Sonic art
My sonic arts practice covers many aspects of sound and music, from composing generative music for hurdy-gurdy and making objects that respond, instantaneously, to people and animals, to experimenting with fringe ideas in acoustics and researching some of the strangest inventions from the history of sound. I work on both the technical and artistic sides of any sonic arts project and find my best work develops technical and musical details side by side.
I work with all the usual software, including Max/MSP, but am also a keen instrumentalist, playing and processing live sounds from keyboards, saw, recorders and whistles, waterphone, Edison phonograph and theremin, as well as a my own field recordings and a variety of found sounds. I often use digital technology to augment the capabilities of analogue and entirely acoustic instruments, creating an extended palette of sound.
Whenever possible, I try to create installations and performances that use physical components, as well as software, to generate, process and control sound (e.g. mechanised bells, robotic dolls or chunky, handheld devices). I try to avoid compositions that generate music entirely through software - I find algorithmic music is richer and more delightful when it's linked to the real world in some meaningful way. And in a world where slick presentations on computers and gaming consoles are ubiquitous, the simplest physical devices can offer something unexpected, creating a real sense of wonder. As my devices don't have the aesthetic of entirely computer-generated AV, I hope they encourage people to forget about fashions and inhibitions and simply play.
My work includes live performances and sound pieces, which are more adventurous with sound, and more cartoony pieces, such as the sounds I've created for some interactive slot machines at the end of Southwold Pier. I've become increasingly interested in making interactive experiences and tackling the thorny issue of coupling. How readily do users 'get' the coupling between their actions and the sounds they are hearing? How does this impact on their experience?
I'm a regular collaborator - and some of the best projects on this page have been pulled together with various other artists, scientists and other creative types.