I’m delighted to be part of Radio Art Zone’s 100 artists 100-day programme for Esch 2022 European Capital of Culture starting on 18th June. Radio Art Zone is a project by Radio Ara and Mobile Radio as part of Esch 2022. The programme runs until 25th September. My show Dream Stream will be on 22nd August.
Zoë Strachan and I continue our exploration of performing live experimental radio artwork. Up Closeness is a dialogue between two green urban spaces, a close look at the local. An attempt to find small connections amid the dislocation from everyday life. Field recordings and voice sounds are combined with found and composed text to animate distinct temporal spaces. Live improvisation and embedded writing practice enact a mimetic re-inhabiting of space.
We first performed Up Closeness as a live broadcast at Radiophrenia Glasgow on 20th November 2020 in CCA Glasgow.
Zoë Strachan and I created Rays & Correlations for a live broadcast from the Radiophrenia studio on 15th May 2019. This is our third collaborative radio artwork. Previous works are In Transit and Static Flux.
Inspired by the patterns of cosmic ray interactions in a cloud chamber, we imagine the myriad signals and attempts at communication that might enter a sphere and intersect, cluster, miss or fade away. Rays & Correlations is a voice-focused improvised performance with layers of interactive soundscape.
The listener is invited to find a thread to hold onto amid interweaving sparse and dense streams of words and evocations – and to decide whether the sound space is literal, as inside a kind of radome, or metaphorical – representing any individual consciousness trying to make sense of human connection.
Listen out for Sarah Tripp’s Radiophrenia commission online or at 87.9fm. First transmission is at 6pm on 14th Nov 2017 with a repeat broadcast at 6pm on 15th Nov.
“One Hundred Glass Brains Waking Up is a fictional conversation between two people who begin as strangers. Without any prior social bonds they discover they are free to make each other up. This is escapist fiction pared back to two people in a room looking for a way out of social stultification.”
Performed by: Brighton Upton Trust
Composed by: Nichola Scrutton
Static Flux is a radio and performance collaboration with writer Zoë Strachan. The work was initially produced as a live studio broadcast for Radiophrenia in 2017 and then subsequently selected for a live performance at Hidden Door Festival 2018.
Static Fluxfocuses on out-of-time memory states, and how they can be both static and in flux. We are interested in exploring narrative and time through chance encounters with remnants, fragments and the ephemera of past lives. Metaphors for our endeavour include the remnants found in second-hand bags and the pockets of clothing, or in notes scribbled on the back of black and white photographs. There is a melancholy air to these things, but as with any kind of haunting, also the potential for fear, and for deeper connections with our own sense of mortality.
Radiophrenia invited myself and writer Zoë Strachan to collaborate on a Live-to-Air commission. In our collaboration we explored the state of being In Transit and how it disrupts the interior monologues of two people on separate but overlapping journeys of a slightly mysterious kind.
Radiophrenia is a temporary art radio station broadcasting from the CCA in Glasgow. In 2016 it produced a two-week exploration into current trends in sound and transmission arts.
I am delighted to have been invited by Dominique Balaÿ to curate a programme for broadcast on WebSYNradio from 16th – 30th June 2016. Alongside a selection of my own works are compositions by Alistair MacDonald, Bethan Parkes, Luca Nasciuti and Mark Vernon – big thanks to them for contributing.
Sonnets was a series of live, interactive, largely improvised sound poems, and was created for a Radiophrenia live-to-air commission in 2015. The work drew on the root meanings of the title word – from ‘son’ (song) and ‘sonus’ (sound) – rather than the traditional poetic form. I used minimal processing, and focused instead on weaving together a palette of breathy sounds, phonemic fragments and vocal gestures into a series of self-contained but interlinked sound worlds, sometimes with field recordings, to invoke or reference a fictional place or state.
(Please note the sound clips are currently off-air)
Post Industrial Broadcast #1 (9’39) portrays a fictional place or state in a process of transformation. The piece draws from a range of source materials including hydrophone and contact microphone recordings, a radio, the human voice, two-way radios, and an oil radiator and synthesized sounds. Compositionally, the piece unfolds in a wave-like structure. Subtle sounds of water emerge and recede giving a sense of constant flow, while sheets of sound – long, loosely articulated sound gestures – are agitated and interrupted by unpredictable micro-collisions and interference. A sense of forbidding is subtly teased apart by hints of human presence and moments of iridescence.
Post-Industrial Broadcast #1 was awarded the 2013 IAWM Pauline Oliveros Prize for electroacoustic media, US.
Re-release of Framework Seasonal Issue #7 on Bandcamp
2016 Undae! Electroacoustic Music I + II, Thrmnphone netlabel (Spain)
Curated show Glasgow Soundscapes: WebSynRadio (France)
KcEMA Modern Soundscapes concert (Missouri, US)
‘The Stranger’, AKSC, World Radio Day (Macedonia)
2014 Framework Seasonal Issue #7 CD – featured artist (Estonia)
Undae Radio no.64, Radio Circulo (Spain)
‘The Stranger that is next to me’, Errant Bodies (Berlin)
‘Nuit blanche’, Festival Futura (France)
‘Interzone’, The Whisky Bond (Glasgow)
Hold Your Breath was a large-scale visual/sound art project set up to improve the entrances/exits to the Clyde Tunnel, with the participation of the Whiteinch and Linthouse communities at each end of the tunnel.
I composed the various contributions of source sound and music into one large 40-minute work, which was to be projected by radio into the cars traveling through the Clyde Tunnel.
Various groups were involved in creating sound/music source materials for the soundscape: Paragon Ensemble working with St Jerome’s and Whiteinch Primary Schools; Art Form with Bryan Tolland; Tigerstyle and Dhol Infusion drummers; and the MacAlpine Family all contributed. I worked with Paragon Ensemble in the schools, gathering up sounds/songs from the children, the playground and surrounding streets, and recorded songs at the MacAlpine’s (four generation) family party