This strand of my practice explores circuit bending/hardware hacking and foregrounds disassembled electronic commodities and the inherent appropriation and reuse of sampling culture. I orient this toward one central question: how might the technologies of sonic art resist the perpetual acceleration of industrial civilisation?
Instruments built 2013/2014 plus a slightly sad looking stereo crackle circuit from 2006
The hand-crank powered instrument and solar-powered amplifier were surprisingly effective 🙂
2008 live AV duo collaboration with Adam Parkinson ‘ilton tron’
In this movie I’m performing with a modified turntable, a circuit bent ‘speak and spell’, some light sensitive electronics, a hand-built crackle box, and a Digitech ‘Whammy’ pedal. These are fed into a mixing desk to the recording equipment, and to Adam (who is live sampling me), but also to an upturned loudpspeaker filled with a variety of objects. I’m running the visuals, which are randomly cued live, then blended with webcam feeds worn on my glasses and in front of Adam. The intention here was to intervene at the intersection of the real and the virtual by directly combining a live camera feed with pre-recorded material, so performance gesture could negotiate a liminal threshold between the playfulness of performance and the playback of the pre-recorded.