CD: other works | 2003-2005 | details of works
1 | horizon | 00:15 | stereo | 2004
horizon is intended as a brief intervention for radio. The work is re-composed
from a recording of the time signal made in 1999. The fragment of voice
is taken from a found audiocassette letter. This voice is remembering
the approach and aftermath of a hurricane.
2 | in answer | 04:24 | stereo | 2005
A soundscape re-composed from the magnetic debris and discarded voices
of found answer-phone tapes.
3 | duet for radio | 13:51 | stereo | 2003 | re-mixed
A piece created from a covert recording of a telephone conversation with
my mother. The recording was re-composed: removing my own voice and replacing
it with the static silence of telephone communication. My mother?s voice,
isolated from reply, is re-addressed toward the presence of an unknown
listener. The silence creates a conversation of pauses, silently shifting
attention to the presence of listening: we are listening and being listened
to; we are listening to someone speak, to us, to themselves, to another;
we are listening to listening. The tonality of telephonic communication
creates an acoustic sensation of distance, a beyond from which voice arrives.
The visual situation of radio augments this vagrancy of location: voice
is simultaneously present, here and there. The intimate closeness of voice
is amplified through the vulnerability of being broadcast toward a public
who need not care to listen.
4 | voice waiting | 01:00 | stereo | 2003
A re-edited found answer phone message. All that remains of the original
message are references to place and time: a residue of voice left waiting.
5 | Mozart | 02:01 | stereo | 2004
Whilst listening (and recording) a late night radio transmission I tuned
into a baby crying. At first I thought it was radio-play. But the crying
continued. No presence of attention or words of comfort came: I realised
I had tuned into a baby monitor. Sounds have a belonging-to place. The
re-location of a baby's cry into the public terrain of radio, suddenly
implicates the listener in the child's distress. The music that drifts
into the recording seems to perform a lullaby. I was never sure if this
music was radio interference or the parents attempt to soothe their baby?s
6 | mo (nu) ment | 06:00 | stereo | 2005 | work in
This piece forms one moment from a work in progress. The completed work
will be composed of 24 field recordings of time. Time recordings are taken
at each hour of the day, over a period of one year. This time, taken from
my window, records the sound of bells (church, cathedral, town hall) chiming
the hours; the arrival of swallows; the sound of moisture in the air.
The recording structure maintains a degree of indeterminacy in the sounds
which occupy the time listened to. This particular recording was made
at 12pm on Wednesday the 5th January 2005: the time of the three-minute
silence held in memory of the victims of the Tsunami. If you are very
attentive the sound of a cannon can be heard announcing the beginning
and end of silence.
7 | signal | 00:15 | stereo | 2004
Signal is intended as an intervention for radio: a small interruption
of time. It was re-composed from a recording of the time signal made in