A gas-tower video
What’s With All This Emotional? Combines storytelling with a visceral performance, blurring the lines between the fictional and the real to show how language is forged out of trauma.
A gas-tower video
Sound design by Joe Howe
How When the Where is something akin to the disorientation of witnessing ones own present, trying to thread a line through the many I’s of self and the only anchors for orientation are within the irregular posted junk mail and the found symbolism of personal knick knacks, a dissociative fantasy.
A audio by gas-tower
Grey matter is an original audio artwork that is a simple play upon affect and effect. Affect; saying something with emotion and feeling but understanding it’s real and that you mean it. Effect; best to use irony or humour because if not you’ll come across as a wet sack of douche.
A gas-tower production lang. nest. ins.
A video by Amelia Bywater and Rebecca Wilcox.
The video is built with a series of short clips.
[Nested, wrapped into the body, camera phones, intimacies and technologies. A pattern plays out – the sequence is deliberate but not wholly exhausted – the pattern repeats, but doesn’t mean the thing that comes next is the only thing that can happen. Modification. Response. Sequencing. Excess. Overflow.
Woven together with writing as text and voice.
Movement of the body through streets (and commerce); the body and the movement and the recording encrypted with chains of messages (speech) of commodities and commerce. Access is made possible only by way of a recording. Excess of information through bodily interfaces; language, solvency, debt. Not just a site or moment of dialectic exchange, it’s active, reading, coding, producing, informing. Insolvency is the refusal to pay debt (literally).]
A gas-tower production
Performative reading by Giuseppe Mistretta
A gas-tower production Pizza
A video media performance by Neil Bickerton
In the shifting tides of web location in the disembodied and global age of digital communication, the conditions for understanding ideas of community have shifted from a specific geo-location to wherever it is you share a particular set of interests and allegiances; it could be argued that the word community takes on an entirely new meaning. Community exists on the particular websites, blogs and technologies. Identity is corralled into loose groupings of style, fashioned from commodities, technology and media. In the hegemonic peer-to-peer network there is the confusion or collapse of identity because everyone constantly speaks in the first person, ‘I’ becomes an echo chamber of being, loneliness and loss of sincerity. Pizza playfully satirizes the loss of idealist narratives and the alienation of ‘being’ online, abstracting notions of participation and performance from any material expression.
A gas-tower video
Filming the cactus takes hyperacusis the extreme aversion and hypersensitivity to sounds as a point of departure. Originally an audio artwork produced for Radiophrenia, the video is a montage of stills that revolve around the utilitarian space of a sound recording studio. Appropriating material from sound archives, field recordings and audio media Episode #5, Filming the cactus examines the subjectivity of audio experience, manipulating and reworking the original sources to fictionalize an audio therapy machine as an autobiographical reflection of the artists own antagonism towards silence.
A gas-tower production with OaPaO
Phenotypic plasticity is the ability of an organism to change its phenotype in response to changes in the environment. Fundamental to the way in which organisms cope with environmental variation, phenotypic plasticity encompasses all types of environmentally induced changes (e.g. morphological, physiological, behavioral, phenological) that may or may not be permanent throughout an individual’s lifespan
The OaPaO Collective is – Amelia Bywater, Mark Briggs, Sarah Forrest, Rebecca Wilcox.
Performance by Phoebe Amis ‘market stands on all foursies’. Oct 2013 Carlton Recording Studios.