2.5.16

The Other Room 13/04/2016 report.

On 13th April 2016 I made a performance for The Other Room's 8th Birthday in Manchester.

The Other Room is a reading series presenting experimental writers at The Castle Hotel in Manchester.

I usually let some time pass before reflecting or reporting on a performance.

This was my first performance for a while and I could not have hoped for a better night. The other performers were excellent too.

I always like to try new things so this time I produced a free hand out with a drawing of my set up and list of sound sources. This was the first time I have composed live using mainly playback devices with pre recorded sounds including some of my own field recordings, a mobile phone app of relaxation sounds and the FM3 Buddha Machine. On a whim, I also brought along my lucky cat to provide some visual rhythm. And good luck.

Free photocopied handout from the performance.

During set up the synthesiser shown in the drawing was replaced by my trusty amplified book which just seemed more appropriate at the time and provided some nice acoustic sounds to go with the other noises.

The initial idea was to make a piece along the lines of Musique Concrete and ended up as something breaking probably every rule of that.

A video of my performance:

19.3.16

Coming up in April: The Other Room 8th Birthday 13/04/2016



From The Other Room 8th Birthday on facebook:
The next Other Room is a sound special, featuring Stuart Calton, Gary Fisher, Linda Kemp and Rosanne Robertson. It's also our eighth birthday and the launch of our new anthology. Come along and help us celebrate on Wednesday 13th April (7 pm) at The Castle Hotel, Oldham Street, Manchester M4 1LE. Bookstall. Free admission. Details of all performers below, with previews of each to appear at http://otherroom.org/ over the next month. www.otherroom.org
Idea:
At the moment I'm thinking of doing a live mix for this with some of my old field recordings and found sounds on playback devices like mobile phones and digital dictaphones and maybe some kind of graphic score or visual piece to accompany. More on this later.

16.1.16

Live recording from Sluice Art Fair 2013

New live recording published on Soundcloud

In October of 2013 I was invited by The Penthouse to the Sluice Art Fair in London (see Oct '13 in the archive). I had done a residency for The Penthouse earlier that year, where I made new improvised works and performances, and was invited to help represent them at the fair. On the final night of the fair I made a live performance that would on reflection be one of the noisiest and less compromising of my performances.


Not being as careful at documenting my own performances as I probably should be I had forgotten that a friend who was present had recorded the gig- and I guess he forgot too, since it arrived in my inbox only last week. On listening back two years later it reminded me of being quite relaxed at the time and just letting the waves of sound and feedback build up further and louder than I would usually before turning some channels down and other up. It wasn't really planned that way but my travelling from Manchester with a limited set of equipment and the atmosphere at the event not being one conducive to people listening intently influenced my decision to make something more direct and reactionary and less abstract or quiet. At some point I asked for a microphone that was not part of my set-up to be switched on and stood for a while playing the FM tuner into it while the Loopstation did some of the work, then left the FM tuner on the floor in front of the audience which can be heard at the end playing out static before I come over and turn it off. With the benefit of hindsight I can say that this performance relates to my interest in using instruments and technology in ways which they were not designed for and adapting to situations and environments as part of improvisation. Something I would go on to explore as part of my MA in Sound Arts and continue to do.

Some pictures from the event:






15.10.15

New sound work "PianoDrones"



The first in a new series of sound works from remixing and rearranging some of my own recordings into new works, PianoDrones was composed on computer using a 2007 recording of a live improvisation with an abandoned piano that has been used in several live performances over the years and recent recordings of an electric piano. The short samples have been stretched and manipulated through software to form drones and drawn out ambient sounds and causing some small sounds and details to become audible.

Press Gang at Sluice 2015

The zine version of my recent self released album has been included in The Penthouse's new project Press Gang. A super-limited number of copies -including download voucher- will be available to buy at Sluice_2015 along with books, cassettes and audio works by some interesting and innovative artists. Details and links below.



Press Gang

The Press Gang is a new project based from artist led space in Manchester’s Northern Quarter promoting artists new work via the art of self publishing including artists books, audio books, tapes and zines.
The first stop for Press Gang is Sluice__ 2015 which occupies OXO Tower Wharf, Southbank (London) 16-18 October 2015. 
Works presented by: 
Rosanne Robertson
Debbie Sharp
Jean McEwan
Gary Fisher
Graham Dunning
Mio Ebisu & Sam Andreae 
                                         
Join us for the preview event at Sluice__ Thursday 15 Oct on the top floor of The Bargehouse building of Oxo Tower Wharf where we will be launching the project.
http://thepenthousenq.com/pressgang

26.6.15

Joined Apart reviewed by The Penthouse

My new album Joined Apart has been reviewed on the website of The Penthouse where I conducted a residencies for their Noise Above Noise program earlier this year and previously their artist residency in 2013. It's a very nice article with some good observations and descriptions of what's going on in the work and the story behind it.

Below is a copy of the text from the review.





The pace of this album punctuated by the 10 individual sound pieces make for a slow and considered listening experience. Calls of something about to happen or having just happened echo in and out- joining up disparate beginnings and ends. There is expectation, loss, hope- sometimes trundling, sometimes arriving, sometimes a long ending.
 Gary Fisher is an artist working with sound, objects, tape and performance as part of a practice that is an ongoing improvisation- a constant process of accumulating, appropriating, sounding and shedding objects and DIY instruments. His work is currently more minimal than it has been at times in the past- with what seems to be explorations into restriction- as both an academic task and because of situations that change within his life.
In 2014 he moved from home town Salford to  London for his MA in Sound Art at London Communication College where he studied under such lecturers as David Toot (experimental musician, author, and professor and chair of audio culture and improvisation) and carried out a number of projects including performing as part of Sculpture/ Allan Kaprow’s YARD at The Hepworth Gallery,  an ensemble performance with Christian Marclay and Thurston Moore at White Cube and his MA show Constantly Evolving but Never Ending curated by Irene Revell (Electra Productions). Love, life and art then took him to Italy where he lived briefly and also took part of a project titled Flea Market with Gilda Manfring at Venice Biennial by Rob Pruitt where Gary extended his explorations into objects and their prescribed function vs imagined functioned as musical instruments.
On his return to Manchester for his Noise Above Noise residency with us here at The Penthouse in Manchester he carried on his investigations into minimal set ups and uses of found objects with some simple yet effective improvisations with paper, a found metal cabinet, radio and self publishing. We curated the performance event to also present new performance works by Matt Dalby (as Tear Fet) – a long time collaborator- and also Helmut Lemke his tutor who introduced him to sound art at Salford University.
 
And then things seemed to come to a beginning or an end. A relationship ended. An unexpected return home. Back to the start or not at all?
We all go through transitional periods, things change. What this work demonstrates is what happens if an artist can create through these times- pulling together a variety of events, experiences and feelings over a  certain section of life.
 
The album communicates a long period of time- a document of a series of changes- a document of a number of places. More obvious sound sources such as trains literally makes it feel like you are being moved toward the horizon slowly- with the tension bolstered in parts by chaotic crashing cymbal and dramatic delayed electronics as with track 3 ‘Both Channels’. Ambient sounds linger on penetrated by sharp short interferences, silent pauses, effected electronics, distortion, and tinkered with metal and objects as with track 5 'Broken Square’. And it all swells into one interesting and very worth while journey- Joined Apart. 
You can buy Gary Fisher’s new album Joined Apart via bandcamp for only £4 as a digital download. 
Proceeds go towards a different physical release on vinyl later this year, so you can buy an artwork and also help fund a future one for a small amount of money.
 https://garyfisher.bandcamp.com/album/joined-apart 

25.6.15

Joined Apart out now. New digital album

My new self-released digital album Joined Apart is out now at Bandcamp
Full download is £4

Featuring 10 new compositions of electronics, tapes, records, objects, found sounds, words, accidents, coincidences, echoes...


A transistor radio signal lost between Italian radio stations, a record crackles, a piano is pushed from a window in some dreamlike sequence, an old Casio fades in and out, traffic passes on a London street, plastic beads become rainfall… 
Joined Apart was formed over a number of years and was recorded, mixed, edited and remixed at different times and places in Manchester, London and the countryside in Northern Italy. Found sounds, found objects, rediscovered tracks, new improvisations, field recordings, scraps of forgotten or unfinished works are brought together by a combination of analogue and digital techniques and improvised processes- too many to remember what was done where. Inspired in parts by found materials, journeys, isolation, bleak landscapes, accidents, coincidences and finding and losing love. The cover photo is taken from a train arriving in Oxford Road station, Manchester

Some reflections on the making of the album


Joined Apart features 10 new compositions made from samples, found sounds, bits of old unused recordings spanning a few years composed and mixed in 2015. It became an album almost by accident. While trying to make some new works I decided to find some of my old stuff to listen to and found a number of sound files and unfinished tracks I never used for one reason or other. Some where more recent Logic projects and some where MP3s of finished recordings. Some of these were remixed and edited and some parts used in new compositions. One track has the left channels removed and the right channels remixed into a kind-of-stereo. In another an electric piano bass line is lifted from an unfinished 'song' and used to add some rhythm to an otherwise abstract composition. That bass line is probably the most musical thing ever to features in one of my compositions. The new material I was working on using samples from records and tapes, electronics and synthesiser gradually became collaged and mixed with bits of the old stuff I was finding. The process became about repurposing the material, cutting, pasting, rearranging meaning every track has had some part of it or been entirely composed in a computer program though the elements of improvisation are still there and on some tracks parts were improvised in real time along with the arranged elements. To me the album sounds rough or unfinished in places. I don't mind this as I usually feel like nothing I make is finished it just arrives at a place where I think it is interesting enough and I am happy to share it.
Most of the tracks were mixed and finished in Manchester in May and June 2015. The album was published on 23 June 2015.

The personal story behind this work is one of discovery and change. The short version is: In 2013 I was living in Manchester and had already been recording, performing and exhibiting as an artist. I was suffering with severe depression and came to the conclusion that I should leave Manchester to get a new perspective on my life. I applied for a Master's in Sound Arts at The London College of Communication, what I considered to be a long shot but worth a try. I got a place on that course and before I knew it I was quitting my job and moving to London in December of 2014. I was studying full time and trying to survive in London. The course gave me access to so many great people and opportunities and really helped me galvanise my idea of what my work was and what I wanted to do as an artist. I met a girl on the course, we started living together and she basically saved my life. We stayed in Italy for a few months and tried to work out a life together but by the time I finished this album that relationship had ended and I was back in Manchester. The story is not important to the listening of the album but for me all the experiences and events are part the composition as much as the sounds.


Some notes on the individual tracks

These can also be found with the release in Bandcamp

01 Right Channels
Tapes, cymbals, objects, Buddha Machine, electronics, keyboards. The right channels from what was originally a stereo mix re-mixed into a kind of stereo. Originally recorded in 2012 and remixed in 2015.
02 Falling Piano Dream
A record for tuning a bass guitar, a record for testing stereo turntable equipment, a real found recording of a piano falling from a window.
03 Both Channels
Original version of Right Channels with both left and right output mixed in stereo. Tapes, objects, Buddha Machine, cymbals. With the sound of a tape recorder breaking under the strain of misuse.
04 Maria With Object And Bow
Recordings of radio static from the middle of the North Italian countryside and an improvisation with a metal object and bow recorded in London some months earlier. Radio Maria is an Italian Catholic radio station.
05  Broken Square
Mini digital synthesiser, square wave tone generator, toy keyboard and an electromagnetic pickup coil channeling internal electrical sounds from the computer during recording.
06 Ten Stage Phaser Version 1
Loops and echoes of mini digital synthesiser, square wave tone generator, radio static, electromagnetic pickup coil channeling internal electrical sounds from the equipment.
07 Listen The Birds
A composition from an old set of records of European bird sounds. Some parts of the records contain background sounds of ocean waves, trains, church bells.
08 Owl Factory
Including sounds from the Nintendo Gamecube startup screen, found cassettes and a toy keyboard. The sudden ending is accidental due to a power failure during recording.
09 Records And Chimes
Improvising with turntables and records to a borrowed recording of hands playing with the chimes of a broken clock.
10 Walk In Plastic Rain
A field recording from a walk in London 

A recording of plastic beads in a flat in Manchester 
An excerpt from a reading of a short story about meetings, coincidences and heartbreak 
A borrowed recording of hands playing inside a broken clock 
A bass line from a song written on electric piano in a half-built house

16.6.15

2015 Update: Manchester, Todmorden, Venice

A short report of what I've been doing during the last few months including a specially recorded new track, a residency and performances at Noise Above Noise and an exhibition in Venice. I have also been recording, mixing and editing a new release of experimental recordings to be released soon I will write about in a separate post.

Hoor de Vogels / Listen The Birds new recording for the opening of Fundevogel space
In April the Fundevogel space opened in Todmorden, West Yorkshire as a new DIY venue for arts and sound events. At the opening celebration there was an exhibition and concert by specially invited artists. I recorded a new piece of bird-themed sound work for the exhibition.

"A collage of sounds from a series of 18 vinyl records of various European bird sounds. Originally released in Holland and the UK for bird enthusiasts, here the records, found in a   record stall in Manchester some years ago, become a curiosity, a discovery from a time passed and a found material to inspire new compositions."





http://fundevogel.co.uk/



Noise Above Noise residency at The Penthouse, Manchester

During April 2015 I was artist in residence for the Noise Above Noise program at The Penthouse, a residency of working on new live sound works for performance. I was staying in Italy during the first few months of 2015 with a now ex-partner and flew to Manchester with a very limited set of materials from which to develop new work. These included a vibration speaker, an old pocket transistor radio and some guitar pegs.

Arrangement of objects in the studio, Noise Above Noise 2015

With my limited budget I bought a 10 metre long roll of paper and experimented with interacting with it and the kinds of sounds I could make, both with contact microphones and purely acoustic. This formed the basis of one of the live performances. I made a series of videos of experimenting with materials found around the space and on the street in Manchester including: a metal file drawer, broken digital radio and a jug full of screws.




Noise Above Noise 2015 Youtube videos playlist


Also during the residency a new series of prints were made by taking thoughts and ideas about sound that were not necessarily fully formed and then printing them letter by letter with black ink onto A3 graph paper. The process of printing them rather than just writing them down meant they became more permanent works and tangible artworks based on not particularly precious ideas.


Birdcall Print and hand-made birdcall instrument 2015



Noise Above Noise performances with Matt Dalby and Helmut Lemke


24/04 + 25/04, 2015

http://noiseabovenoise.tumblr.com/GaryFisher
"PERFORMANCE SERIES NOISE ABOVE NOISE ELEVATES MANCHESTER’S UNDERGROUND SCENE TO THE FIFTH FLOOR OF A TOWER BLOCK."- THE WIRE
NAN Residency Special flyer



Towards the end of the residency two performance events took place with myself and friends and fellow artists Helmut Lemke and Matt Dalby as Tear Fet each performing experimental solo sound works. Tear Fet made an uncompromising vocal improvisation and Helmut set up an apparently complicated contraption for listening to the sounds of the environment through the vibrations in the glass of the windows and made a visual representation of the sounds.


The first of my performances took place in The Penthouse corridor and involved the large paper roll with two contact microphones and two amplifiers. The paper was unrolled along the corridor with the audience sitting and standing along one side, it was then pulled, dragged, scratched, screwed up folded and thrown around in the corridor causing a range of small and loud, amplified and acoustic sounds. Later I made a second improvised performance using a 'scrap guitar' made from found wood, the guitar pegs, a tuna can and some strings from toy guitar bough from a charity shop. Found objects were played against the strings in a succession of sound making actions.

The second event was held at the Fundevogel space in Todmorden, West Yorkshire and was another improvisation with the scrap guitar and some electronics. A last minute decision was made to time the performance based on a recording I found in my mobile phone of a field recording made while walking in London from Elephant and Castle to the South Bank. The phone was included in the set up and parts of the recording were mixed with the rest of the improvisation as it played in real time.


3.3.15

gary-fisher.com new diesign and update now online

My website is now online with a new design and updated with some selected works, projects and information.

I made it a kind of portfolio site with some documentation of the different parts of my work that make the whole and some relevant information and links. 

This blog will remain my place for personal writings, news, updates etc.


gary-fisher.com



21.2.15

Vinyl Release From Christian Marclay White Cube Performance with Thurston Moore

The limited (500 copies) vinyl release of the performance from Marclays show at White Cube London. I was one of a number of performers invited to play in a composition using a vast collection of glasses with Marclay on turntables, Thurston Moore on guitar and two musical saw players.

http://www.vfeditions.com/product/view/218





From The Vinyl Factory Editions website:

In collaboration between Christian Marclay and the London Sinfonietta, some of the world’s most renowned contemporary musicians have been invited to stage performances, including new compositions and live improvisation sessions inside the White Cube. Each performance over the course of the exhibition will be recorded, pressed and screen-printed live inside the gallery. The fourth and fifth performances are from Christian Marclay and Thurston Moore. Both of which are pressed onto Live 4.


Side A: Christian Marclay with Thurston Moore, 'Good Vibrations'.
Side B: Thurston Moore and The London Sinfonietta, 'Nice'.

Thurston Moore started his band Sonic Youth in 1980. He has worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca. He has composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders. He presently records and tours both solo, with various ensembles and with his own band. His most recent recording, entitled The Best Day, was just released by Matador Records. Thurston currently resides in London.
Performances take place each Saturday and Sunday of the show. Following live pressing on the VF Press by The Vinyl Factory and live screen-printing by Coriander each Thursday and Friday.
* Limited Edition of 500
* Hand-Screen printed by Coriander Studio
* Live performance by Christian Marclay and Thurston Moore in conjunction with Marclays exhibition.
* Live recorded, pressed and screen-printed inside the White Cube
To receive information on the full Christian Marclay / White Cube programme as announced please email marclay2015@whitecube.com
Christian Marclay
28 January – 12 April 2015
White Cube, 144-152 Bermondsey Street, London, SE1 3TQ.
Available to pre-order now: Expected delivery date week commencing 23rd Feb.



7.2.15

Singing Saw and Glass Harp performance with Christian Marclay, White Cube London

SATURDAY: 07 February 2015, 3-4pm


I'm playing glasses in a group performance with Christian Marclay, Thurston Moore, saw players from The London Sinfonietta and some invited artists playing with the glasses in the gallery.

From the White Cube website:

Room 2, South Gallery II, Bermondsey

24.1.15

Live on Fractal Meat On A Spongy Bone- NTS Radio, London.

January 23, 2014.
Performing live on Fractal Meat On A Spongy Bone Presented by friend and occasional collaborator Graham Dunning on NTS Radio, London. Using two tape recorders and a dictaphone sampling and mixing random parts of some collected tapes and a recently rediscovered digital dictaphone recording of footsteps in snow from about 5 years ago. The tapes are from a number of spoken word, field recordings, radio programs, games and others collected over the years.



https://www.facebook.com/FractalMeat
http://ntslive.co.uk/shows/fractalmeat/

23.11.14

Constantly Evolving But Never Ending


Constantly Evolving But Never Ending is the exhibition, symposium and performance event for MA Sound Arts at The London College of Communication featuring some of the work I've been developing in my practice as part of the course. My piece will be a performance on the final evening.

2nd-7th December 2014
Angus Hughes Gallery
26 Lower Clapton Road
London E5 OPD

Opening: Monday 1st December 7-9pm
Symposium: Sunday 7 December 2pm
Performances: Sunday 7 December 7pm

Facebook event


From the program notes:

GARY FISHER

Approaching The Object (solo improvisation with objects), 2014

Fisher’s performance will be a solo improvisation reflecting aspects of the ongoing development of a personal playing practice based around sounding particular objects in an improvised way. It will present a series of examples of ways in which the artist approaches the objects to create sounds and focus on the relationship between the artist’s own idiosyncratic approaches and the object as a material with potential to make sound.

It is only through some kind of interaction that these particular sounds can happen. Are these sounds unique to the person causing them? Why these objects and approaches? What are the risks of improvising alone? Is there a relationship between the object and the artist? How will this work in the context of a performance? In the context of his overall practice which usually involves improvised performances incorporating combinations of different media and technologies this would be considered a relatively minimal and restrained approach.


20.11.14

Pictures from Ritual In Parallel For Objects And Electronics- at Soundings No.1


Some pictures from the performance of Graham Dunning and Gary Fisher: Ritual In Parallel For Objects And Electronics at Soundings No.1, 6 November 2014, Power Lunches, London

This was an improvised three phase 'ritual' of two people improvising with two sets of the same three instruments; cymbal, drum and turntable, and moving through timed segments of each instrument in turn and in parallel with each other.





Pictures by Gilda Manfring

5.11.14

Graham Dunning & Gary Fisher: Ritual In Parallel For Objects And Electronics – at SOUNDINGS No.1




‘Soundings, No. 1′, Power Lunches, Thursday 6th November 2014
‘Soundings’ is a series of concerts exploring the boundaries between new music, sound art and computer music.
Graham Dunning & Gary Fisher: Ritual In Parallel For Objects And
Electronics
Graham Dunning & Gary Fisher are sound artists and improvising musicians who individually explore process, investigation and experimentation in their work. The duo have performed together a only handful of times despite their close, ten year association. This new collaboration is a ritual in parallel exploring similarities in
practice and differences in approach.
(From grahamdunning.com)

facebook event

25.8.14

ALLAN KAPROW: YARD 1961/2014 INTERVENTION

Hepworth Gallery, Wakefield
31 August 2014, 2-4pm
Sculpture 4 in Allan Kaprow: YARD 1961/2014



As part of the Hepworth Gallery's rendition of Allan Kaprow's YARD installation, a room filled with car tyres, David Toop and Rie Nakajima will be holding one of their Sculpture series of sound events in the installation. As one of the 'sculptures' in Sculpture 4 a recently formed improvising group of musicians and artists from the London Collage of Communication including myself have been invited to perform and interact with the space. This will be a meeting of different concepts and approaches incorporating free improvisation with the idea of performance as sculpture in time and Kaprow's philosophy of the Happening (events as art).


YARD 1961/2014 at the Hepworth
"YARD is one of Kaprow’s earliest Environments, conceived by the artist as a transient, temporary work that invites public participation. Like most of his works, YARD was also conceived with the possibility of being re-staged, both by Kaprow himself during his lifetime, and also by others. Kaprow described all subsequent manifestations as 'reinventions', with an emphasis on reinterpreting the original idea rather than remaking as a direct copy. YARD has been re-invented over 23 times, though unlike many of his activities or environments, there are no definitive instructions, only hand-written notes and images of previous versions, allowing the work to be re-conceived each time it is presented."
Sculpture, Rie Nakajima and David Toop
"In their conversation for OTO Broadcast on Resonance FM, Rie Nakajima and David Toop talked about events as sculpture, the duration of objects and the weight of actions. Sculpture is an experience that proposes a strategy, working to subvert the routines of performance as entertainment, lecture as information, literature fixed to the page, the conventions of duration, the direction of light and occupation of a space.
Does the sculptor have to be present, or make things? Always end with a question?"


The Hepworth Wakefield

12.8.14

Approaching The Object: typed notes from recording sessions


Typed notes from two recording sessions for the objects and sounds project, now provisionally titled Approaching The Object. Each note relates to a digital sound file and simply explains what combinations of objects and microphones are used on that recording. They make nice text pieces, too. These are JPEGs from the original A4 size text files.





The notes in the first page were made during the recording session. Some notes on the second page were made after the session while listening to the recordings. There are recordings for the 'Drum 8' and 'Drum 9' entries but no notes were made at the time.

5.8.14

Project notes: Approaching The Object

Some typed notes for a project on making sounds with objects.

"The initial idea was that I would do something that is a part of my current practice and would help me understand more about my own fascination with making sounds with objects and find some cultural context for that as part of an artistic practice. I would take the thing that I feel is at the centre of what I do as an artist -making sounds with objects- and strip away everything else to examine it close-up. It would be a relatively simple and pragmatic exercise. Of course when we examine something close-up a world of complexities and detail within the thing itself become apparent… and more possibilities."

The notes are from the early stages of the final project for my MA in Sound Art. This is a development of the Object/Action/Sound idea in a previous post and show the kind of things I'm thinking about or doing with this project. The 'Further Thinking' part shows how within the apparently scientific and pragmatic original idea is a far more complex and philosophical web of themes, questions and directions.

The image is taken directly from an A4 word file.

4.7.14

Drawings for tape loop installation

Drawings for a site-specific tape loop installation at The London College of Communication.

Felt pen on A4 monochrome prints from digital photos showing ideas for a site-specific installation with a small reel-to reel tape recorder running a loop of tape along the length of a set of metal railings playing back a continuos loop of the sound of my hand running along the railings once from one end to the other. The action is performed and recorded once with the rest of the tape containing silence. The actual sound would not take up the same length of tape as the length of the railing though the tape moving along the full length of the railing and the visual association with the sound, it's source and the movement of the tape may create that impression.





3.7.14

"OBJECT / ACTION / SOUND" Proposal

Notes for project on making sounds with objects.


Today I made a proposal to my MA group for the final project of the course. The focus of the project is to look at what is at the core of my interests as an artist- making sounds with objects-  and make some detailed studies of particular objects while exploring their sound-making possibilities. This will be an attempt to get to the heart of what it is that I am trying to do with my work by stripping away all the many and various elements that go into and come out of the work and focus on the one that is most important to me. I am working towards a series of performances with objects and instruments that are about exploring the 'basic' idea of performing actions with objects with the intention of creating sounds. Of course this idea is not so basic as by giving myself restrictions and boundaries to work within and taking a hyper-focussed approach highlights the potential complexity and possibilities of going from the general to the specific. Also there are many questions raised about the focus on myself as the  artist and performer and why this work must result in a live performance. I feel this project is a very personal one as it is important that I am bringing my own approach, idiosyncrasies, measure and sensitivity to the objects and the fact that it is a performance allows this to be seen and heard first hand. The audience will see the artist making decisions, deciding how, when and when not to act and hear the resulting sound. One thing I want to avoid is the focus on the artist as the 'master of ceremonies' the magician who is performing mystical acts. I want no illusions. One challenge is how to make the work interesting and engaging if it is apparently so simple in concept and execution without it becoming self -indulgent noodling or a dry demonstration exercise.

26.5.14

Random Record Mash-ups ⌗1



Random Record Mash-ups 1
25/5/14

One turntable, four records. Live sampling and looping random parts of each record.

Records used in order:
"Garden Bird Songs" (RSPB 1976)
"One Man In His Time: Sir John Gielgud Reads Shakespeare" (CBS 1960)
"How To Give Yourself A Stereo Checkout" (DECCA 1967)
"Bass Guitar" (Consolidated Music Publishers 1973)

Filmed on a webcam with direct audio line through a USB sound card.


22.2.14

Sonic Review- David Lynch: The Factory Photographs




"I love industry. Pipes. I love fluid and smoke. I love man-made things. I like to see people hard at work, and I like to see sludge and man-made waste." David Lynch
A short piece based on tape-recorded field recordings made at The Photographer’s Gallery, London at an exhibition of David Lynch’s Factory Photographs. The exhibition is black and white photographs of slightly bleak and foreboding industrial landscapes from around th e world. This is my response to a brief asking to make a ‘review’ of something artistic or cultural I had seen recently. I took a tape recorder along to the exhibition and recorded sounds of people talking while viewing the work, using the elevator, opening and closing doors, the sound of myself walking around the exhibition and the dark, ambient tones of Lynch’s own sound installation accompanying the exhibition. The tape recordings were then processed through digital delay, while stop-starting the tape causing the sounds of the tape recorder and the recordings to repeat and overlap to create new sounds. The piece was re-mixed in real-time while being copied between two tape recorders. Some low synth tones were added in response to Lynch’s own sounds. Quite how this constitutes a review I don’t know but there it is.

David Lynch, Untitled (England) late 1980s early 1990s

23.1.14

NOISE ABOVE NOISE IN WIRE Feb 2013

The+Wire+360+February+2014


Issue 360

February 2014


"Noise Above Noise 
The high rise studio housing Manchester’s sonic arts underground. By Frances Morgan"

The Penthouse NQs Noise Above Noise sound performance series is featured in the latest issue of Wire. I was artist in residence at The Penthouse and played at the first Noise Above Noise in 2013.