Wil Bolton – Quay Tones
‘Quay Tones’ is a site-specific video and sound work that maps King’s Lynn’s history as a trading port, a member of the Hanseatic League of states that worked together to promote and protect trading routes in the Baltic and the North Sea during the Middle Ages.
The history and atmosphere of the maritime and trading areas of the town are captured in images that focus on fragments and details of architecture and scenery, weathered and worn by the processes of time and the elements.
This imagery is transformed through the use of digital errors and distortions that reflect the effects of entropy and degradation, and is accompanied by an electroacoustic composition that combines site-specific environmental sound with heavily processed recordings of baroque harpsichord tones, stretched and filtered to create deep washes of immersive textural sound.
This work was originally commissioned for the exhibition ‘Trading As…: Hanse Art Project’ (King’s Lynn Arts Centre, Norfolk, UK, 12 July – 8 August 2009). It has also been shown at the BBC Norfolk Film Festival (Fusion at The Forum, Norwich, UK, 11 – 30 October 2010) and SoundImageSound VII (Conservatory of Music, University of the Pacific, Stockton, USA, 26 March 2010).
Wil Bolton is an artist working predominantly with sound, sometimes enhanced with video and photography. His work combines electronic tones with digitally processed acoustic sounds including field recordings and musical instruments. He has produced several site-specific commissions and is particularly interested in the resonance of spaces, their history and atmosphere, and wider notions of place and memory.
His debut CD release ‘Time Lapse’ (Hibernate, 2010) uses guitars, chime bars and vintage keyboards to create warm and emotive melodies, fragmented and submerged among beds of droning ambient textures and environmental sounds.
Recent works include: ‘Treatments and Textures’, a DJ mix of atmospheric textural ambient and electroacoustic tracks for Tate Liverpool’s Sculpture Remixed collection display; ‘Binary’, a commission for the National Trust manor house Oxburgh Hall, in which the venue’s Victorian wallpaper was converted into sound; ‘Chimes for a Wall Drawing’, a live performance on processed chime bars, guitar and sine waves which took Sol LeWitt’s Wall Drawing #1136 as an inspiration and graphic score.
Mark Fell – tone pattern transactuality
Tone Pattern Transactuality is part of a series of works initiated in 2008 that explore the close correlation of sound and image. These were principally conceived of as a critical response to the highly dynamic visuals favoured by many of Fell’s peers. The series rejects this paradigm—the ultra-active, sound-responsive—and instead explores the aesthetics of borderline immobility. Here relationships between sound and image are constructed at a mathematical level, creating intensely coherent, multimodal objects where there is division between, and therefore no priority of, sonic and visual domains. The piece refers equally to sacred geometries, meditative practices and technologies of mind control, yet questions the assumption that such techniques speak directly to one’s inner consciousness or neurological apparatus. It becomes unclear where change is happening – onscreen or within the eye itself. In so doing the work foregrounds the active nature of perception; it constructs and displaces ideas of ‘oneness’.
Fell is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at the local polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Although working in electronic and techno music traditions, Mark’s practice has become increasingly informed by non-European musics. This is evident in two recent linked works “Multistablity” and “UL8” which explore a number of unfamiliar timing and tuning systems. Uncut magazine called these “completely mind-blowing” and the Wire said these were “amazing”. As well as recorded works Mark also produces installation pieces often using multi-spatial speaker technologies. His work in t! his area is characterized by ‘non illusion based’ approaches to surround sound environments. This methodology became prominent in a work commissioned by Thyssen-Bornemisza Art Contemporary (Vienna) in collaboration with Roc Jiménez de Cisneros in 2008. For this the two artists developed a 48 speaker piece that rejected complex three dimensional panning systems in favour of spatially static synthetic sound. Critically Mark’s work is informed by Western philosophy, especially the writings of Heidegger and Wittgenstein.
Owen Lloyd – I am a painter
I am a Painter is a film piece with an indeterminate structure that edits itself according to a simple set of rules. It uses short clips from cine films that my grandfather made in the 1950s. These clips have been divided into their red green and blue constituent parts which are then played back in three overlaying and out of sync modules.
It is accompanied by a soundtrack that layers saw (red), pulse (green) and sine (blue) waves to accompany the files and modulates their frequencies, filtering and levels according to the final overall colour output.
Owen Lloyd is a composer and sound artist who’s practice and professional work focus on sound and extra-musical data. Owen has had a long career as a freelance composer and sound designer for a wide variety of media including installations, websites, film, television and games consoles. In the process he has worked on many award winning projects and had work presented at experimental film festivals and exhibitions, in the cinema and on television both nationally and internationally. The main thrust of his practice is the use of data inputs to drive work, producing music with narrative links to sonification. This is an area of research that he is continuing to Phd level.
Rob Mullender – Said Object / Daughter’s Voice From Memory
this is a video piece with accompanying sculpture (or vice-versa?). the sculpture being what is discussed in the video, it being notionally a physical rendering of a sound wave. the participants shown were asked the question ‘what does it say?’, and this is an edited collection of their responses. the object itself (entitled ‘daughter’s voice from memory’) is placed on a table in front of the projected video, so that folks can examine the piece as they watch/listen. handling it is encouraged. sound for the video should be through headphones, preferably two pairs or more.
Rob Mullender is an artist, living and working in London.