Year : 2003
Exhibited.
RMIT project Galler, Melbourne 2003 as part of “House of the Future”
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The Moores Building Fremantle as part of the Biennale of Electronic Arts Perth 2004.
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The Performance Space as part of “What Survives” 2006.
Medium.
Interactive Sound-Sculpture – plastics, metal and audio-electronics.
Year : 1995
Sculptural installation with multi-channel audio and video components.
Exhibited.
The Museum of Contemporary Art, Sydney 1995 as part of the “Sound in Space” National Sound Art Survey exhibition.
Materials.
Timber, audio-visual electronics, low frequency audio drivers.
Dimension.
x4 units @ 3m x 2m x 3m.
Installation footprint 10m x 8m x 3m.
Videotext.
Single channel continuous 45 minutes duration in French/English distributed to x4 output sources.
Soundtext.
x2 Stereo continuous audio loops @15 minutes duration with French vox and low frequency tone distributed out of phase to x4 output sources.
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Year : 1982
Exhibited.
Spectro Gallery, Newcastle-upon-Tyne, U.K. 1982.
Materials.
Section 1.
Circle: Pigmented sand; carbonised wood; pit fired earthenware vessels (x8) (35cm dia); carbonised grain; seabird skulls/bones; metal blades; Polaroid photograph.
Year : 1998
a marine sound installation for the Albert Dock, Liverpool, UK, and accompanying radio broadcasts.
Exhibited.
Albert Dock, Liverpool, UK as part of ISEA 1998.
Materials.
Marine Buoy + audio/electronics.
Year : 2002
Exhibited.
Arizona State University 2002.
Biennale of Electronic Arts Perth 2002.
Stanford University Gallery 2003.
Boutwell Draper Gallety, Sydney 2003.
Materials.
Timber, Carpet and Prayer Mats, Facsimile Landmine and Mine detectors, Audio electronics x16 channel, projection.
Dimensions.
19m x 10m x 4m.
THE ARTIST
THE SOUND IN THIS SITE
It is ironic that the website of a Sound Artist contains very little audio material. This is, of course, intentional, the principal reasons being that I place a strong emphasis on the experience of a work in-situ, mediated as it is by the environmental context and the listening trajectory of the viewer/auditor. Secondly, the majority of these projects are multi-source environments, often operating with interactive or dynamic elements that are virtually impossible to represent as a linear stereo field.
A method I have adopted, that in some part overcomes such problems of Audio representation of complex sound installations, is to develop parallel Radiophonic projects. These Radio works are designed to give a general impression of the content and intention of the Installations whilst recognising the linear and more narrative form of stereo broadcast.
A range of ‘Sonic Archives’ may be ordered directly via this site for research and/or educational purposes.
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RANDOM QUOTES
Architecture is frozen Music.
Goethe.
Stone is frozen Music.
Pythagoras.