Documented here are a few selected works produced between the years of 2008 to 2013. Most of these works form the basis of my practice-based PhD thesis, Abstracted Materials, conceived and produced at the Sonic Arts Research Centre, Queens University Belfast. Although very different in nature and motive, these works possess a similar concern with materials, real and virtual, and an understanding that processes can produce unexpected outcomes and compelling forms, inorganic and otherworldly.
Instructions for Play (2008) 5:10 minutes
Instructions for Play (2008) is an electroacoustic composition based upon associations of play and gesture with non-instrumental objects, exploring the structures of sound-making tactile qualities with physical action. As a counterpoint to the physicality of play, the work introduces sound-making objects constructed with physical models as a form of virtual surrogacy utilising the Modalys (IRCAM). The intention with this work is to re-contextualise the sounds and vocabularies associated with improvisation, in a similar way extended instrumental techniques re-evaluate acoustic properties of the instrument to encompass the sound-world of electroacoustic music. The resemblance of these re-contextualised sounds and actions between the physical and virtual introduces a re-sounding of the work, and play with an internal narrative. In a sense, it is a semiotic play (though not explicitly) with the shifting boundaries of an acousmatic language based upon the materiality of sounds.
Four LFOs (2013) 8:10 minutes
Four LFOs (2013) is a live acousmatic work that examines the architecture of a resonant body or space. Combining the spectral interference of four low frequency oscillators with the artefacts of psychoacoustic software (a deconstructed noise cancelling software patch), the performance traces sine wave signals using an organic mixing process, achieving variations of spectral articulation from the LFOs and the laptop soundcard’s noise floor. This performance technique is repeated and combined with several voices until the overall shape of the composition emerges resulting in a semi-improvisational structure.