What is it like to hear a colour? What is colour? What is sound? What are dreams? What is reality? Is music just sound? Is art just colour? Are dreams a part of our reality? Could you see a sound? Would a colour sound different depending on which colour it was? What colour would sound be? Does it have to be a colour? Is what’s red to me, also red to you? If I see it, do I have to hear it? Would it be a sound? Or would it make a sound? What kind of sound would colour make? Or what colour would sound be?
The installation sought to explore the idea of Synaesthesia, using projection feedback and live electronic instruments, a bizarre, immersive, dream-like environment was constructed for the audience to interact with & experience.
The installation itself consisted of a device known as a photo-theremin, which affected the pitch of the tone generated based upon what frequency of light entered the circuits. This was pitted against an evolving backdrop of analogue video feedback. Thus, interacting with only one element of the installation was impossible, as to interact with the visual component inherently involved affecting the colour, which in turn changed the sonic aspect of the environment.
Whilst this may not be the most applicable or truest interpretation of the Synaesthetic experience, I believe it effectively illustrates an important aspect of subjective / experiential ideas & how illusory our sensory world can be.
Drone Mixtape 1 & 2, was a compiled piece of music designed for a seamless listening experience.
Comprising of mostly generative pieces of sound, it draws elements from established genres of ambient music & adds chance procedures in it’s structure & overlying message; which is constructed entirely within the audiences mind, a subjective experience within another.
It will be released & available to purchase in the coming months on tape & digital as part of Interworld Media.
The cover image is a still taken from my visual work.
Please listen on headphones.
Dronestasy is a composed piece of music borne entirely from ‘comedowns’. I made certain to only work on this piece under that specific constriction.
It was important to me to relay such emotions as contained within the specifics of a post-mdma head-space.
The brutal intensity of how it overwhelms thoughts with a soft buzz & the throbbing reverberation of drums pulsating around an imagined & overused brain.
The image is a composite of colourised burnt-out film stock & projection mapped smoke.
The first piece ‘Sun-days’ was written across two different Sundays and as such has two distinct styles/moods, using the same source material.
’11 Wizards’ was conceived as the soundtrack to a dream I had experienced. Immediately after awakening I sought to replicate what I had heard in the dream, which was an epic, drawn-out, wizard battle royale. It began with a stalemate, which seamlessly shifted into a brief opening ceremony and then eventually the battle, which subsided into darkness. The entire dream was performed as if it were in 500 frames-per-second slow-motion, the soundtrack emulates this.
‘Returnal Occurence’ is the main theme within actual short film ‘Eternal Recurrence’, dir. Rob West (2014). Based upon the Nietzschian concept of an eternally re-occurring universe, it seeks to emulate this idea through it’s loopable nature whilst retaining a specific ‘beginning’ & ‘end’.
The 3 pieces were packaged together due to their compatibility & over-arching abstract principles.