Tracing the fugacity of the wind through text and a live sound installation, my recent work investigates the relationship between the atmosphere and sensation.
Exploring the relationship between sound, text and the concrete, my practice attempts to relocate sensation and materiality within present regimes of abstraction, both financial and digital. And by drawing on the conceptual foundations of ‘Musique Concrète’, the literary works of Samuel Beckett, and the theoretical insights of Franco ‘Bifo’ Berardi, I seek to harness the entanglements of the virtual and the actual, poetry and code, and the ineffable and the letter to shape my work.
My recent project examines the fugacity of wind and sound, alongside the rematerialization of bodies and media through a contact mic recording of a wind turbine and its manipulation using live weather data in Max MSP, with a proposed material ‘support’ interacting with the sound and the aleatory rhythms of the live piece. These interactions between the programme and the physical ‘support’ – inspired by the notion of ‘in vitro’ – would, in turn, perform oscillations between various contradictory states: loss and resurrection, assembly and disassembly, corpse and oblivion.
A live recording of the audio manipulated by live weather data can be accessed via the link to Soundcloud (the piece is titled 'Roch Winds').
'Innervation of the Platysma'
A poem designed to transmit the sensation of trapped wind through a combination of words and sounds.
Intensive Formations #1-#3
A series of collages using the original planning proposal document for the wind turbine containing the embryonic material for a proposed sound installation.
Note: as the structure of the sound installation would’ve been largely improvised, with some deliberately sourced or built components (i.e. the glass chambers), this sketch is very vague and speculative.