Australian Sound Artist

Tuesday, December 6, 2011

PUNCTUM Inc Artist Callouts

I would like to spruike two opportunities that are currently accepting proposals and are facilitated by Punctum Inc.

Why these two?? I hear you ask...

-because as an artist who was fortunate to be guided towards these opportunities and experience them on a first hand basis I can safely say that I would strongly reccommend them for both established and emerging artists alike. 

- Details direct from PUNCTUM's site can be found by clicking on the link above so I won't rehash their own words. I will say that the work space provided through the sponsorship (Live Arts Incubator) was a highly effective way of ensuring productivity. The amount of work I was able to complete for the duration of the Seedpod was a substantial amount and directly related to the space, facilities and support provided not only by Punctum, but also by my work colleague, Jacques Soddell.
My own experiences of the Seedpod Sponsorship can be found on my blogg HERE

- Again, details for the above program can be found by clicking on the link.
Where this program differs from the traditional artists residency is in the fact that it adds into the equation, the value of cultural exchange. While other residencies may support this, In-habit takes an active approach in that this element is a necessity for their program to operate in the way that they have developed it to do so. 
My own experiences of the Inhabit international can be found on my blogg HERE

Monday, October 31, 2011

Letter's from Home: Travel Tips

I have made it back to Australia with gathered sounds intact. The oncoming months will be spent piecing together the works I initiated while at Noirlac - I am painfully aware of the fact that I am removed from Noirlac. If I discover I want a particular recording I can no longer walk out the door and into the environment I wish to record. I am separated from the space - and now - have to work in reflection of an experience rather than in the moment itself.

On another note - I wanted to post some general travel tips for other fellow sound artists. Small yet crucial details that I often wondered about and on speaking with others - could never find an answer to.

#1) Travel Insurance 
There was no way I was heading overseas without ensuring my recording gear was well and truly covered. Having spent years working below average jobs to put together my recording arsenal the thought of losing it in a single moment is enough to send me into foetal position. Standard travel insurance will not cover items above say $500 - $700 with the exception of a few specific items such as laptop, camera and phone. I managed to find a company who offered travel insurance for the entertainment industry - specialising in high-end production equipment. Action Insurance Brokers was their name. They weren't cheap by any means but they covered everything and anything I asked for - even making last minute changes over night with no problems at all. I found the most cost effective option was to take standard insurance (such as TID) to cover all my general gear and microphones under $700 (Laptop, camera, phone, leads, mic accessories etc), then all my high end equipment I insured with AIB.

#2) Packing: the eternal search for the perfect bag
Despite my insurance there are certain items I did not want leaving my side. Select microphones and my recording device were heading into the general luggage over my dead body - yet as you know - hand luggage is extremely limited and microphones need to be packed with care. 
Enter - the Crumpler Karachi Outpost. This badboy comes with detachable padded panels that you can pull out and change at will, as well as a laptop bag and side pockets. The image to the right is how the bag is on purchase, shots below are of how I packed my gear.


What you can't see is that under this top layer there was actually another layer of gear again, separated by the padded panels. Space was not a problem.... Weight however, was a concern. Return flight entailed frantically pulling items out of my hand luggage and shoving them into my general bag to appease an over zealous flight centre employee. Another plus is the fact that this bag only has one main zip for entry. This is positioned at the back of the bag, making it impossible for someone to access it when it's on your back. Team this with the fact that it's weather resistant, comfortable even at over 10kg and folds opens frontside down providing you with a portable work station and I was sold. Again, it was not cheap but seeing as my last bag managed to 'live' for 7 years - I think it's well worth it.

#3) Seeing the Countryside of France
:: Bike with boompole ::
- Can't say this would be viable for the wetter months of Europe but during the sunny season - highly reccommend it - particularly if you plan on heading to areas where a car cannot go (forests, private land). Bikes are a lot easier to hide under scrub and life over fences. They also allow you to listen to your environment as you travel whilst not polluting it with your own car engine. Nature is not frightened away and the locals are more lightly to greet you as you go sailing by. Team the above with my lantern, backpack carrying recording equipment and windjammer and I was prepared for anything, anywhere, anytime.

Thursday, October 6, 2011

ENSA - Bourges School of Art

:: Work space in Bourges ::

I have been lucky enough to be offered a work space in the town of Bourges (closest 'Large' city near le abbaye Noirlac). The unexpected offer came after meeting with Stèphane Dorè, Director of ENSA: Ecole Nationale Superieure d'Art de Bourges, and discussing the studies and mediums that the school offers it's students - in particular - it's sound department. I was excited by their interest in sound. The school has a detailed history dating back to the first resident artisans in Bourges, (the buildings alone are from the 17th Century) and is continuing it's strength of education within the arts into the present and future with a focus on practices such as sound, radio and new media arts. I noted that the sound department alone is growing annually with the number of increasing student work studios providing an obvious indicator. 

One room that made me smile was the, 'Listening Room', A modest space with a few worn chairs scattered around on carpeted floor. Speakers were in stereo and the room seemed a little more acoustically isolated. Stèphane explained to me that this room was where once a week, a lecturer would play sounds, students would listen and then the sounds would be discussed. These sounds could be anything - from what we would call music - to musique concrete - to soundscape - to field recordings - to muzak. No student is required to attend, it is purely there for their own enjoyment. It reminded me of my own earlier study days where my tutors exercised the same teaching methods (but we had to attend). I remember that some of those discussion sessions became incredibly intimate. I would say a number of us bared our soul just a little in those sterile classrooms under the protective blanket of sounds. I am still in awe of how sound can affect us without us even consciously recognising. I miss talking about it. 

It is a welcome change to work from Bourges, away from le abbaye Noirlac. I was nervous about leaving the site so close to my day of departure - think I experienced a mild separation anxiety. I quickly realised that distance is helping me to detach from the space and commence the post recording work with fewer distractive thoughts nevertheless, I am looking forward to getting back tomorrow and fine tuning my rough drafts.

If only I had a few more days in Bourges.... 
and a few more in Noirlac.... 
then a few more to say goodbye....

Sunday, October 2, 2011

Bringing it together....

:: 1st Surround recording in le abbaye Noirlac ::
This weekend is the only opportunity I have within the remaining time, to gather surround recordings at le abbaye Noirlac. Last night was my first attempt and tonight will be my last. I actually enjoy the fact that time is so limited as it means my work methods, ideas and process's have no room for 'whatif's' and 'maybe's'. I am working with what I feel are my absolutes and am not questioning my instincts. 

The planning and development of the concept behind this work has been the hardest process to rush (how can you rush thought, reflection, conscious and unconscious realisation?) The trick for myself has been to not think too much rather just do and then reflect on the creation or sound gathering afterwards (making the unconscious conscious).

Using these methods the final work I hope to present to Paul Fournier, Geneviève Hollemaert and Fabienne Taranne will consist of two installations that portray the world as viewed from within Noirlac. Both pieces will be site specific with the sounds mixed specifically for the selected spaces and utilizing systems that have been configured accordingly.  The first space would be the Refectory (where I have been working) and the second, would be the Cloister - a garden at the centre of the abbey.

Thoughts and discoveries that have led me to these developments include the realisation that both the abbey and the township of Bruere Allichamps exist and have existed in the past in their own pleasant individual worlds. The two are obviously connected (the abbey is actually within Bruere Allichamps boundaries) and yet they remain as two very separate entities living peacefully side by side in comfortable silence.

When I then look at the life that the monks of the abbey use to live, it too was one contained within a bubble. In keeping with their Cistercian beliefs, the monks were not allowed to leave the abbey's boundaries and despite their surroundings of dense wilderness - well worth an adventure - they remained within the confines each and everyday and night. And so - on this thought, I decided that the work that entailed bringing the 'Outside' within the walls of Noirlac, should also include the opposite - bringing the sounds of Noirlac to the 'Outside' (hence, two installations).

The first installation would be the 'Outside In' (sounds of the outside such as bird calls, wind, markets etc) to be installed within the abbey, in the refectory. The second would be  the 'In Within' (sounds from within the abbey Noirlac) to be installed still within the abbey, but, at it's Cloister (centre garden). I like the idea that inverting these sounds is creating a breathing space for each world, within it's opposite other - allowing their presence to be felt where it has been forbidden in the past.

To be cont'd

The Sounds of le abbaye Noirlac are available for you

- nearly forgot to mention

All my recordings that I have completed are available for you to download, listen to and comment on. 

You can access them HERE on the Freesound website.

Any comments would be most appreciated and please feel free to use the sounds for your own work providing you credit me where appropriate.


:: Recording Crickets along the Cher River between le abbaye Noirlac and Bruere Allichamps ::

Wednesday, September 28, 2011

Discovering Bruere Allichamps and workingworkingworking (9 days left)

:: One of the characterful houses of Bruere Allichamps ::
I've fallen in love with the houses of Bruere Allichamps. The above, is one of my favourites to date but there are so many more...... Majority (perhaps even all?) of the buildings within the town are of the same age. Some have been restored and/or maintained in their authenticity whereas others (like the one above) are yet to be tended to. The day I stumbled across this home the washing had just been done and an old radio was playing music not unlike Edith Piaf. From the street I could faintly hear a voice joining in for the chorus - was a little overcome with how perfect the world was then and there.

Fences and towering walls down alleyways bend and curve in towards you then out again seemingly defying physics and architecture by remaining standing and strong. Lamp posts are exactly that, and on route to the local bakery in the morning (two blocks) you will pass a number grandpa like figures in their day to day cap and well-worn shirt with a baguette or bannette under their arm. 

Sunday past was a great day. The town shutdown it's side roads and opened up as one big flea market (with a few food and carny stalls scattered around). I managed to gather a few sound recordings and was interested at peoples response. Some were understandably wary of me and would ask what I was doing. It was actually a perfect way to start conversations with others without feeling like you are imposing on their day. I had no negative response - most were happy to hear of my interest in the town and what I hope to use the sounds for. 

Night times are spent within the walls of le abbaye Noirlac. Light's are shut down at night so I bring in my own lantern and wander around in the dark a lot. The atmosphere is quite charged to say the least with bats keeping me company and following me as I move room to room. At this stage I have just begun introducing the field recordings to the refectory and listening. I plan to start tailoring the speaker configuration tonight to create a site specific system as well as begin working compositionally.

There is so little time.....

  :: Night time work in le abbaye Noirlac :: 

Saturday, September 24, 2011

Finding sounds and space

  :: Temporary sound studio at Noirlac ::

I have never had a studio quite like this to work in.... The space which has been assigned to me is the refectory - the sound in this space is quite unique in that the arched ceiling in twice the height of usual cistercian architecture. In the past, it was used for communal meals (in silence) and now, for a brief period I am able to work within it's bubble (not so silent). The space is incredibly live. One word echoes, bounces, reverberates and delays - to the point that I am reconsidering how I will work with such acoustics. At this stage I have six speakers setup in a standard circular configuration. The pillars are an obvious distraction but not a large problem sonically. Because of the nature of the space I am more inspired to place speakers unconventionally. Sounds move with a mind of their own within the refectory and I would like to explore this moreso than the perfect 360˚ representation.

The struggles I have been having finding outdoor sonic environments less prone to traffic and machine noise have not abated (please see image + details below), leading me to the proposition of recording moreso within the abbey and yet - I was working with the intent of bringing the outside within it's walls, allowing those sounds to become part of it's immersive environment. In contrast, if I now record the sounds of the abbey and re-release them into their original environment to react with the space yet again, I will be causing a type of feedback loop - folding the room in on itself (as well as initiating the first step of Alvin Luciers piece, 'Sitting in A Room'). This would greatly change the intent of my work........

decisions, decisions, decisions.........

 :: Recording alonside the Cher in the morning in Bruere Allichamps::

I have managed to somewhat decipher the numerous industrial sounds that surround Noirlac.

#1 is the obvious - Traffic. Noirlac is beside a freeway
#2 is the trainline. This carries remarkably far - right into the forrest.
#3 would be the local porcelain factory that emits a general humm not unlike a large airconditioner
#4 Is the hors d'oeuvre factory (i'm pretty sure that's what it is) next to the porcelain factory. This too emits it's own constant drone 
#5 Lucky last would be the planes that pass overhead - it appears we are relatively close to a flight path.

The biggest struggle is that the underlying drone the permeates the air does not stop. It carries on through the night into the morning. At times it is louder but it will never cease. The field recordings I have gathered so far have this drone but can used if they are not at a loud volume, and with some severe filtering. I was imagining gathering pristine outdoor recordings but this will not be the case. Within the walls of Noirlac however, the drone is somewhat held at bay...
I hope to start uploading sounds to Freesound soon  and am a little worried about how they will be received - never the less - the show must go on...

Thursday, September 22, 2011

Hunting for 'The Quiet'

I will never cease to be amazed by just how far traffic sounds can carry. You may walk for hours - direction - away from the roads and engines only to find that the sound is infact somewhat amplified by terrain that has unravelled between yourself and the offending noise. Yesterday I began the search for those perfect recording spots. My instinct was to head into the nearby forestry that is an arms throw away from Noirlac. What I found (as many other field recordists have discovered before me) was that the deeper I went into the woods, the more the sounds of the traffic seemed to resonate in the air. While it's detail may have been lost, it's thrumm became more prominent, destroying the fragile sonic ecosystem nature had already provided. 


I will be using tried and true (ish) methods such as high pass filters, recording extremely early in the morning/through the night as well as continuing to hunt for a sheltered area. This morning I managed to gather some birdcalls by the Cher River. There was undoubtedly traffic noise present but I am wondering if I am able to work with them regardless. The last minute pinch to purchase a DPA 4017 shotgun mic definitely helped to no end. It's hyper cardioid capsule blocking out excess side and rear drone but also the beautiful reverb and echo moving up and down the river, I don't think the recordings would have been even possibly useful otherwise.

Seeing the countryside by bike and on foot has helped pick up on sound environments that I would miss from the enclosure of a car. I also notice pretty quickly if the humm of traffic dissipates. The downside to this is the fact that finding these 'safe' areas will take time. I had expected to be well on my way with sounds by this point in my residency and am feeling the pressure of falling behind....

The plus side is that I have the perfect excuse to discover critters such as wild deer, giant orange sluggs and thoroughly acquaint myself with French countryside! 

Tuesday, September 20, 2011

Who is le abbaye Noirlac?

:: The work of Zur at le abbaye Noirlac ::

The past days have been spent acquainting myself with the abbey, it's surroundings and fellow Inhabit International residency artist Tara Gilbee. It is interesting entering a space that you have been fixating on for the past months - like meeting a character from a book. I was taken aback to find that I had already become attached to Noirlac and on experiencing it's delicate nature firsthand - was embarrassed by the flood of emotions that en slewed. 

If anything I was expecting to be disappointed after building up such expectations in my mind and on first sighting - I was. As we drove alongside the abbey, glancing out the car window my first thought was, 'Small?' Where are the towering watchtowers and grand arches I had assumed would astound me? Where is the size and sheer magnitude I have come to expect from 12th century cathedrals?'

And so I entered the abbey and began to realise why Noirlac is an experience in itself.

"It is small from the outside but large from the inside"
Paul Fournier: Noirlac director

If the abbey were a sound it would be an untouched field recording - one that is understated in it's nature yet so perfect that it need not be processed. The architecture makes use of the natural light. Windows are found where the best days sun passes through, walls and ceilings are neutral to the eye and invite the observer to feel a peace attached to their simplicity and the sounds!

On arrival the artist group Zur were presenting their research of Noirlac on a daily basis and we were lucky enough to catch to catch one of their performances. It was an exceptional introduction to Noirlac and one that acted as a major catalyst in my understanding of the space. Throught the sensory explorations of Zur, le abbaye Noirlac presents itself as an unanswered intrigue - one that stimulates pleasure for the observer via the curiosity that it evokes.

The beauty in it's space is uncomplicated

Light :: Air :: Sound :: Space :: Time :: Observation

Zur use these elements to create their own reiteration of Noirlac and I hope that through my work, with the use of my own choice of mediums and elements, I will be able to do the same.

Friday, September 16, 2011

Bonjour Paris

I arrived in Paris a few days ago and have been trying to cram in as much of the city's priceless culture and the arts as possible (within three days). My backpackers is a half hour walking distance from the louvre and say an hour from centre Paris so I'm travelling on foot - the best way to begin learning about a city! 

You will find me quietly watching foot traffic from a laneway cafe, or standing on a street corner with my small map in hand figuring out my next move. The city itself - it's infrastructure, buildings, developed lifestyles is nothing like what we are have in Australia. The general height of buildings is greater - often creating the feeling of narrower roads and meandering labyrinth's. 
Their use of height gives me a feeling of more space. It opens up the world around me. The signs of life positioned high in the sky (trees on balconies, overgrown vines and flower pots, beautiful ornate outdoor parisian chairs) creates a feeling of being surrounded by humanity as opposed to the stark walls of Melbourne's inner city high rises. The French seemed to have mastered the art of combining hectic inner city living without compromising the joys of everyday pleasures.

Just because there are limitations - does not mean that it must be stripped of the signs of humanity and of life's small luxuries.

Other points of interest include: The butter patties are MUCH bigger, French women really are thin and beautiful (generally speaking), junk and cheap inner city antiquities are relatively common, 'Sound Artist' is not a term that leads to confusion - it is common knowledge and taken with all due seriousness.

Je'aime Paris

Thursday, August 25, 2011

FBI Radio

This Sunday evening I'll be having a chat with Scarlett Di Maio and Brooke Olsen on FBI Radio's experimental sound hour Sunday Night at the Movies. Tune in for an assortment of my sounds and to hear me quite possibly stutter and lisp - live - on air. 

With the perfect excuse to head over to Sydney I'm able to attend brilliant gigs such as Chihei Hatakeyama and others. - I am not familiar with his sounds but I will enjoy something new and am looking forward to being a stranger in NSW.

Sunday, August 7, 2011

The release that never was

I am confronting the unborn release. He/She is pretty pissed - I should have done this years ago but in the words of a tutor I once considered a friend,

'It's frightening putting something out there - for others to criticise and pick at but you have to do it.'

I know I know, but none of it quite makes the grade.
So I will put it out there anyway.
What choice do I have?
I know that a number of artists I admire, have a first album or ep that is obviously an embryo - not yet fully formed with it's potential lost in layers of unformed technique and meandering direction.
So with this excuse, I will allow it to come into being. While I am not able to exist - this is.

Wednesday, July 13, 2011

Samadhi Mechanism - Quadraphonic Install

Earlier this year I was invited to present my work at the launch of the Kew Arts Centre. The timing could not have been better to exhibit and install 'Samadhi Mechanism' and the setting was near ideal as I had the use of an old gaol cell (sounds familiar). The size restraint of the cell meant I had to minimize speakers so my setup for the piece was down scaled from 7.1 to Quadraphonic with no Sub. This worked surprisingly well in the space due to how 'live' it was. Natural resonances appeared quickly and with little effort of volume, meaning that the addition of a Sub would only have muddied up the sounds and impacted negatively on the mix.
As the only artist working with Sound at the Arts Centre launch I enjoyed the discovery and experiences of others who were not too familiar with works in the medium. I am use to being surrounded and critiqued by people who are as obsessive and knowledgable of the styles and works created with sound as myself (or even moreso). Being placed as 'The Odd One Out' provided me with the gift of observing extremely honest responses and opinions that can become clouded by the impinging judgments of an art scene.

Many thanks to Caroline Carruthers from Boroondara Artists Travelling Show (BATS) for co ordinating the artists on the day and congratulations on your beginning! 

Kew Arts Centre Launch


: Quadraphonic install of Samadhi Mechanism :

Saturday, April 16, 2011

Machine Recordings

:: Sound gathering for 'Samadhi Mechanism' ::
-Have been spending nights hunting and collecting sonic identities relevant to 'Samadhi Mechanism'. The final work will be a 'Frankenstein's Monster' in that it will be a new creation, coming into being by the severing and suturing together of other audio bodies. The above images are of two of these bodies, the first, is beneath a train-line that bridges above a main road. The second, is a floor level that plays host to a number of air conditioning vents and general airflow within an inner city convention centre. Surround recordings were taken from the floor level and MS was used underneath the bridge. Other samples I have gathered include an old electrical printer (2 x contact microphones in stereo), A scissor lift (1 x stereo Rode NT4) and discarded metal sheeting. I would very much like to record the sounds of an old printing press that is operated by hand. Unfortunately I am not having much luck at tracking one down........
Abbaye Noirlac will be a welcome relief after this piece - I have been in Melbourne city for too long - working to acquire microphones and equipment. It's an isolating and soulless experience that I hope to alleviate soon. As a (primarily) sound artist I record and portray what is within my environment and the hard walls of urban landscape have dominated that space for quite a while. Balance needs to be restored I think......... 

Monday, March 21, 2011

Samadhi Mechanism

::'Samadhi Mechanism' Still 2011::

“Such a state is ineffable by definition, but those who have known it, and the traditions that have cultivated it, maintain that it is the ultimate reality.”

Robert Jahn and Brenda Dune, “Sensors, Filters, and the Source of Reality” 2004

I am Quite excited by my next major piece of work, 'Samadhi Mechanism' - a further exploration into the individual’s experience and sensory perceptions of ‘space’ - the results by which, they form their impressions of their own unique, reality. It will be my first venture into combining the mediums sound and vision and I am already feeling a shift in my everyday sensory perspectives. While I often listen to the sounds of my environment as though they are part of a grand composition, I have never allowed everyday scenery such attention. I actually find vision almost too strong as a sense, to allow myself the freedom of subjective viewing. Sound however, (for myself) is a beautiful sensory stimulation to lose yourself in via multi-dimentional realities. 

In research of these ideas, I am reading, 'Filters and Reflections. Perspectives On Reality', edited by Zachary Jones, Brenda Dune, Elissa Hoeger and Robert Jahn. I am only 1/3 in at the moment so cannot make any sweeping conclusions but will say that although it's incredibly dense and scientific text is at first... unexpected and undesired, it brings to light exceptional information re: differing possible and cultural perceptions of our reality. This is how I was made aware of the state referred to by Zen masters as, 'Samadhi' - a state of pure experience,

"It is the visceral feeling that shifts the filters of consciousness from those of passive, objective observation to ones of proactive, subjective participation, and this participatory immersion in the experience modifies it's perceived reality."  pg 22

At the risk of sounding self-important I would tentatively suggest that through documentation of a space my work attempts to act as a catalyst for this state within the observer. The process of documenting a selected space, at a certain time through the eyes and ears of another individual (myself) allows it's (the space) existence to be born anew, in the reality of the observer (their perception of!). This process and experience enables them to participate in the creation of an alternate reality. Overtime I hope to become more skilled and/or successful at stimulating this reaction within each individual. 

For the piece, "Samadhi Mechanism', I have chosen to indulge my inner Futurist (omitting the war glorifying/feminism despising aspects) and document a space that is filled with the body of a machine. It’s giant pumping arms and rotating spindles remind me of what I imagine futurist and pioneer of noise music, Luigi Russolo’s ‘Intonarumori’ to look like. (I have to imagine as the machines were destroyed with only limited photo documentation)

Like Russolo’s machines, this device also emits what would traditionally be considered non-musical sounds. These sounds include clunking of gears, grinding of spinning axis and the abrasive humm of energy as generated by the main motor as it powers each movement the machine makes.

As an inorganic object, I perceive it as exhibiting strikingly human behaviour. It is this subjective ‘identity’ existing within its surrounding environment that I wish to translate via sight and sound.

The moving image in my work will be used minimally meaning, that I do not want to use post-editing effects to dramatically manipulate what I have successfully captured but more so, crop, cull and arrange, The unique aesthetic of the machine and the habitat in which it resides will provide me with enough inspiration and source material to work with. The setting is capable of provoking an ‘other world’ feeling from it’s observer on it’s own. My meddling with this connection between space (place) and person would only sabotage the identity I wish to portray.

Sound will be treated with less purist ideals in comparison to the visuals. Not only will I be recording audio from the space with no concern as to matching it to it’s original visual event, but I will also be collecting other sounds I feel fit the nature of the machine. These sounds will be recorded from anywhere and everywhere that I hear what I imagine the sound of this machine to be. The working mechanisms of a printer, rumbles of a train from beneath the bridge it is travelling over, the clicks and clangs of latches, locks or pots and pans – it will all be considered. Post editing of the sounds will create a surround composition that completes the piece, working with the visuals in bringing to life the reality of the machine in each individual observer.

to be cont'd.........

Sunday, January 2, 2011

Bogong AIR Festival 2011

Full PDF Including participating artists can be downloaded HERE courtesy of Westspace Gallery

Was quietly excited to see this in my inbox as an email from one of my rather distant/impressive/at-times-even-infuriating-yet-still-incredibly-likeable, lecturer who shall remain nameless.....
Was impressed by the eclectic nature of the artists involved, as participants originate from a number of different countries and with various years of experience. (In a nutshell - I like the fact that there are students I studied with amongst the established and more renown Sound Artists.) 

-Will try my best to make it to this one...

Inhabit International Arts Research and Cultural Exchange

2011 has started with exciting news - I am lucky enough to have been selected as a recipient of Punctum's Inhabit international residency to be completed at the 'abbaye de Noirlac', in the countryside of central France.

: An opportunity to work and create within the country at which the concept of the Acousmonium (as a sound system) and acousmatic spatialising, was born :

The work that will be undertaken at Noirlac will be heavily focussed on the acoustics of the present architecture as well as it's surroundings. I must say - the abbey itself looks sonically inspiring (yep I'm inspired to create sounds simply by looking at the buildings - I cannot wait to hear how the walls, arches and cavernous depths will affect the atmosphere)

These images are snapshots of those found at

At this stage, I plan to use my time there to make recordings (surround, stereo, mono) of various sounds. These sounds may have a highly charged cultural relevance to the local communities, or they may be a further expression and discovered detail of the reality I explore there. There is much to write about and much to do - will flesh out the details at a later date.

I hope to make these sounds available to all via the Freesound Project. I also hope to include others in the work process through the feedback and suggestions that can be made on the website - we'll see how it goes!

Much thanks must go to Jacques Soddell for his encouragement in my recent development of these work methods. 

Much-to-do, Much-to-do