60 OWN [SOUND] ART http://www.folly.co.uk/?q=node/537 Drupal Audio Playlist Moduleenquiries@folly.co.uk (folly)Mon, 29 Jan 2007 13:35:21 +0000 enSoundnetworknoPodcasting. Or art by subscription.Soundnetwork<p>Podcasting. Or art by subscription.</p> <p>Podcasting is the broadcast medium of the masses. It is possible for anyone to make and publish a podcast about anything they please and to access a global audience with the click of a mouse. Throughout February 2007 folly, in partnership with SoundNetwork, is publishing a series of specially commissioned podcasts that explore the possibilties of the medium for artists and the distribution of their work in sound. Anyone can subscribe to the series and with each download (1 every week in February) the listener will add a new piece of art to their digital collection. See instructions below on how to subscribe.<br /> <br /> This series not only explores the practical delivery of sound art on the internet, but also the very nature of communication through broadcasting; from the transmissions of a cosmonaut beyond our own atmosphere, to communicating ideas about spirituality through frequency, and through inviting sounds from our computers to occupy our environment as a backdrop to our own lives. You will hear (and become the proud owners of) strange music, stories and electronic noises, and all of them have the potential to change your life.<br /> <br /> You can also register as a member of SoundNetwork at <a href="http://soundnetwork.omweb.org">http://soundnetwork.omweb.org</a> and discover what is happening in the world of sound art in the North West and beyond.</p><p>Podcasting. Or art by subscription.</p> <p>Podcasting is the broadcast medium of the masses. It is possible for anyone to make and publish a podcast about anything they please and to access a global audience with the click of a mouse. Throughout February 2007 folly, in partnership with SoundNetwork, is publishing a series of specially commissioned podcasts that explore the possibilties of the medium for artists and the distribution of their work in sound. Anyone can subscribe to the series and with each download (1 every week in February) the listener will add a new piece of art to their digital collection. See instructions below on how to subscribe.<br /> <br /> This series not only explores the practical delivery of sound art on the internet, but also the very nature of communication through broadcasting; from the transmissions of a cosmonaut beyond our own atmosphere, to communicating ideas about spirituality through frequency, and through inviting sounds from our computers to occupy our environment as a backdrop to our own lives. You will hear (and become the proud owners of) strange music, stories and electronic noises, and all of them have the potential to change your life.<br /> <br /> You can also register as a member of SoundNetwork at <a href="http://soundnetwork.omweb.org">http://soundnetwork.omweb.org</a> and discover what is happening in the world of sound art in the North West and beyond.</p>follyenquiries@folly.co.ukfiles/images/podcastwineglass.jpg150146listen TransmissionK http://www.folly.co.uk/?q=node/538 http://www.folly.co.uk/?q=node/538 Andres Burbano TransmissionK Andres Burbano

A retrospective Sci-Fi piece - an inverse reconstruction of the crash of Soyuz 1: In 1967 the BBC in London announced the death of the crew member in this way:

“ … He was an experienced cosmonaut, on his second flight, and had completed all his experiments successfully before returning to Earth. But within seconds of landing, just after he re-entered the Earth's atmosphere, the strings of the parachute intended to slow his descent apparently became tangled. The spaceship hurtled to the ground from four miles up. It is likely that Colonel Komarov was killed instantly on impact….”

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Andres Burbano explores the interactions of science, art and technology in various capacities: as a researcher, as an individual artist and in collaborations with other artists and designers. Burbano's work ranges from documentary video (in both science and art), sound and telecommunication art to the exploration of algorithmic cinematic narratives. The broad spectrum of his work illustrates the importance and prevalence of interdisciplinary collaborative work in the field of digital art.

Andres Burbano is assistant professor in the Art Department at Los Andes University, Bogotá, Colombia. http://atari.uniandes.edu.co/burbano/

<p>A retrospective Sci-Fi piece - an inverse reconstruction of the crash of Soyuz 1: In 1967 the BBC in London announced the death of the crew member in this way:</p><p> “ … He was an experienced cosmonaut, on his second flight, and had completed all his experiments successfully before returning to Earth. But within seconds of landing, just after he re-entered the Earth&#39;s atmosphere, the strings of the parachute intended to slow his descent apparently became tangled. The spaceship hurtled to the ground from four miles up. It is likely that Colonel Komarov was killed instantly on impact….” </p><p>---</p><p> Andres Burbano explores the interactions of science, art and technology in various capacities: as a researcher, as an individual artist and in collaborations with other artists and designers. Burbano&#39;s work ranges from documentary video (in both science and art), sound and telecommunication art to the exploration of algorithmic cinematic narratives. The broad spectrum of his work illustrates the importance and prevalence of interdisciplinary collaborative work in the field of digital art. </p><p>Andres Burbano is assistant professor in the Art Department at Los Andes University, Bogotá, Colombia. <a href="http://atari.uniandes.edu.co/burbano/">http://atari.uniandes.edu.co/burbano/</a> </p> uploaded by at http://www.folly.co.uk <p>A retrospective Sci-Fi piece - an inverse reconstruction of the crash of Soyuz 1: In 1967 the BBC in London announced the death of the crew member in this way:</p><p> “ … He was an experienced cosmonaut, on his second flight, and had completed all his experiments successfully before returning to Earth. But within seconds of landing, just after he re-entered the Earth&#39;s atmosphere, the strings of the parachute intended to slow his descent apparently became tangled. The spaceship hurtled to the ground from four miles up. It is likely that Colonel Komarov was killed instantly on impact….” </p><p>---</p><p> Andres Burbano explores the interactions of science, art and technology in various capacities: as a researcher, as an individual artist and in collaborations with other artists and designers. Burbano&#39;s work ranges from documentary video (in both science and art), sound and telecommunication art to the exploration of algorithmic cinematic narratives. The broad spectrum of his work illustrates the importance and prevalence of interdisciplinary collaborative work in the field of digital art. </p><p>Andres Burbano is assistant professor in the Art Department at Los Andes University, Bogotá, Colombia. <a href="http://atari.uniandes.edu.co/burbano/">http://atari.uniandes.edu.co/burbano/</a> </p> 18:52 Mon, 29 Jan 2007 14:24:57 +0000 Elementary Particles http://www.folly.co.uk/?q=node/539 http://www.folly.co.uk/?q=node/539 Gintas K Elementary Particles Gintas K

Every age has it’s own instruments and instruments have their own timbres. A computer has become the main instrument in our time; sine waves and white noise - it’s generated and most frequently used timbres.

I created this podcast by using 5 components and their symbolic meanings: 145 Hz and 235 Hz sine waves which are basic frequencies of male and female speech – harmony; white noise - disharmony; 80 Hz sine wave which sometimes goes below the scale of human hearing – hell; 10 KHz sine wave which goes above the scale of human hearing – heaven. 80 Hz and 10 KHz reveal musical infinity and human limitation and, in some way, human possibility to create infinity from his limitations.

Work consists of intro, outro, and four parts, that symbolize earth and the order of mankind. Rhythm as a driving force of living is a key element in all parts. Does this concept mean that I’m trying to create the universe of spheres? - No. Does it mean that conception is more important than music? For sure – not. Does it mean that music is above everything? - But music in these times doesn’t exist ... there is only sound art.

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Gintas K (Gintas Kraptavicius) has been participating in the Lithuanian experimental music scene since 1994. Gintas K was a core member of the first Lithuanian industrial electronic music band 'Modus' . From 1997 to 2000 he worked as an editor on the radio station 'Kapsai' for an alternative radio show titled 'The Ways and Mistaken Pathways'. He became known for his sound actions, theatrical performances and conceptual art in the manner of Fluxus. Since 1999 Gintas K has been working as a sound artist exploring minimal digital sounds, sine waves, noise, glitches, microwaves and acoustic vibration, making music for films and sound installations. Gintas K's sound works have been presented in various festivals and exhibitions, and released by various record labels.

http://gintask.dar.lt/ 

<p>Every age has it’s own instruments and instruments have their own timbres. A computer has become the main instrument in our time; sine waves and white noise - it’s generated and most frequently used timbres.<br /><br />I created this podcast by using 5 components and their symbolic meanings: 145 Hz and 235 Hz sine waves which are basic frequencies of male and female speech – harmony; white noise - disharmony; 80 Hz sine wave which sometimes goes below the scale of human hearing – hell; 10 KHz sine wave which goes above the scale of human hearing – heaven. 80 Hz and 10 KHz reveal musical infinity and human limitation and, in some way, human possibility to create infinity from his limitations.<br /><br />Work consists of intro, outro, and four parts, that symbolize earth and the order of mankind. Rhythm as a driving force of living is a key element in all parts. Does this concept mean that I’m trying to create the universe of spheres? - No. Does it mean that conception is more important than music? For sure – not. Does it mean that music is above everything? - But music in these times doesn’t exist ... there is only sound art.</p><p>---</p><p>Gintas K (Gintas Kraptavicius) has been participating in the Lithuanian experimental music scene since 1994. Gintas K was a core member of the first Lithuanian industrial electronic music band &#39;Modus&#39; . From 1997 to 2000 he worked as an editor on the radio station &#39;Kapsai&#39; for an alternative radio show titled &#39;The Ways and Mistaken Pathways&#39;. He became known for his sound actions, theatrical performances and conceptual art in the manner of Fluxus. Since 1999 Gintas K has been working as a sound artist exploring minimal digital sounds, sine waves, noise, glitches, microwaves and acoustic vibration, making music for films and sound installations. Gintas K&#39;s sound works have been presented in various festivals and exhibitions, and released by various record labels.</p><p><a href="http://gintask.dar.lt/">http://gintask.dar.lt/ </a> </p> uploaded by at http://www.folly.co.uk <p>Every age has it’s own instruments and instruments have their own timbres. A computer has become the main instrument in our time; sine waves and white noise - it’s generated and most frequently used timbres.<br /><br />I created this podcast by using 5 components and their symbolic meanings: 145 Hz and 235 Hz sine waves which are basic frequencies of male and female speech – harmony; white noise - disharmony; 80 Hz sine wave which sometimes goes below the scale of human hearing – hell; 10 KHz sine wave which goes above the scale of human hearing – heaven. 80 Hz and 10 KHz reveal musical infinity and human limitation and, in some way, human possibility to create infinity from his limitations.<br /><br />Work consists of intro, outro, and four parts, that symbolize earth and the order of mankind. Rhythm as a driving force of living is a key element in all parts. Does this concept mean that I’m trying to create the universe of spheres? - No. Does it mean that conception is more important than music? For sure – not. Does it mean that music is above everything? - But music in these times doesn’t exist ... there is only sound art.</p><p>---</p><p>Gintas K (Gintas Kraptavicius) has been participating in the Lithuanian experimental music scene since 1994. Gintas K was a core member of the first Lithuanian industrial electronic music band &#39;Modus&#39; . From 1997 to 2000 he worked as an editor on the radio station &#39;Kapsai&#39; for an alternative radio show titled &#39;The Ways and Mistaken Pathways&#39;. He became known for his sound actions, theatrical performances and conceptual art in the manner of Fluxus. Since 1999 Gintas K has been working as a sound artist exploring minimal digital sounds, sine waves, noise, glitches, microwaves and acoustic vibration, making music for films and sound installations. Gintas K&#39;s sound works have been presented in various festivals and exhibitions, and released by various record labels.</p><p><a href="http://gintask.dar.lt/">http://gintask.dar.lt/ </a> </p> 20:18 Wed, 07 Feb 2007 12:21:40 +0000 Radio Stars http://www.folly.co.uk/?q=node/543 http://www.folly.co.uk/?q=node/543 Neil Webb Radio Stars Neil Webb When I was first contacted to produce a podcast I immediately considered that this would be quite a different proposition from the majority of my previous work. Most of my work whether video or audio installations are in response to or specifically made for a certain location. A podcast would remove the location from the work as it could be listened to in the comfort of your own home or on the move. The piece could also be listened to through external speakers or in the internal space of a pair of headphones. So with the sense of a specific location removed I started to make a piece that was about nowhere. I reflected on the title of my first CD which was Somewhere Nowhere, referring to a place that could be unknown or an unspecified environment. Being somewhere but nowhere specifically. I also considered the purpose of a podcast and thought in its most basic terms that it is used for communication. The content could be anything but its purpose was to reach out to as many people as possible.

I have made a piece that can be seen as three units that fit together under the themes of communication, drifting and the void. The units are divided by the sound of the turning of a dial on a radio searching for transmissions. The piece develops with willfully retro communication sounds referring back to the possibilities and imaginary worlds that radio provided in its infancy. The podcast now offers another revolution in broadcasting that can be exploited by the masses. The piece then moves through its drift and void sequences. These territories are unspecific moving towards a blank space waiting to be filled.The void can remain empty or can be occupied. The piece has no specific location in mind but sets up parameters in which the listener can either arrive and find their own location or just go along for the ride.

I would like to thank Tim Lambert and Ron Wright.

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Neil Webb is a practicing artist based in Sheffield working predominantly with sound. His practice has moved from painting to include sound installation, video, performance, curation and CD releases under the name bocman.

2003 saw performances by bocman at Sheffield Hallam University, The MAXIS Festival , Leeds, the annual Sonic Artists Network Conference in Sheffield and the release of the CD Somewhere Nowhere. He also curated the events Sounds Recorded for an Empty Nightclub as part of Sheffield 03 and Host 4 : Cinema in 2004. In 2004 Webb's work continued to develop through collaboration including his work with Host Artists Group. He has produced a range of audio and audio-visual installations, including Scramble, a collaboration with artist Michael Day.

In 2005 Webb undertook a residency at Hull Time Based Arts creating the installation and CD, The Inside Underneath. He also completed a long standing project, Solaristics inspired by Stanislaw Lem's book and Andrei Tarkovsky's film Solaris.

Webb was selected for an artists residency, Signal-to-Noise Ratio at the Tower Atelier in Neuhausen Germany. During the residency Webb created two new works, a multi-channel sound installation titled Across the Field and a video installation titled Heaven up Here.

During 2006 Webb has created a new sound installation Invisible Resonance 2 for the Consortium Gallery in Amsterdam, screened two video works, Slow Motion Static and Tide Time at the Sound Practice conference at Goldsmith's University London. The video work Enter the Underworld has also been screened in Liverpool as part of the 37 Seconds BBC big screen project.

The bocman project has continued with performances in Holland and England and the release of the CD Motion Static.

He has recently recorded and edited the audio tracks for the installation Doodah by Carl von Weiler for the Storey Gallery in Lancaster.Future projects for 2007 include making a multi-channel audio visual installation in collaboration with Ron Wright and making the multi-channel sound installation The Stars in Us All for Bloc Space in Sheffield.

http://www.bocman.com

http://www.hostoffice.org.uk

http://www.axisartists.org.uk/artist/neilwebb When I was first contacted to produce a podcast I immediately considered that this would be quite a different proposition from the majority of my previous work. Most of my work whether video or audio installations are in response to or specifically made for a certain location. A podcast would remove the location from the work as it could be listened to in the comfort of your own home or on the move. The piece could also be listened to through external speakers or in the internal space of a pair of headphones. So with the sense of a specific location removed I started to make a piece that was about nowhere. I reflected on the title of my first CD which was Somewhere Nowhere, referring to a place that could be unknown or an unspecified environment. Being somewhere but nowhere specifically. I also considered the purpose of a podcast and thought in its most basic terms that it is used for communication. The content could be anything but its purpose was to reach out to as many people as possible. <br /><br />I have made a piece that can be seen as three units that fit together under the themes of communication, drifting and the void. The units are divided by the sound of the turning of a dial on a radio searching for transmissions. The piece develops with willfully retro communication sounds referring back to the possibilities and imaginary worlds that radio provided in its infancy. The podcast now offers another revolution in broadcasting that can be exploited by the masses. The piece then moves through its drift and void sequences. These territories are unspecific moving towards a blank space waiting to be filled.The void can remain empty or can be occupied. The piece has no specific location in mind but sets up parameters in which the listener can either arrive and find their own location or just go along for the ride.<br /><br />I would like to thank Tim Lambert and Ron Wright.<br /><br />---<br /><br />Neil Webb is a practicing artist based in Sheffield working predominantly with sound. His practice has moved from painting to include sound installation, video, performance, curation and CD releases under the name bocman.<br /><br />2003 saw performances by bocman at Sheffield Hallam University, The MAXIS Festival , Leeds, the annual Sonic Artists Network Conference in Sheffield and the release of the CD Somewhere Nowhere. He also curated the events Sounds Recorded for an Empty Nightclub as part of Sheffield 03 and Host 4 : Cinema in 2004. In 2004 Webb&#39;s work continued to develop through collaboration including his work with Host Artists Group. He has produced a range of audio and audio-visual installations, including Scramble, a collaboration with artist Michael Day.<br /><br />In 2005 Webb undertook a residency at Hull Time Based Arts creating the installation and CD, The Inside Underneath. He also completed a long standing project, Solaristics inspired by Stanislaw Lem&#39;s book and Andrei Tarkovsky&#39;s film Solaris. <br /><br />Webb was selected for an artists residency, Signal-to-Noise Ratio at the Tower Atelier in Neuhausen Germany. During the residency Webb created two new works, a multi-channel sound installation titled Across the Field and a video installation titled Heaven up Here. <br /><br />During 2006 Webb has created a new sound installation Invisible Resonance 2 for the Consortium Gallery in Amsterdam, screened two video works, Slow Motion Static and Tide Time at the Sound Practice conference at Goldsmith&#39;s University London. The video work Enter the Underworld has also been screened in Liverpool as part of the 37 Seconds BBC big screen project.<br /><br />The bocman project has continued with performances in Holland and England and the release of the CD Motion Static.<br /><br />He has recently recorded and edited the audio tracks for the installation Doodah by Carl von Weiler for the Storey Gallery in Lancaster.Future projects for 2007 include making a multi-channel audio visual installation in collaboration with Ron Wright and making the multi-channel sound installation The Stars in Us All for Bloc Space in Sheffield.<br /><br /><a href="http://www.bocman.com">http://www.bocman.com</a> <br /><a href="http://www.hostoffice.org.uk"><br />http://www.hostoffice.org.uk</a> <br /><br /><a href="http://www.axisartists.org.uk/artist/neilwebb">http://www.axisartists.org.uk/artist/neilwebb</a> uploaded by at http://www.folly.co.uk When I was first contacted to produce a podcast I immediately considered that this would be quite a different proposition from the majority of my previous work. Most of my work whether video or audio installations are in response to or specifically made for a certain location. A podcast would remove the location from the work as it could be listened to in the comfort of your own home or on the move. The piece could also be listened to through external speakers or in the internal space of a pair of headphones. So with the sense of a specific location removed I started to make a piece that was about nowhere. I reflected on the title of my first CD which was Somewhere Nowhere, referring to a place that could be unknown or an unspecified environment. Being somewhere but nowhere specifically. I also considered the purpose of a podcast and thought in its most basic terms that it is used for communication. The content could be anything but its purpose was to reach out to as many people as possible. <br /><br />I have made a piece that can be seen as three units that fit together under the themes of communication, drifting and the void. The units are divided by the sound of the turning of a dial on a radio searching for transmissions. The piece develops with willfully retro communication sounds referring back to the possibilities and imaginary worlds that radio provided in its infancy. The podcast now offers another revolution in broadcasting that can be exploited by the masses. The piece then moves through its drift and void sequences. These territories are unspecific moving towards a blank space waiting to be filled.The void can remain empty or can be occupied. The piece has no specific location in mind but sets up parameters in which the listener can either arrive and find their own location or just go along for the ride.<br /><br />I would like to thank Tim Lambert and Ron Wright.<br /><br />---<br /><br />Neil Webb is a practicing artist based in Sheffield working predominantly with sound. His practice has moved from painting to include sound installation, video, performance, curation and CD releases under the name bocman.<br /><br />2003 saw performances by bocman at Sheffield Hallam University, The MAXIS Festival , Leeds, the annual Sonic Artists Network Conference in Sheffield and the release of the CD Somewhere Nowhere. He also curated the events Sounds Recorded for an Empty Nightclub as part of Sheffield 03 and Host 4 : Cinema in 2004. In 2004 Webb&#39;s work continued to develop through collaboration including his work with Host Artists Group. He has produced a range of audio and audio-visual installations, including Scramble, a collaboration with artist Michael Day.<br /><br />In 2005 Webb undertook a residency at Hull Time Based Arts creating the installation and CD, The Inside Underneath. He also completed a long standing project, Solaristics inspired by Stanislaw Lem&#39;s book and Andrei Tarkovsky&#39;s film Solaris. <br /><br />Webb was selected for an artists residency, Signal-to-Noise Ratio at the Tower Atelier in Neuhausen Germany. During the residency Webb created two new works, a multi-channel sound installation titled Across the Field and a video installation titled Heaven up Here. <br /><br />During 2006 Webb has created a new sound installation Invisible Resonance 2 for the Consortium Gallery in Amsterdam, screened two video works, Slow Motion Static and Tide Time at the Sound Practice conference at Goldsmith&#39;s University London. The video work Enter the Underworld has also been screened in Liverpool as part of the 37 Seconds BBC big screen project.<br /><br />The bocman project has continued with performances in Holland and England and the release of the CD Motion Static.<br /><br />He has recently recorded and edited the audio tracks for the installation Doodah by Carl von Weiler for the Storey Gallery in Lancaster.Future projects for 2007 include making a multi-channel audio visual installation in collaboration with Ron Wright and making the multi-channel sound installation The Stars in Us All for Bloc Space in Sheffield.<br /><br /><a href="http://www.bocman.com">http://www.bocman.com</a> <br /><a href="http://www.hostoffice.org.uk"><br />http://www.hostoffice.org.uk</a> <br /><br /><a href="http://www.axisartists.org.uk/artist/neilwebb">http://www.axisartists.org.uk/artist/neilwebb</a> 31:23 Wed, 14 Feb 2007 16:55:49 +0000 In Conversation With Electric Fish http://www.folly.co.uk/?q=node/551 http://www.folly.co.uk/?q=node/551 Antony Hall In Conversation With Electric Fish Antony Hall I have a disorganized collection of mini disks and DV tapes; rummaging through this I decided to use some of the recordings in my collection that would otherwise not be used, but ended up putting in some of my recordings from aquariums and labs, of electric fish; I sometimes make an audio diary - I thought this would be a good chance to use some of it.

I wanted to give a sense of the places I visit and the time I spend looking into tanks and watching the behavior of fish - a sonic equivalent of the Aquarium. Some people find aquariums comforting, and in a similar way I leave the radio on just because I like it to be there. Almost like a coffee table book - and in a similar way - I think this is why we keep pets in the house - we just like them to be with us.

---

Antony Hall describes himself as a sound artist but his practice covers a vast array of fields deep among the sub categories of science, electronics, music and art. He is perhaps best known for his work with the Owl Project, creating electronic music with hand made instruments such as their iLog, Log1K and their inspired Sound Lathe, transforming the act of carving wood into sound and music. Currently Antony is exploring the relationship between humans and electric fish for making sound work, where sonification of electrical impulses made by the fish become a means of communication and expression (ENKI). Antony lives and works in Manchester.

http://www.antonyhall.net
I have a disorganized collection of mini disks and DV tapes; rummaging through this I decided to use some of the recordings in my collection that would otherwise not be used, but ended up putting in some of my recordings from aquariums and labs, of electric fish; I sometimes make an audio diary - I thought this would be a good chance to use some of it. <br /><br />I wanted to give a sense of the places I visit and the time I spend looking into tanks and watching the behavior of fish - a sonic equivalent of the Aquarium. Some people find aquariums comforting, and in a similar way I leave the radio on just because I like it to be there. Almost like a coffee table book - and in a similar way - I think this is why we keep pets in the house - we just like them to be with us.<br /><br />---<br /><br />Antony Hall describes himself as a sound artist but his practice covers a vast array of fields deep among the sub categories of science, electronics, music and art. He is perhaps best known for his work with the Owl Project, creating electronic music with hand made instruments such as their iLog, Log1K and their inspired Sound Lathe, transforming the act of carving wood into sound and music. Currently Antony is exploring the relationship between humans and electric fish for making sound work, where sonification of electrical impulses made by the fish become a means of communication and expression (ENKI). Antony lives and works in Manchester.<br /><br /><a href="http://www.antonyhall.net">http://www.antonyhall.net</a> <br /> uploaded by at http://www.folly.co.uk I have a disorganized collection of mini disks and DV tapes; rummaging through this I decided to use some of the recordings in my collection that would otherwise not be used, but ended up putting in some of my recordings from aquariums and labs, of electric fish; I sometimes make an audio diary - I thought this would be a good chance to use some of it. <br /><br />I wanted to give a sense of the places I visit and the time I spend looking into tanks and watching the behavior of fish - a sonic equivalent of the Aquarium. Some people find aquariums comforting, and in a similar way I leave the radio on just because I like it to be there. Almost like a coffee table book - and in a similar way - I think this is why we keep pets in the house - we just like them to be with us.<br /><br />---<br /><br />Antony Hall describes himself as a sound artist but his practice covers a vast array of fields deep among the sub categories of science, electronics, music and art. He is perhaps best known for his work with the Owl Project, creating electronic music with hand made instruments such as their iLog, Log1K and their inspired Sound Lathe, transforming the act of carving wood into sound and music. Currently Antony is exploring the relationship between humans and electric fish for making sound work, where sonification of electrical impulses made by the fish become a means of communication and expression (ENKI). Antony lives and works in Manchester.<br /><br /><a href="http://www.antonyhall.net">http://www.antonyhall.net</a> <br /> 23:40 Wed, 21 Feb 2007 12:32:18 +0000