SOUND SCORE: TIWWA composed by Mathew Emmett & Mike Blow.
Main sound score: using low frequency oscillation to represents the ‘life & rhythm’ of the building affected in real time by collective behavioral data through the BEMS [Building Energy Management System].
Secondary sound score: is directional and incor- porates sounds from data transmissions and swarm be- havior. The sound is affected by the behavior of the flocking boids (which are linked with the sentiment analysis of social media #).

TIWWA (This Is Where We Are), TATE MODERN DIGITAL 17 - 19th June 2016

Voice Song: Part of a series of works composed by Mathew Emmett for Adam Benjamin's Open State. Premiered at the Tokyo Art Centre, Japan July 2015.

Open State: Voice Song (02)

The voice material was treated in a variety of ways by Emmett to produce a series of sound scores. While usually it is the choreographers ‘internal voice’ that guides the work, in this instance the recordings of the dancer’s voices furnished inspiration on a number of levels. Premiered at the Tokyo Art Centre, Japan July 2015.

Open State: Digital Shadow (03)

Composed by Mathew Emmett for choreographer Adam Benjamin with Exim Dance Company. Performed at The Place, London Jan 2016.

The Birth of Memory

What happens to the space once the building and its sound is removed: is a void created, or does the surrounding sound seep into that uninhabited location, remaining as a hum or the faintest echo? When a new mass replaces the old architectural form, do pleats of surplus sound drape and fold around it, or does sound mutate to inhabit the recreated space? This is the subject of a silent dialogue.

Marsham Street: Sonic Memory (augmented 02)

The sound of a building portrays its volume, mass, materiality, function and design - its presence. It captures sound and reflects it, absorbs it, emits it. A building changes the sound of a place and that low-level resonance lodges itself in memory and in the fabric of the site. With more sensitive equipment can we hear the history of our buildings, the imprint of the past? The sound of a place never becomes extinct - it is absorbed by new structures, new memories. It metamorphoses.

Marsham Street: Sonic Memory (augmented 03)

2 Marsham Street, London - Mathew Emmett
Does the sound of a lost building reside in the space that it once inhabited? Could a sonic record reveal both the past and present spatial voice and, if so, how or what do we hear? Can one perceive a “voice”, an energetic resonance of what was, as if signalling a code for the proportion, volume, materiality and mass of what has been there? Can this sonic record be coloured by patterns of occupation and habits of use, textured through the grain of time?

Marsham Street: Sonic Memory (augmented 01)

The project involved live participation and technical support from PerceptionLab: Detmolder Schule für Architektur und Innenarchitektur, Germany, whose specialist knowledge in eye-tracking and biofeedback systems, enabled me to create the performative event as a medium to simultaneously receive, transmit and observe agent-environment interaction. 

Vection Builder

The soundscape blurs the defined boundaries between museum exhibits and visitors by integrating the observer within the system being observed and creating participatory architectural experience. Notions of second-order cybernetics and technoscience as well as post-phenomenology are explored in the design. Emmett + Murrani.

Overlaid Reality

From the myths of Pygmalion and Prometheus, the artistic and scientific animation of dead matter into the resemblance of life, space and architecture.

Enters The Skin

Bleed
A spatial instrument consisting of an interactive harp that responds to human interaction creating sound and movement. Onto which a tilted  lm is projected to suggest an imbalance to normal visual perception. The effect is intensi ed by intermittent pulses of light that ruptures through the screen and travels through the harp via a light box.

Bleed By Mathew Emmett

Composition by Mathew Emmett with Choreography by Adam Benjamin for Exim Dance Company 2019.

MARKED: This Blood Touches Us

Dark Chant composed by Mathew Emmett for choreographer Adam Benjamin with Exim Dance Company, 2019.

MARKED: Dark Chant

Mathew Emmett works with film, sound, installation and performance to disrupt the original use and perception of buildings.

Collaborations include renowned electronic musician–artist Eberhard Kranemann (ex Kraftwerk, NEU! Piss Off, aka Fritz Müller Rock) and choreographer Adam Benjamin with performances at the Tokyo Art Centre, Japan and the Place, London. In 2007 Emmett attended the Karlheinz Stockhausen composition masterclass in Germany.

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