Stage 1 Creative Projects final group electroacoustic piece.
Titus English, Jamie Cook, James Unsworth and Rebecca Whitman.
Based upon an extract taken from The Tempest by Shakespeare. Task was to experiment with recordings made from interpretations of the text to produce a final sound-art composition. 
(Meant for stereo listening.)

Shackled

Stage 1 solo final Creative Projects electroacoustic piece.
Task was to make a sound library from recordings of objects that interested us and to create a sound-art composition by experimenting with our library.
(Meant for stereo listening.)

Diffusion

This was a quick free improvisation we did which we just recorded on my iPhone (quality is awful, sorry).
We had an electric guitar, a flute, a piano, a bassoon, an acoustic guitar and someone EQing a live recording. We did a mixture of tonal and non-tonal improvisations and for this one all we agreed was that we'd have some sort of tonal centre, but we wouldn't chose it or force it, that we'd just find it eventually.

Free Improvisation (Tonal)

5th track from a sonic art project. Inspired by a graphic score of two photographs.

5 Whorled

3rd track from sonic art project. Inspired by graphic score of 3 photographs

3 Halcyon

Solo Improvisation

For ‘Tinnalilt’, I focussed on smaller, more tonal sounds that are drawn out and heard through the ‘mist’. The images together have a feeling of something being obscured behind a smokescreen, of concepts in the dark that are just that little too far away to grasp. The light strokes in the first image are reflected in the more sinewy and whispery sounds of a prepared guitar, whereas the haze in the second image is heard in the darker rumbling static. The large orbs of colour in the final image spoke to me as a form of cadence, drawing the piece to a close.

1 Tinnalilt

‘Rumour’ draws on the idea of the perception human form in the sonic and visual worlds. As humans ourselves, the human form is easily recognisable to us, and the same goes for the human voice. In he middle image in particular, what at first looks like smoky globes of light, at a closer inspection can actually be recognised at two faces. In the sonic world I created in response to these images, I used a lot of recordings of the human voice, which, although edited, can still be recognised as a ‘voice’. I found it interesting how difficult it was to try and detach the sound humans make from our instant knowledge of its source and the perception of it being a ‘voice’, rather than just a ‘sound’. Instead of battling with this, I embraced it as a concept to benefit creating a sonic response.

2 Rumour

‘Twinpulse’ was inspired by the idea of two similar things interacting. The light dabs in the first image reminded me of a DNA chain, where there are two strands that twist with connecting ladder-steps between them. The flecks of light seemed to suggest to me a twisting form. In the second image, I liked the tonal contrast between bright light, fading light and the pitch-black background. This ‘laser beam’ seems to split into two wing-like forms, though we can only see a suggestion of the second and furthest away wing as we are viewing it from a peculiar angle. The final image shows two thick bands of light that cross over one another. The energy and suggestion of a progression of movement in this image attracted me, and I was interested in how studying one of the bands of light affected how bright the other appeared. I tried to experiment with this idea by continuing two ‘twin pulses’ throughout the track, and playing off the idea that if you ear latches onto one, the other is heard differently.