Instruments as post digital performance objects
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Sphere instrumentsfor Ariel Areil (2016-17) These instruments contain generative osccilator circuits that are highly suceptible to electromagnetic interference, and thererfore kinesthetic manipulation through proximity of the body or any substantial EMF generator. Sheres for Ariel Ariel
The Boot instrument, for Noiseloop Bootstrap Paradox (2016-17) Like the Spheres, The boot contains a generative 'whistling' oscillator that is highly suseptible to electromagnetic fields. It is directional (note the coil on the stapler) and designed to be an absurd and clumsy 'unwearable wearable'. Noiseloop Bootstrap Paradox (2016-17)
Turntable pulley assemblage (2015-16)

This is the 'Transfer of Power' performance installation project (2016) that resulted from the 'One Knob to Rule Them All' collaboration with Newcastle Culture Lab.

This a prone to faliure construction and pulley system made of two instruments and a control wheel.

Knob Web
  Radio as sound generator Radio Web

Brick Synth sound generator

A reclaimed house brick as an interface/object that uses a Dirty Electronics ICA synth circuit as a sound generator.

Nail Feathers Wearable (2016) Designed by Michele Danjoux with assistance from myself with nails and contact microphones in the tail and an amplified speaker adound the neck. For the DAP LAB Metabody Project 2016 at Brunel University. Nail Feathers Wearable (2016)
    Electroacoustic dress01
Ribbon Sphere (2016) A totemic, ritual sounding object for the DAP LAB Metabody Project 2016 at Brunel University. Sound is produced by pulling the ribbons.
Ritual sounding object (2016) Almost inaudible ritual sounding object for the DAP LAB Metabody Project 2016 at Brunel University. Ritual sounding object
The Pensile Decumbent being worn (2014).  
The Pensile Decumbent (2014)  
The Beast (2014) Built for the Speaker Drag project whichculminated in three works. Uncertain Construction (2014), New Track of Unknown Terra (2014) and New Track of Unknown Terra II (2015).
Speaker Bra and Shovel (2013) The two part junk instrument that culminated in the Cold Papaya (2013) project which investigated Gender Dynamics in Live Electronic Music Performance. The conference paper is here.
Large Frame Modular TouchSynths

I conceptualised the design with Dirty Electronics. The circuits were made by Sonodrome and ASMO.

Click on the picture to go to the youtube video.

The Plungerphone (2013)


A simple touch operated synth built into a plunger.

This instrument was duplicated six times and usd in the Frozen Venus (2013) project.

The Electronic Dumbell V2.
Lampshades no-one wanted, a car amplifier, speakers from an Akai stage piano, bycycle hand grips and a discarded piano key.
Electronic Dumbel V3. Smaller than V2
The Dirty Eectronics ICA Instrument. With added spoons.
The circuit was designed by John Richards to sit on a platter. I could then add spoons.

The Hover Drum (2009)



The Ghetto Bastard (2008)

This is a portable noise instrument developed from a discarded and hardware hacked portable radio cassette player that I found in the bin at the front of my house. It has been loosely developed in line with pre-conditions that are in continuous development. For the moment, they are: (1) The instrument needs to be constructed from reclaimed and second hand electronic parts; (2) Appropriation of devices that were not originally musical instruments are encouraged; (3) Aesthetic discourse.

Downoad the conference paper here

Laurie Andersons Tape Bow Violin (Extended)

The Tape Bow Violin was created by Laurie Anderson, and built by Bob Bielecki in 1977 and features on her album ‘United States’ (1979). She removed the strings and attached a tape head to the bridge. She constructed a bow with audio tape in place of the horsehair and bowed it across the tape head. The Tape Bow Violin was then quickly adapted into a MIDI controller, a demonstration of which can be found on Laurie Anderson – the Collected Videos (1991). Documentation of the Tape Bow Violin can be found on Wikipedia (2008) and in the Nicolas Collins book : Handmade Electronic Music – The Art of Hardware Hacking (2006).

The small amount of documentation available for the original Tape Bow Violin warranted an investigation in to how it was built and how it could be expanded on as an instrument in ways other than as a MIDI controller.

I have added an extra play head, speakers and amplification for haptic feedback andcontactc microphones for acoustic amplification. The amplifier has a 200db gain creating some fantastic noise and interference that really brings an otherwise ambient and unassuming instrument to life.

Elecro-magnetic Wand (2008)

The Electromagnetic Wands are domestic apparatus used for locating electrical wiring and water pipes in walls. I have hacked them in to musical instruments and re-housed them. I imagine the wand as a pointing device that would be moved around at arms length. This movement at arms length created a virtual space that surrounded me. I called this virtual space a cage as a reference to my attempt to escape the physical and gestural restrictions of performing with a laptop computer. I generally perform surrounded by strip lights on stands as a cage has proven to large a concept to bring to fruition.


Electro-magnetic Wand (2008)

This wand has been re-housed into a telephone handset to suggest alienation of a familiar domestic device and as an experiment in ergonomics.



Sound Canvas (2009)

The performer creates sound by applying substances to, or physically touching, the canvas with brushes and other various implements. Any substance can be used. I have attached sweet wrappers to the canvas and then applied a freezing aerosol. The freezing and thawing sounds are amplified and, in combination with the aforementioned techniques, can be developed in to a creative sound performance.

It’s a static device that is ‘treated’ in a live situation by the performer who is given free gestural play of the performance space. This separation of performer and instrument allows the performer to focus their gestural

and musical imagination on to the physical static surface of the canvas without having the constraint of constant physical contact with the instrument.

Three separate outputs from three separate contact microphones allow the performer to control the spatial positioning of the sound with their gestures on the canvas with up to three independent speakers for each canvas.
When using this instrument musicians become performers, performers become musicians and both become artists.

The Alarmed Clock

The idea for something as blatantly mechanical as this having an audio output has always amused me. It is fully functional.

As an aside I also planned to use this as a prop for an acoustic gig with the Screaming Banshee Aircrew. In the end time constraints and worries about feedback it wasn't used.


The Audiophone

Like the Alarmed Clock, the theme of alienation of the everyday is a theme that runs through much of my work. It works like the Alarmed Clock but has never been used in performance.


Spinning Heart

The sound circuits and operating principle for this instruments were devised by John Richards and I housed them in an old Box Brownie. It is based around a light sensor and the worlds simplest motor. I'm including this because I thnk it looks stunning. Click here to go to John Richards website for more details.


Attache Verb

It is the only thing here that is still a work in progress. I've put it here because even unfinished I love its appearance and its concept. It is a plate reverb in an attache case. This is unusual for plate reverbs as they usually take up whole rooms and it is unusual for something as formal as an attache case to become a tool for creativity. After all, beuracracy is the enemy of creativity.