Silence on Loan. 2022. Performance broadcast live on Instagram
On the last Monday of January 2022, the annual performance of Silence on Loan, took place at Winchester School of Art Library. It was performed alone in the early morning before the library opened to the public and without an audience present. During the silence I wore industrial Ear Protectors, so even I could not hear the silence as it occurred.
The annual performance was announced in advance on social media and this blog, which included an invitation for people to not attend or listen. The performed silence was however, broadcast live (and mute) via Instagram, so that those who wished, might watch and not listen, together. The Instagram recording of the broadcast was unceremoniously deleted (by accident) immediately after the performance.
In order for those not listening to inform others of their lack of attention, a limited edition, I Am Not Listening, pin-badge, was available to purchase and wear on the day. The 1” pin sold out, adorning the lapels of people not listening, as far apart as New York and Keyhaven, Australia, Berlin and Wolverhampton.
This year, Silence on Loan was unheard by what could have been its largest audience to date. A big thank you to all those millions of people around the world, who were not listening.
Last year the annual performance of Silence on Loan, was postponed by the ‘silent epidemic’ of COVID. In January, I had hoped to perform a socially distanced version, completely alone in the Winchester School of Art Library, where the publication is held – a lonely withdrawn silence, performed but unheard. But lockdown restrictions meant that visiting the library was not permitted and the annual performance had to be rescheduled, eventually taking place in August 2021 – coincidently in the same week as the publication of my essay Withdrawn from use: silence, listening and undoing, in the journal Organised Sound 26/2 (Cambridge University Press).
This year silence has been recalibrated, returning the annual performance to January so as to synchronise with the original month of publication and the inclusion of Silence on Loan into the Artists’ Books Special Collection at WSA in 2019. But this year’s performance is different to the previous three. In remembrance, perhaps, of the socially distanced, isolated performance which never occurred, the 2022 performance will take place behind the closed magnetic gates of WSA library 2.
On Monday 31st January, around 8:30 am, before the library opens and without visitors or audience, the unpaginated spiral slither of Silence on Loan, will be taken from the shelf and placed on the turntable platter. The unheard audio cassette that has documented every silent anniversary will be rewound. Last year’s silence will be simultaneously erased and recorded over with this. I will keep vigil as silence rotates, my ears defended from it: silence occurring with no one there to hear.
There is strictly no admittance to this performed anniversary of Silence of Loan. But you are invited to not listen with me. You may not listen wherever you are, at home, at work, alone or in company. You may also watch but not listen via a live muted Instagram broadcast at @sebastiane_hegarty
Around 4pm on Wednesday 25th August at Winchester School of Art Library 2, a slim slither of vinyl will be exhumed from between the hardbacks on the library shelf and placed on the platter of a portable turntable. Silence on Loan is an artist book published in the form of a 10″ vinyl dubplate, cut with a silent groove. [re]Turning at 33 revolutions per minute, silence will ‘play’ for just over 9 minutes and the performance will then be over.
This year the ‘performance’ will be prefaced by a short reading from a new essay discussing silence and listening as participation. The full essay, titled, ‘Withdrawn from use: Silence, listening and undoing, will be published in the forthcoming issue of Organised Sound (26/02).
As has become my habit, the performance will begin by rewinding the cassette recording of last years ‘event’, so that it might be taped over and erased (unplayed and unheard) by this year’s recording. Once silence is done, the tape player is stopped, the cassette put in its case and silence quietly returned to its position on the shelf at 741.64HEG.
Postponed due to Covid, the annual performance of Silence on Loan is free to attend, and this year will also be available live and socially distanced via Instagram: @sebastiane_hegarty
Thanks to Catherine Polly and all at WSA Library for their help and support.
Piss Walk№ 6 is the first of my stained perambulations to be published in the form of a limited-edition set of 13 purchasable A6 postcards. Printed on uncoated 600gsm card and seamed in ‘sunny yellow’ the photographic sequence retraces the sixth of my early morning ‘lockdown’ walks, as I sniffed around the back streets of Winchester and along the river Itchen. Each card is rubber stamped on the reverse, with the date of the walk and numbered with its position in the sequence of damp patches encountered that day. As discussed in a previous post, my lockdown walks had no predetermined purpose other than a modicum of exercise and time away from the paralysis of Zoom. Rebecca Solnit notes that the casual acquaintance of a meandering stroll ‘allows you to find what you do not know you are looking for’. My meander, coupled with the quiet physical vacancy of the ante meridiem environment, acquainted me with the occasional and previously unnoticed, damp trails of urine left by the toilet of local hounds. It became my habit to follow and photographically collect these moist encounters. A habit that has resulted in the creation of an unintentional archive of (to date) thirteen Piss Walks.
On the leash of the dogs’ morning privy, I tail the stained criminal records of an intimate act in a public space: an evaporating souvenir of corporeal presence. The obsolete technology of the picture postcard would therefore seem to be an appropriately ephemeral method of recording and mapping these trails. Sent back to where we are not, addressing those we are apart from, the cheap, disposable souvenir of a postcard, announces presence whilst confirming absence. As it passes visibly through the public body of the Royal Mail, the postcard reveals a dysfunctional relationship with intimacy, a mischievous liaison, characterised by the saucy offence of seaside communique and an obsession with bodily function.
The 13 postcards of Piss Walk № 6 have now been sold and sent. Protected and concealed by the hard-backed buff of a manilla envelope, each postcard has passed modestly through the systemised transit of national (and international) mail. Extending the scent of canine territories from Winchester to Brighton to Bristol, Wolverhampton and beyond the sea to Canada, the postcards are a souvenir of an evaporated walk, a memory dispersed, fragmented and lost in the post.
In a second limited-edition, Piss Walk № 9 has been published as a complete set of ten postcards. Archived and preserved in an ironically acid free box, the postcards will remain enveloped and unsent as part of the Artists’ Book Collection at Winchester School of Art Library.
I am also delighted that the damp traces of Piss Walk № 4, have been included in Right Here Right Now, Observations, Speculations & Hallucinations; a new book gathering together the personal lockdown of numerous artists, designers and writers. Published by Book-Lab 2020 (isbn: 978-1-71680-539-4), designed and edited by Danny Aldred, RHRN is ‘a kind of visual atlas [providing] multiple perspectives of the same moment.’ There are plans to exhibit the book at the Design Transfer Gallery (Berlin) later this year.
I have thought I might ‘celebrate’ the end of the pandemic by offering a Piss Walk Tour of Winchester. In direct competition with English Heritage, Jane Austin’s House and the public tours of private education, the WinchesterPiss Walk Tour would meet beneath a plague flag on Water Lane and proceed along the river Itchen, through the Water Meadows, around the u-bend of Winchester College, before passing down the cloisters of Winchester Cathedral and finally through the Water Gate, past The Quaker Meeting House and back across the bridge to rejoin Water Lane. Along the way I would recount stories of infamous stains and perhaps leave a trail of Piss Walk postcards in our wake. DM to reserve your place.
Throbbing Gristle at the Winchester Hat Fair (1976). Photo: Judith Blake
In August 1976 Genesis P-Orridge and Cosey Fanni Tutti performed as Throbbing Gristle at the Winchester Hat fair in Hampshire, England. Earlier that day, Genesis had been seen ‘preparing’ in the High Street outside Boots: ‘bandaging half a peach to his lower leg.’
Encircled by an audience of parents and their young daughters, the gig has been mythically ascribed to the creation of the song: WE HATE YOU (Little Girls). TG returned to Winchester a year later to perform at the Art School, a set which included A Nod and A Wank,Feeling Critical and (possibly) Dead Ed. Both performances were recorded as part of the TG 24 HOURS Cassette [suitcase] (1979).
This year marks the 150th anniversary of Winchester School of Art (WSA). In commemoration of this and in celebration of the TG performances and wider art college alternative music culture that provided a space for such experimental work to occur, artist and musician David Luff organised Art Throbs at The Railway Inn, Winchester: an evening of experimental music, film and happenings.
SluGristle Placards: David Luff
Formed partly [and partly formed] for the Art Throbs happening and in positive reply to the question: ‘Fancy being in a TG tribute band?’ Slug Pellets combine the found tapes, field-recordings and dissolving fossil fuzz of Sebastiane Hegarty with the home-made cardboard synth and mute coronet of David Luff. The Slugs (as they have yet to become known) pilfer their name from the early TG murder ballad, Slug Bait, performed live at The ICA and Nuffield Theatre (University of Southampton). Variations of the ‘song’ appear on the first [official] TG album, 2nd Annual Report (1977): an album described by Michael Bonner in Uncut as “a dystopian churn of smoke and asbestos dust.”
In discussions of how Slug Pellets might conspire to pay homage to TG, David and I agreed that we would not attempt to recreate specific ‘songs’, but rather respond to the form and content of the combined performances and our personal TG ghosts. Echoing TG’s use of found sound and dubious tapes, I searched through the spontaneous sound archive I had developed during my PhD at WSA. Many of these found sounds were recorded through the surveillance of a lapel microphone attached to a pocketed mini disc. Constently held in pause, my ear lay in wait, listening in and baited to record. The archive revealed a paranormal pallet of transient encounters, forgotten sounds and departed voices: the wet percussion of a library gutter, a crushed glass stroll through the acoustics of an abandoned meat packing [death] factory, the posthumous vocal acquaintance of Ron Purse, a much-loved local eccentric: recorded in 1998, Ron approaches [returns] pushing his pram. Seeing me he speaks briefly, then disappears without goodbye ‘home to bed’ and silence. Ron died in 2006. The apparition of these untreated field-recordings is mingled with the fizzle and whine of dissolving ammonites, the looped pulse of raindrop, engine hums and deceased answerphone messages. David worked in response to this soundscape, using his extensive engineering skills to build a hand cranked Intonarumori, utilising cardboard boxes, wire, paper and ply. This was accompanied by muted Coronet and modular tones chewed up through the Gristler.
At the very bottom of a set list that included The Ba and the Architects of Frome, the stage presence of Slug Pellets was industrial glam, with silver rain jackets (Ikea), mirror shades and the vibrant postiche of Genesis (Breyer) bobs. As a landscape for our TG homage I composed a film for projection: a [g]Litterbug of forgotten fragments found lurking in the memory of my iPhone library.
In keeping with early TG concerts the shell-less sound of Slug Pellets was introduced to the Art Throbs audience by way of a found cassette (a verbal warning from Adult Bedside Tapes: Gay Girls no.1). This was followed by a performed poem based on the group name: a synchronised spoken cut-up plagiarised from a rhyming dictionary, which produced a number of profound collisions: Snug / Pelmet, Tug / Helmet, Smug / Ferret.
Unfortunately no recordings of the concert are currently available, but the [dead] edits above are from the three sections of my soundscape before David overlaid his mute Coronet and rotated his cardboard intonarumori.
Genesis P-inOils: David Luff
It was with shock and sadness that one week after our performance at Art Throbs, we learned that Caresse & Genesse P-Orridge had announced that their father, Genesis Breyer P-Orridge had ‘dropped he/r body’ on the morning of Saturday March 14th, 2020.
TIme will see us
Time will free us
Time will be us
We are everywhere
On Friday the 31st January 2020, I arrived at Winchester School of Art Library to find a table ‘reserved for activity’. It had been one year and one day since Silence on Loan was added to the Artists’ Book Collectionat the WSA Library. Held without the protection of cover or sleeve the book (a single-sided 10” dubplate cut with a silent groove) is shelved at 741.64 HEG. Wedged between the hardbacks, this mute slither of vinyl is easily overlooked, but once a year it is taken from the shelf and placed on the platter of a portable turntable. [Re]turning at thirty-three and a third revolutions per minute the dubplate slowly pronounces the dust and harm that has come to its surface: the silence that has been lost. Once played the silence is put back on the shelf, where it is left un-sounding for another year.
As a performance, this annual audition is rather disappointing; nothing much happens for slightly more than nine-minutes. Those who are here to hear (and those library visitors who’s listening the silence loans) listen to silence being broken and unheard. Perhaps the tables are turned, and it is the listeners who perform the silence rather than the record player’s stylus. For many of those who came, this is a return to silence, having been here last year when Silence on Loan was performed at the moment of its inclusion into library stock. Just as the dust collects in the groove, so silence returns and gathers in the ear of those who come to listen and remember listening again.
Everyone who is, and now was, there to hear, receives a souvenir in the form of a Silence on Loan 2020 pin-badge, whilst a paper wristband and UV hand-stamp, temporarily confirm admission and attendance.
I had been inclined to record each performance, so that I might document and measure the changes that time brings to the silence. But such calculating permanence would surely imprison that which does not sound, that which is fragile, fugitive and evasive. Silence, is more concerned with the potential for sound than its absence, most [in]audible when we imagine what we don’t hear. The analogue frailty of a physical recording can be used to augment this un-sounding potentiality. The performance on the 31st was documented using an old portable audio cassette recorder. Such obsolete media is characterised by a distinct lack of [hi] fidelity, recording its own imperfections and imposing its own magnetic patina upon the sound it records. This failure to create a faithful document is enhanced by the recording not being monitored – the tape can be seen slowly winding from left to right, but no lights or needles visibly meter the units of volume.
The quantity of tape used measures the duration of silence recorded, transcribing [no] sound into a spatial length, but the cassette is never played, and the silence remains unheard. Paused at this distance, the silence waits next year’s anniversary, when it will be re-wound and next year’s silence recorded over this. An [un] sounding and unfaithful record, this audio document, simultaneously returns and erases the silence of another year.
The next performance of Silence on Loan will be in January 2021
A perfect summer’s day. Sunshine, slight breeze. The Ness ablaze with flowers.
Derek Jarman, Modern Nature
Seagulls flocking over Ness [field-recording]: 02:00 / mp3 / 2019
At 9:15 AM on the 24th July 1991, the Post Office collected a hand-written envelope, that had been dropped into a letter box in New Romney near Dungeness. A day later, a bright orange envelope, addressed in a flourish of black ink, fell onto the floor of a one-bedroom flat in Park Fields, Wolverhampton. Addressed by Derek Jarman this envelope is kept between the pages of a copy of Modern Nature.
In June this year, Modern Nature featured on the BBC Radio 4 series, Book of the Week. Beautifully read by Rupert Everett the programme was recorded at Prospect Cottage, Jarman’s home in Dungeness. Everett reads from the desk where Modern Nature was written, and an orange envelope inscribed. The letter enclosed within that envelope ends with the words: ‘Dungeness is all flowers.’
Since receiving the letter in 1991, I have wanted to return to Dungeness and see Prospect Cottage in full flower. This summer, twenty-five years after his death I finally returned. I say ‘return’ although I had never actually been to the Ness. And yet, having waited so long, it does feel like a return of sorts, a return to somewhere I have never been and to a memory I am yet to forget.
Listen. Listen now. Listen to Ness.
Ness speaks. Ness speaks gull, speaks wave, speaks
bracken and lapwing, speaks bullet, ruin, gale deception.
Ness speaks […] transmission, reception, Ness speaks
pure mercury, utmost secret, swift current, rapid fire.
Listen again. Listen back. Listen to the past of Ness […] 
As part of the ‘fifth continent’ Dungeness is set adrift, detached, flat and exquisitely bleak. Closer to Calais than London the Global Positioning System of my mobile, ignores Brexit and positions me firmly in France. On the shingle, the derelict shell of a wooden shed , is thought to have been built by Marconi as part of his experiments with the transmission of wireless radio signals across English Channel. The airwaves still chatter in the frequent modulation of broken English and spoken French. Like many of the buildings on the Ness, Marconi’s ‘Wireless shed’ has been converted into a modernist holiday home.
A physical and architectural neighbour to the Wireless shed , the Fog Signal Building is part of the Trinity House Experimentation Station . In August of this year it became the site of my most recent covert residency and micro-FM transmission. The industrial bungalow lies low in the shingle at the very tip of the headland. Rising from its flat concrete roof, the perpendicular pluck of a decommissioned radio tower breaks cover, transmitting a ghost of presence in the horizontal empty – Ness. Every morning a small electronic murmur of starlings settles on the tower, briefly recommissioning transmission.
Fog Signal Building once housed the air pumps, whose compressed breath, mouthed through an array of six horns, tested the distance and propagation of fog signals. An architectural ghost of these forgotten voices remains in a monochrome tower of mute horns, which peaks over the sine waves of shingle, bellowing silently, out to sea.
Formed through longshore drift, the ‘dangerous nose’ of the Ness is constantly wiped by oblique incoming winds. And yet the landscape seems strangely still, evacuated of presence, it oxidises quietly. On the horizon the sea is visible, but it’s sound remains distant and remote, an audible rumour behind a vast tide of shingle.
Considered one of the quietest places in the UK, in the 1920’s the Ness was referred to as ‘the nearest approach to silence […]’ and selected as a good site for the large array of three acoustic mirrors at Great Stone (aka Denge). The early warning system of these concrete ears extends along the Kent coast, from Denge to Hythe, onto Dover and the South Foreland Lighthouse, where in 1899, Marconi conducted the first international radio transmission.
As part of the HytheAcoustical Research Station, the sound mirrors at Hythe were constructed by the Air Ministry in the 1920’s with the largest of the two (30ft) being completed in 1929. Designed to survey the air, the mirrors listened out for the incoming propulsion of enemy aircraft. Although successful in tests, by 1936 the acoustic premonition of sound mirrors was superseded by the electromagnetic scan of RAdio Detection and Ranging.
At the summit of The Roughs, overlooking the beached military ranges below, the largest of the Hythe mirrors survives. Tagged and crumbling, its cracked concrete ear still listens. ‘[A]lone with nothing particular to listen to’, perhaps as Derek Jarman writes, ‘this is [its] finest hour.’ As I ascend the hill and reach the mirror, I hold a microphone out into the oracle [Auricle] of its hollow, and I am suddenly confronted with a burst of gunfire, the echo of its acoustic shrapnel shattering the mirror’s derelict silence. Francois Bonnet notes that ‘the echo, produced by the repercussions a multiplied sound […] establishe[s] a supernatural sonorous environment’. Brandon Labelle also recognises the ghosting of acoustic delay when he writes: ‘the echo is a sound that comes back to haunt [ …]’. Just as the mythical Echo wasted away, her bones turning to stone, so too the percussion of the ballistics recurs, an echoic and fugitive spirit, mineralised in the concrete of the mirror.
Air Harp n.3: 04:12 / mp3 / 2019
My previous transmissions at Lizard Wireless Telegraphy Station were composed of sounds found and recorded in the surrounding landscape. At Fog Signal I decided to not only listen into the landscape, but also introduce other sounds into it. The ‘air harp’ is a cheap second-hand auto harp, ‘prepared’ with the flotsam of wood, screw and polystyrene washed up onto the Ness. Performed by the wind, this automatic aeolian harp, uncovers the murmuring music of sea breezes.
But from where and whence do these ghostly melodies come? Athanasius Kircher, who first described the Aeolian harp in 1650, ‘surmised that the wind comes in rays’, plucking the strings and causing them to sound. Whilst, in Physiological Disquisitions, the 17th century natural philosopher William Jones proposed that the music of the Aeolian harp originated not in the strings, but in the air itself. The harp operated as a ‘sound prism’ ‘[refracting] the wind,’ dividing and revealing ‘vibrations […] already present in the air.’
Pebble arc: 02:40 / mp3 / 2019
Fog Signal Transmission [harp and signal] edit: 03:00 / mp3 / 2019
The transmission at Fog Signal, begins as the beam of the Dungeness lighthouse automatically announces night fall. A line of pebbles cast onto the shingle, traces an arc of auditory space and presence. The auto harp sounds, divining the air and revealing a concert of signals already present. I transmit to an unknown and unknowing audience, the transmission, like sound itself, disappearing in the moment of its appearance. Signals lost are sent, received and lost again. No one is listening, nothing is heard.
 Robert Macfarlane & Stanley Donwood, 2019. Ness. London: Hamish Hamilton. p.5
 This shack appears in the landscape of Jarman’s The Garden (1990).
 It is difficult to confirm that Marconi built the ‘Wireless Shed’ in the 1890’s. The building is also refereed to as the Decca Radar Station, built by the Decca Navigator Company in 1961.
 Fog Signal Building and the Experimentation Station complex were redesigned by the Interior Architects Johnson Naylor
 Richard N Scarth. 1995. Mirrors by the sea. North Elham: Minnis Print Ltd. p.5
 Derek Jarman. 1991. Modern Nature. London: Century. p.72
 Francois J. Bonnet. 2016. The order of sounds. Falmouth: Urbanomic. p.25
And our ears
Are formed of the sea as we listen 
On Saturday the 4th May 2019 a final silence was lost to the sea off the coast of Holy Island, Anglesey. One of four such disappearances, this concluding silence sank beneath the waves of the Irish Sea on a bright spring day, in [plain] sight of the South Stack Lighthouse. The Metadata of a photograph taken at the time of disappearance, positions the silence at an altitude of 72.07 m with the global coordinates of: Latitude: 53,18.1428N / Longitude: 4,41.3708W.
The quartet of missing silence consists (or consisted) of four single-sided records; each cut with a silent groove and lost to the seas surrounding the UK over a period of four years (the Irish Sea, North Sea, English Channel and Celtic Sea). Each record is labelled with a request for return, care of the British Library Sound Archive. A small advert placed in the Lost and Found section of The Times newspaper announces the site of the silence lost. Published on the day of disappearance, this advert functions as both a premonition and record of loss. The announcement, together with a photograph of the sea into which the record disappeared, and an empty, preservation grey, archival sleeve, are the only ‘proof’ of the records existence and its silence being lost.
In his book Sound, Michel Chion considers the ear as ‘a link between different worlds (real and imaginary) and different registers (physical and mental).’ Just as the silence lost directs our listening toward an imaginary absence of sound, so too the circumstantial (physical) evidence of loss requires that we imagine and believe silence once existed and has now disappeared. The emptiness of the archival sleeve quietly anticipates return, a return that may enable silence to sound [again]. And in this silence lost, we listen without listening for, we place our ear against the shell of sounds that have not yet been caused to vibrate. [Waves…]
As the publisher of the artists’ book Silence on Loan (ISBN: 978-1-5272-3880-0), I am required under the Legal Deposit Libraries Act 2003, to deposit a copy of the publication with the British Library. This copy must be ‘of the same quality as the best copies which, at the time of delivery, have been produced for publication in the United Kingdom.’ [Legal Deposit Libraries Act 2003]
The Act applies to printed publications and excludes sound recordings. As an artists’ book in the form of a 10” vinyl record (or dubplate), the publication of Silence on Loan, poses some questions about what constitutes a printed publication. Cut with a silent groove, Silence on Loan is not a sound recording, but rather, a record of a moment when nothing was recorded. The absence of sound etched into the vinyl, ‘sets a mark upon on a surface’ and may therefore be called a print (but not a reproduction) of silence. Stored without the protection of cover or sleeve, this silent print is imprinted (again) with the plosions and fricatives of harm and damage that materiality asserts.
As a book, Silence on Loan is always being rewritten.
In my recent exhibition Various Silences, at Winchester School of Art Library, Silence on Loan was exhibited with a ‘copy’ made for Legal Deposit. Submitting the publication for legal deposit, poses questions concerning the reproduction of an original, which is still being written. Perhaps what is needed is not a copy or reproduction, but a doppelgänger: an apparition of silence. The inscription of one surface upon another, generates a silent palimpsest, a haunted silence. Visually the mechanics of rubber stamps mimic likeness whilst establishing difference: the subtle [dis]placement and frailties of ink creating unique traces with each duplication.
A letter written to accompany the legal deposit copy [apparition] of Silence on Loan, was typed on a (Brother) typewriter and duplicated in triplicate using two sheets of carbon paper. The materiality of this correspondence is reinforced by providing only physical address (no mobile number, no email address.) At the post office, silence was weighed, measured and sent (recorded delivery) to the Deposit Office of the British Library in Boston, Yorkshire.
A receipt for this deposit is pending.
In the autumn of 2018 I toured the air. The tour was problematic, not in terms of content or audience response, but in terms of what constitutes a tour. I decided that two performances, separated from each other in place and time, is the minimum axis required for a tour to occur. The bag was packed, the t-shirts printed.
The tapping the air tour consisted of two performed transmissions for six radios. It started in September at The Iklectic Art Laband concluded at the APT Gallery in October. Both micro-FM transmission were based on field-recordings made on the Lizard Peninsular during a covert residency at Marconi’s Lizard Wireless Telegraphy Station in Cornwall: site of the world’s first ‘over the horizon’ wireless transmission.
Photography: Nicolò Becciu.
Tapping the air: for six radios and a piano was part of Eclectic Electronics, an evening of experimental sound work at the Iklectic, curated by Bernhard Living and including performances by Lucie Štěpánková, Lucia H Chung, Phil Durrant & Pat Thomas.
The performance began by tuning through the signal jammed London air in search of an available and vacant radio frequency. A vacancy found the six radios are individually tuned into the signal of the transmitted soundscape. However, the signal is never stable, the position of each radio and my physical proximity to them shift and recompose the sound transmitted, establishing a localised and dynamic soundfield.
This soundfield was haunted by the recorded dit-dit-dit of Marconi’s test signal being tapped out on the architectural remains of communication technologies that litter the Lizard landscape. The call of this tapping receives a live response in the geological tap of Serpentine pebbles on the frame and strings of the Iklectic piano. As the transmission closes the choreographer Julia Hall taps unseen on the external wooden walls and windows of the building: a signal coming through from the other side, testing substance and questioning presence.
tapping the air: for a fragment of chalk and any number of radios
edit / opening / 03:02 / mp3 / 2018
edit / ending / 03:39 / mp3 / 2018
At the APT Gallery,Tapping the air: for a fragment of chalk and any number ofradios, invited the audience to tune into its frequency. The performance began with the audible dissolve of a chalk fragment exhumed from the cretaceous geology of Alum Bay on the Isle of Wight (site of Marconi’s early radio transmissions and the Marconi Monument). As the International Ocean Boy slowly tuned into the slither of a vacant FM frequency, the prehistoric static of CO2 escaping from the dissolving chalk was absorbed into the emerging atmospheric shush of radio transmission.