2. sound-art-text:

    This is how most metallic sounds in horror movies are made.

    Introducing, the Waterphone (or H2OPhone), a very versatile and creepy instrument.

    (Source: whimmy-bam)


  3. 'Til I Get It Right


    Ceal Floyer


  4. I didn’t write it



  6. Beyoncé’s Quadruple Platinum Single

                     -An English to English translation by EJ Koh


  7. mrdiv:



  8. Map of Nuclear Explosions Since 1945


    Isao Hashimoto


  9. Metastasis was inspired by Einstein’s view of time (a function of matter & energy) and structured on mathematical ideas by Xenakis’s colleague Le Corbusier.
    Music usually consists of a set of sounds structured in linear time; music played backwards is hardly recognisable. Messiaen’s similar observations led to his noted uses of non-retrogradable rhythms; Xenakis wished to reconcile the linear perception of music with a relativistic view of time.  
    Etc, read more here. http://en.wikipedia.org/wiki/Metastaseis_(Xenakis)

    Reflects transcience probably, ephemerality maybe.
    And my emotions most importantly.


  10. Instructions for a Light and Sound Machine, Peter Tscherkassky.

    And Part 2: http://www.youtube.com/watch?v=jwSniJgG0hs


  11. I went to Holland
    and this was probably the most significant thing I saw there
    and it was just on the bedroom wall.


  12. Poet’s Day


    George Shaw


  13. User Two, initially.


  14. User One starts 50 seconds ahead of User Two.
    Listening to audio on headphones and MP3 Player.
    Walking around studio, looking at various studio artefacts and debris.

    Audio overlaps and User One and Two swop headsets.


  15. The End: In Which We Reach A Culmination of Thought

    User One : In which an Art Experience is happening.

    Here is our beginning.

    We can finally start looking and examining.

    Take one step forward onto the red x, facing in the direction the arrow is pointing towards.

    This marks our starting point. From here we will begin our exploration of the art world.

    Welcome to the degree show.

    You are listening to a sound piece by Rebecca Dunne, exhibiting for her degree show.

    For the duration of this piece we will explore the space we are in and investigate what the space means for art.

    For the past nine months, the diverse range of media artists in their fourth year have been working in here, generating their ideas into works to be shown as the pinnacle of their student career.


    They have vacated the space, for the most part, occupied space around the college to exhibit their work.

    Where you stand now, more than one artist created their degree show work.

    There is a certain element of mystery you may experience as you cannot determine who this was, and it is more than likely you will see their work later, or have already experienced it.

    The history of the space, recent and from further in the past before this location was used as an art college, lends itself to the piece you are now experiencing.

    How many people have stood here before you and thought the thoughts you are now thinking?

    We cannot determine exactly, and it is entirely possible these thoughts have never been thought here before, as this is a completely new and original piece.


     Let us for a moment consider the empty space before you. Take a step forward into the room, just beyond the arrow on the ground. Allow the space to surround you. Although this may sometimes be referred to as ‘negative space’, this is in fact not negative. It is occupied and it holds the previous inhabitants movements. There are traces on the found where they once walked through. Their footsteps pressing into the ground, leaving an almost visible impression in the physical space. You can almost feel the depressions in the floor as you walk over it.

    The black chair in the corner holds the weight of the entire history of the place on its fragile legs.

    It never held the weight of a student, but of all.


    Perhaps you should allow the person behind you to experience this space as you are now. They may become a little impatient; don’t allow this to become an issue. We will move forward in a moment and we can discuss the rest of the space.


     Look behind and acknowledge the person behind you.

    Nod to them to let you know you understand.


    We are moving towards the black panels propped up against the wall, surrounded by debris and scraps of wallpaper. Stop just before it.

    The walls were torn down, the layers covering them torn and scratched away. We may consider the artist who looked at these walls, stripping them bare in order to start anew.

    His creation begins in the destruction of what went before him. The history of his own little space, the previous artist’s wallpaper, their graffiti, were torn away before he could begin his own formation of art.

    He has moved on to another space, inhabiting a sterile exhibit again to make his own.

    To overlay that space with his own meaning and own art. Here we just see the remains, the ruin and historical studio space once occupied.


    Continue on, we are walking to the apparent construction site, wooden beams and white painted panels propped up against the wall. Standing before it, we allow ourselves to consider the planned construction. We can almost feel the intensity of work we have just missed out on, almost see the sawdust still falling towards the floor…the dust just settled, we may speculate on what was planned; what great construct are we looking at the leavings of? No doubt the whole structure is within the college, elsewhere, in the exhibition.

    The nails scattered on the floor amongst the dust and scraps could have held this whole thing together.


    Move over in front of the window, to the extreme right of the bench beside the black piping.

    From here we can see the other places the artists from this studio are exhibiting.

    On the far right, the top floor of the glass panelled building flooded with light holds the work of eight of the artists who previously occupied this studio.


    Moving down to the end of the bench, to the extreme left, you can see the stairwell that leads up to the Noel Sheridan room, which three artists are occupying. Look beyond the residue of the paperwork on the window. These panels of work are completed.

    The stairwell may be symbolic in some sense, as the ascent to the room is not an easy one, much like that of the artist’s buildup of work in the weeks leading up to an exhibition.


    Turn around.

    Walking back into the centre of the room, allow a moment to consider the mustard coloured chair holding fast in the heart of the studio.

    It seems to occupy a particularly vacant space in the room. The clear, clean rectangle on the floor, void of dust and debris, scraps and rubble.

    An air of mystery hangs over this area, impenetrable almost, dare we even step within this sector of nullity? We cannot know for sure what took place here, it is almost sacred in its form.

    Do we light a candle? Do we speculate, or attempt to recreate the ritual we seem to have only just failed to catch? Perhaps we just leave it and let the dust settle.


     Turn to your left, walk just out into the corridor and wait there, just out of the way of the door.

    You must wait for the person behind you.

    They won’t be long, they are on the same path as you are.



    At this point, the viewer behind you will come up and greet you.

    You are now invited to swop your headphones. That’s right, take them off and hand them to the other person, they are going to do the exact same.

    There is no need to pause the track, just take them off and swop.

    Put them back on and keep going.

    Put them back on and keep going.

    Put them back on and keep going.


    *****THE SWAP- This is now User Two.*****


    Thankfully not much has changed, and this will still continue as it would have before.

    You’re both going to walk back in in a moment, but allow the other person to go first.

    They need to look at things in the studio closer, look again.

    You’re going to feel as though there is something larger going on, but you’re not quite sure.

    How could it be predicted? It’s probably not, yet…


    You can re-enter the red carpeted studio.

    Walk towards the desk you initially collected your headsets from, past that meticulously clean space in the middle of the floor (that is surely there for a reason?).

    Walk beyond the place the other person is standing, stand beside the white shelving unit.

    You can look at the script displayed right above the shelves.


    Now this is it.

    There is nothing hidden,

    it is all laid bare.

    In a moment the other person will look your way.

    Invite them over to where you stand; beckon them over, gesture, be friendly and welcome them.

    You may even shake hands.

    Give them one of the leaflets from inside the box once they come over.

    You’ve completed the walk.

    This is the end.

    User Two : In which they disrupt User One’s experience of art.

    We are starting this piece where the x is on the ground.

    The person ahead of you is probably taking this too seriously, they could be spending far too long looking at that space.

    It most likely means nothing. They are probably thinking about how the space has been used by other people, people have moved through this space. But how are we to know who they were, or how they moved through this space? We don’t. I don’t, you don’t, the person in front of you certainly doesn’t know.

    Move them on.

    Stand right behind them.

    Give them a little nudge if you need to, let them know this is where you need to be right now. Don’t be afraid, they’ll understand.

    Perhaps they’ll understand in a different way, but they won’t mind.

    You need to stand there now, let them know.


    They’re going to nod to you and move on.

    They have no idea what’s going on, really.

    But that’s art.



    What lies before us?

    An empty studio.

    It is not an exhibition space, nor is it a gallery space.

    We may be talking about a journey, the same journey the person in front of you is on, but we are going to consider a very different inference of the space than they are.


    Let us take what we know.

    We know this was a studio. It was where the fourth year media class worked from the end of September up until about two or three weeks ago.

            -Move forward, stand in front of those black boards, beside the ripped down wallpaper and scraps.

    We know there are seventeen students who occupied this space.

    So, we may assume the studio did not look like this for the whole year.

    Well let’s be logical.

    In order to accommodate all of them, it surely must have been more cluttered.

    It must have been grubbier.

    Stains on the walls, blue tack still sticking, nails left in.

    Are they still there? There are some left…

    It certainly looks like a used studio, a once occupied working space.



    Walk forward again, position yourself beside those wooden beams and scraps.


    Try to align your movement with the person in front of you.If they are moving towards the window, you are one step behind them, beside the white and wooden scraps.

    Imagine you are told this space did not look like this the whole year;

    that everything in this space was put here purposefully as a prop.

    Are they not real studio paraphernalia?

    Who knows.

    Walk forward to the window, stand on the extreme right of the bench.

    You’ll be looking to the right, to the glass building within the college campus.

    Some other media students have moved over there to exhibit.

    Exhibit: publicly display their work of art or item or performance of interest.

    Make pristine the space they occupy and present their art in a show.

    Conceal the true use of the space, and the regular history of it.

    Paint it up, clean it up, present a show.



          But I will never get rid of those masking tape marks from the window and there’s no point in pretending they were never there…

    X’s and O’s. That game was never completed you know. And it wasn’t all games here everyday…


    You can turn around and survey the studio.

    The person before you is probably leaving the studio.

    They will be waiting in the corridor for you.

    You can take a moment to look at the whole studio on your own.

    So what if it’s all constructed deliberately?

    Does it matter that this may not be the authentic studio you’re lead to believe it is? How do we know it’s not?

    It’s not that it all means nothing.

    It just could mean anything.

    Walk out the door the first person walked through.

    They are waiting for you, and you will now swap your headsets.

    Take yours off, hand the headphones and mp3 player to the other person.

    You’ll take their set and put it on.

    You’ll take their set and put it on.

    You’ll take their set and put it on.


    *****THE SWAP- This is now User One.*****


    Now the changeover has taken place,you are partaking in a work and creating it.

    You are on the same journey and moving forward together.

    You may move back into the studio first, before your fellow colluder moves in.

    Walk past the desk where you initially collected your headset, past that white board where the traces of a colourful project remain, crushed to the ground. Walk over to where the carpet is covered with white protective plastic sheet, let us stand in front of this wall.

    The ghostly remnants of previous work stain the very walls we look at now.

    The red rectangle shines through, almost like a scar to remind us of the intense creative working period, nine months in gestation.

    The superficial attempts to hide these indications of laborious work have been in vain, the cracks that have come through on the skirting board are evidence of that.

    The process of healing the space, of concealing what went on, has been abandoned. It was a futile task, the space is transparent when we examine it.


    Look around, look to the corners.

    Boxes, air, fillings; how many projects have been abandoned here, how many half formed ideas linger in this space?


    The artists have moved on; their expectation of this space failed to bring it to another level.

    There is no exhibit; there is no great gallery.

    There is the pure, magical evidence of traces of work created here.


    Turn around and face the other participant.

    They are calling you over, beckoning you to them.


    Go over and accept the leaflet they are offering you.

    You’ve completed the walk.

    This is the examination of art and a culmination of thought.