This page provides a summary listing of key experiments and works throughout the masters program.
It will be updated at the time of assessment to include descriptions for all the works presented, which will include work without the audible component.
From phase 1-2 - early testing with recording and abstracting riddim, first steps with using the table to generate vibration in objects.
From phase 3. Gutterglass represents my first complete range of compositional research around the interactions between hearing and listening, as well as the exploration of making of sound through vibrating materials.
From phase 4 - working with fundamental resonant frequencies of materials, trying to push to the more brittle and bright properties of the glass, experiments with less predictable sound/sensation interactions.
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See phase 5 for these tests.
From phase 6 - Dampening surfaces with my hands to allow control over how much the sounds went into chaotic rattles. I was trying to offer a containment to the sound, in that the potential for vibration was expressed, but not fully realised as noisy rattles.