Brother and sister motifs growing together and chasing one another in a piano and voice piece. An expression of the need to stick together and rely on each other through hardship.

Exploration Of Themes

It is a reading of a piece I wrote on reflection of an old space I used to occupy. A space that to me, never completely fulfilled its purpose. A single victorian studio room with a large bay window to a sea view, aged, neglected, and passed on from person to person down a vast timeline. I was only there 6 months, not long enough to truly call it home. 

Fleeting Space

Recommended for listening with headphones.
Pole dance is considered a predominantly tactile and visual performance, known for it's dark stage, smoke and mirrors. The solo dancer captivates you and for the duration of the performance, you are allowed to escape into their personal space. 

'Listen Don't Touch' is a sound recording of a pole dance performance, with no background music and no visuals other than an accompanying graphic score. It was recorded with two microphones - one 'audience level' condenser microphone, and a homemade contact microphone attached to the base of the pole where it meets the stage. 
The purpose of the work is to expose the reality of a seemingly sensual performance, to uncloak the dance and show it for what it truly is - a long and hardworking series of movements that require strength, power and focus. But whether the sensuality is lost, or has found a new and different form, is in the hands of the listener.

Presented as a response to the UAL London College of Communication's HerNoise Archive.

Listen Don't Touch

An organisation of field recordings done by contact microphone and Zoom h4n of materials both inside and outside the building of LCC. The materials recorded were specific to areas we had been in touch with daily and the purpose of the piece was to blur the lines between what we relate to as outdoor and indoor sounds. The room we selected to show in had a broad view of London, was full of natural light, and two windows were opened to allow a cross-breeze and bleed of the present sonic environment into our own composition. Presented in the large space with 4 speakers arranged in a surround sound formation.

Room With A View (Collaboration with Amphetamint)

From a present collaborative project with an arts writer. Two reflective pieces were written, one as a personal response and another critical of a recently revisited gallery space which had been a memorable place to her. This was an exploration of the inner voice and how a different headspace of emotion or critique can effect the tone of the piece. My response to the personal piece was a reading done in the style of storytelling, as if it were a paragraph in an audiobook.

Reading I (Personal Writings by an Arts Lover)

This is the second reading in the collaborative project with an arts writer. The recording is taken through a contact microphone attached to my throat, making her articulate and refined gallery review disfigured, fuzzy and almost incomprehensible.

Reading II (Critical Writings by an Arts Lover)

This is the first experiment in a new project I am working on which is to do with creating awareness about the preservation of at risk buildings in the UK through the process of sound arts and archaeoacoustics. This piece is a field recording taken at a disused factory, exploring a technique used for checking resonances in archaeoacoustic documentation. I used my own portable sound equipment which consisted of a car batter, bass amp and laptop, and then zoom h4n to record with. Listener should be careful to check volume throughout as their are moments of sudden loudness due to the building's resonances. It should also be noted that there are certain frequencies that couldn't be expressed properly and this is due to the limitations of the amplifier used in this first test.

Disused Factory - Experiment I

This was another experiment from the Disused Factory piece, but in the form of a sound walk around the inside of the space. I felt there was a beautiful sensitivity to the sounds of the earth and debris mixed with wildlife, and wanted to capture it in this raw form.

Sound Walk

A recording of a piece written in reflection of a space very close to me. Recited initially in a presentation, but then later recorded for documentation purposes. The piece was a response to the work I had being doing on the disused factory, but was not directly related to that particular space. 

It Matters

A Sound Artist interested in composition, spoken word, performance and phonography. This page is a collection of her works ranging from musical performances to field recordings to small sounds and readings. 

Anna Celeste Edmonds