An abridged version of Room With a View will feature in Ex-trauma, an e-book part of the Experiments and Intensities series published by Winchester University Press, which is curated by  Annette Arlander, Yvon Bonenfant and Mary Agnes Covey-Krell. Not sure when the publication date is.

Also, I have uploaded is some critical writing on my work by Brandon LaBelle.  

Nov 2011

I have finally managed to put my interview by composer Peter McKerrow online. It was broadcast on Resonance FMback in May, the 30th at 8pm to be precise. Here you go:  Resonance interview.

In this respect it has been of interest to see how the work emerged in pairs, or as a series, calibrating ideas against and with each other. Work in progress…

Iris Garrelfs performs live, often using her voice as raw material, which she transmutes into machine noises, choral works or “granules of electroacoustic babble and glitch, generating animated dialogues between innate human expressiveness and the overt artifice of digital processing” as the Wire Magazine put it. However, some performances use other sounds, just click on the pics below to find out more.

For upcoming live dates check here.

Iris Garrelfs at Cafe Oto, Aug 2011

Described as the ‘Diamanda Galas of Glitch’, Iris Garrelfs’ training into creating through voice began very early on. Her parents sang in the village choir, and would often practice at home with Iris making up new melodies, 2nd and 3rd voices to whatever was being sung.

She got into the attractions of technology as a teenager, stumbling across her dad’s pulp si-fi magazines. Iris is still waiting for an implant that will siphon off her sonic nerve impulses, fragments of melody, rhythm and correlation floating around in her body and brain.

A vital part of her work, be it using voice or other sound material, is improvisation and the use of random elements, the ephemeral fragility and risk implied in giving up control to the moment, a sonic singularity.

Of equal interest is spatial experience, a sense of sound objects let loose, sound unbound.

Iris performs solo as well as in collaboration with other artists, for example Thomas Koner, Robert Lippok (To Rococo Rot), Kaffe Matthews, Scanner, Si-cut.db and others. She also play with the improvising group Symbiosis Orchestra.

A few examples:

1. Live at Cafe Oto 2011, by  Gianmarco Del Re:

2. Live at the Liverpool Biennial 2012:

To read full CV click here

[Show as slideshow]

1. In a day’s work: Two sound walks with a twist 

In a day’s work consists of two complementary situated experiences, two photographic slideshows to be experienced in two situations with the help of a mobile phone. Participants are asked to listen to the sonic environment of one place, whilst watching images of another. In this exploration of situated sound it relates to sound walks. 

2. over ride: An experiment to interrupt the sensual interaction in audio visual relationships

over ride is a series of two experimental works for mobile phone designed to investigate creative ways in which the experience of audio visual relationships may be interrupted in order to facilitate a more considered encounter with the senses.

3. Traces in/of/with sounds: a series of live audio -visual performances 

Traces in/of/with sounds is a live performance series exploring improvised and processed voice and drawing.

4. Spoken Song – Draft

Spoken Songs is a new project. I have included this as a base for discussion.

version1. Spoken Songs.

Consider this:

   A spiral staircase
   leads up
   leads down.
   A bridge between directions,
   one follows gravity,
   the other opposes
   in elegant curves.

You may well think: Ah, a poem, how nice (or not, depending). What if I tell you, this is a song, a spoken song? What happens, what changes?

Firstly, you may wonder, before I can answer this question, there is something else I need to know: what is the relationship between a song and spoken word, between singing and speaking, if any? And how do I know how to sing this song, is there a melody, a rhythm? And if yes, where is it? And what do I do with the meaning?

There is of course a perspective where I would answer: Oh, you don’t need me to tell you, it’s all in the hand of the audience, just go and try!

Which you might do, now. Here is another:

   The moon
   it’s this cheesy O
   that no man has sat in
   for a while now.
   It casts a faint echo on the double glazing.

   The moon
   moves incredibly fast,
   almost hiding now behind the curtain.
   It casts a slanted shadow
   onto the opposite wall.

   At this speed it’s surprising
  someone should have been on it all all.

Once you’ve done that, you might want to explore the questions mentioned above. Take on my perspective for a while. So here we go with that:

Points to consider:

• Melody and rhythm in speech
• Sound poetry
• word score
• how does this fit with my work?

Traces in/of/with sound is part of my AHRC funded PhD research into the creative process in sound art and a series of research periods investigating the relationship between drawings and sound. The initial idea for Traces in/of/with sound lives somewhat in the land of visual music and my interest in the influence that the relationship between sound and image has on the music that is produced.

In the liner notes to Folio and 4 Systems Earle Brown (2006) talks about the connection of still images made active and temporal through movement of the eye along them and earlier in the 20th century Paul Klee transferred this principle into much of his paintings. In this vein I have been looking towards motion as one connecting device, a principle also outlined by Niall Moody (2009). Traces in/of/with sound follows on from the previous explorations into the principle through my mobile phone project over ride, for example [1].

The National Film Board of Canada documentary The animator as musician: documentary, part of Norman McLaren, The Master’s Edition(Barbeau, 2005), talks about the work of one of the early exponents of visual music, in which I found the above stills. They reminded me of some of my drawings, and I found the connection with music established by Norman McLaren intriguing (Like Browne, McLaren used graphic materials to explain musical forms). Furthermore, in his book Lines: A Brief History, Tim Ingold (2007) draws attention to archetypal origins of such engagements with lines. This very much chimed with my interest in creating in a synthesis between raw humanity if you will and technology, usually expressed in my live voice / processing work[2]. These two inspirations provided the initial impetus for the work: line drawings and improvised voice.

Initially I have been working with a film of fixed drawings and voice, and to date there have been three periods of engagement, each moving on and developing the project, and resulting in a live performance of Traces in/of/with sound. Each of these live performance in turn engendered a film, and documentation is available below. In addition to notions of movement, other research ideas concern conceptual matters, such as frames in sight and sound, and with it related experiential aspects such as multi-screen-speaker connections, but also notions of size across the senses.

So far the project has seen four instalments (see below), and version five will be presented at  at the Aural Detritus Festival at the  Phoenix Brighton. More details to come shortly.

Version 1: Muse

venue: bar in West London
date: spring 2010
film: version 1
sound system: basic, stereo
recorded: stereo feed from desk
projections: behind me, 1 screen

Description of the situation:

This performance took place as part of a music night at Muse in West London. There were approximately 20 people in the audience. I had prepared coloured papers on which people could set out feedback. This however did not give useful results as answers referred to music only. Questions were not set up clearly enough.

When preparing images for the film I realised that they had to be inverted, showing a black background, as a white one would be far too bright. The film therefore was in black and white, supplied on DVD.

The screen was behind me, this meant I did not respond to the film in my music making and the audience created relationships out of random occurrences.

Version 2: Performance Space

venue: Performance Space in Hackney, London as part of Dismantled Cabaret
film: version 2
sound system: mono, bass amp (don’t ask…)
recorded:
projections: to the left of me at 45 degree angle, on white washed wall

Description of the situation:

This performance took place nearly two years after the initial one. I had made the film longer by adding  more images. I had also realised that white images on a black background is rather hard on the eye – an understanding arising from finding out that I am dyslexic. I therefore changed white outlines to a sepia tone, which also added some depth to the images.

On arriving at the venue I find that the PA system was broken and could not be replaced in time. I agreed to perform with a guitar amp only, however what I played through at the end was an Orange bass amp. In mono. At the beginning of the performance the settings had been changed, resulting in a strong feedback which I had to resolve before continuing whilst the film continued. This had two implications: Firstly the music starts later than the film and the record below is short and also sets in somewhat abruptly. I also found it difficult to switch form ‘techmode’ into performance mode.

However, the projections looked great on the whitewashed walls, creating a sense of cave painting.

Questions from the audience afterwards related to my interaction with the images, how I had responded to them.

Version 3: City University

venue: performance space at City University as part of City Lights: Transonic Transformations: Chips, Blossom and Hopscotch
film: version 2
sound system: 8- channel
projections: 2 screens in front of me

My Reflections:

The spatialisation worked very well in this space (sketch to come). I realised that this way of thinking about live distribution of sound as a kind of  ’fragmented counterpoint’ began developing with my installation Parallel Textures. Individual sounds hurtling through space, plus a central sweep for those more connected lines. For the images I ended up using 2 projectors and screens, primarily for technical reasons as the central projector was very noisy. I felt this was an interesting arrangement and could be developed, for example, by using even more projectors and screens, with images fading in and out in a similar way to the sound. Perhaps at some point, as I become used to the images,  I also need to find ways to surprise myself in order to create a fresh response and evaluate the difference. However, for the moment I am still finding it peculiar to respond to images at the same time as creating a piece of music, which derives from feeling responsible for the audience’s pleasure, therefore focusing more on the sound rather than allowing a free flow of associations to occur.

Audience comments:

• great drawings ( some people were unsure who made them)
• some were concentrating on the sound more than the images
• some experienced a narrative
• some felt an introspective, ‘meditative’ quality
• some structured sections: faces, animals, abstractions
• some noted a tension between static images, framed by the screen, and the much freer movement of sound
• one person suggested I sit on stage as he was not aware I was performing live
• some experienced enjoyable surprise where the sounds were coming from

The “film”:

Whilst this is a stereo recording it needs to be remembered that sounds were distributed in space. In compositional terms, musical movement that is expected to emerge from a melodic line for example,  my come from actual movement through space.

Version 4: SoundFjord

This version took place as part of  a residency at SoundFjord in November 2013. Check the residency blog  for the details, including documentation of the performance.

References:

to come

Anyone remember the Be Open Sound Portal created by Arup launched at last year’s London Design Festival in Trafalgar square? This year the portal is migrating to Chelsea as part of a University of the Arts London project, and LCC is putting together a 80 min programme around the theme Sound, Place, Memory with three student compositions and two artist compositions. I am delighted to say that I am creating one of the former and currently selecting a number of collaborators for the venture. More soon.

April 2013

Just back from a fab few days at Open Provocation in Cornwall, and with the pictures to prove it too. See them here. Great weather, great people, great music!

(picture of me performing by Alexander Wendt. Thanks!) 

March 2013

On April 18th I’ll be playing at Open Provocation, a festival taking place in Polruan, Cornwall between the 17th-20th April. There is a fab double CD for sale to help fund the event, which contains exclusive material from the likes of Lee Patterson, Robert Curgenven, myself and many others, costing just £10! For more information, check recordedfields.net/festival.

My piece override will be part of Camberwell Arts Festival, happening from 15 – 23 June 2013. Over the same weekend I will be talking about and performing Traces in/of/with sound at the Aural Detritus Festival at the  Phoenix Brighton. More on both shortly.

February 2013

A little while ago I was invited by Mexican composer Israel Martínez to contribute to his brilliant project  In Memoriam alongside other artists such Francisco López, Murcof, Janek Schaefer, Philippe Petit, Simon Whetham and many more interesting folk. The piece is based on Israel’s experience strolling throughout the eccentric cemetery Jardines del Humaya in Culiacan (Mexico), capturing shocking messages that relatives and friends leave to their dead printed on canvas. You can now download this for free via http://www.suplex.mx.

January 2013

An excerpt of my piece Room With A View has been published as part of  Ex-trauma, part of the Experiments and Intensities series published by Winchester University Press, which is curated by Annette Arlander, Yvon Bonenfant and Mary Agnes Covey-Krell. Find out more here.

I have just spotted a nicely mayhem-video from my recent performance at the Liverpool Biennial. The sound is a bit abysmal as it’s directly from the camera, but, it’s fun:

There are also some images from the recent Utrophia concert with Tom Scott, Jonas Gustafsson, Adam Bohman, Zolan Quobble, Sara Ragab, Michael Shaw and David Aylward on flickr. Pictures from the Aural Detritus concert in Brighton can be found on my facebook page and way nicer ones on that of Andrea Shambolic.

December 2012

On 14 December: My recorded piano piece November Song will be played at 60×60, PianoForte Foundation in the Fine Arts Building on Michigan Avenue,  Chicago, USA from 6-7pm. Find out more here.

Also, I have lent my voice and German language skills to this lovely project by Italian artist and composer Andrea Gabriele. Find out more here. And I have added some videos from the recent SoundFjord residency to the residency blog. Some images are on facebook, courtesy of Nellie LeFey 

November 2012

On 1st  December I will be playing an improvised collaboration with David Aylward, Tom Scott, Adam Bohman and more  at Utrophia Project Space in 120 Deptford High Street, LondonSE8 4NS. Very much looking forward to this too, as it’s a short walk from my house and our previous collaborations with David and Tom were very good fun!

October 2012

On 21st November I will be co-hosting a rare Sprawl event at Cafe Oto with Adam Bohman, Jasmina Maschina and Material Studies. Click here for more.

Between12-18 November: residency at Soundfjord as part of the research projects series “Sequence Series: Turn, Move, Change”. Come and visit me Sunday 18th from 4-6pm where I will perform the work in progress! More information is here.

August 2012

On 6th October I will be performing with Scanner at the Liverpool Biennial , as part of Electronic Voice Phenomena  curated by Mercy. Venue is the HiFi, (formerly binanary cell) Seel Street, Liverpool. Click here for more information.

The following month, on 22nd November I will be playing at Phoenix Brighton, as part of Aural Detritus. Click here for more.

July 12

Change of date: The discussion between myself  and participants in over ride at  V22 Summer club in Bermondsey, originally scheduled for Saturday 13th July, has been moved to Thursday 26th July, 7-8pm. This will be streamed live via the project’s radio radeq. If you would like to take part, please contact me.

Two days after, Saturday July 28th from 2.30 - 6pm, I will be giving a workshop about improvising with wood, also at V22 Summer club. For more information and tickets ( £5/£4) click here.

May 2012

On Wednesday 7th June I will present a paper on my project over ride at the  Sound Sight Space Play symposium in Leicester, UK.

The following month, on Saturday 13th July at 6pm, you can catch a discussion between myself  and participants in over ride at  V22 Summer club in Bermondsey. This will be streamed live via the project’s radio radeq. If you would like to take part, please contact me.

April 2012

On May 8th I will be performing an 8-channel version of my new audio-visual project Traces in/of/with Sound at  City Lights: Transonic Transformations, City University, Performance Space, St John Street, London EC1V 4PB. Also performing are Cathy Lane, Viv Corringham and more. Find the details here

On May 17h will give a paper at SOUND::GENDER::FEMINISM::ACTIVISM at LCC , entitled  Escaping gender through technology: Sonic freedom and the machine.

Feb 2012

I will be playing live at the Performance Spacein Hackney Wick as part of the Dismantled Cabaret on Saturday the 17th of March. More on facebook.

Jan 2012

On Feb 6th, 5.45-6.45pm I will be giving a talk about my project over ride at the Sonic Art Research Unit listening group at Brookes University, Oxford.