p116 Cathy Lane Cathy Lane has an ongoing interest in sound, memory and history which has lead to projects such as Hidden Lives a multi-channel site-specific sound installation and The M
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Cathy Lane
Cathy Lane has an ongoing interest in sound, memory and history which has lead to projects such as Hidden Lives
(a multi-channel site-specific sound installation) and The Memory Machine (an interactive sound
installation premiered at Cybersonica
at the ICA, London in 2002 and further developed for the British Museum exhibition, ‘The Museum of the Mind: Art and Memory in World Cultures’ in 2003)
More recently, she was invited to work
as a visiting artist with students in India to produce a site-specific installation exploring local history in Bangalore She has also written and delivered papers on this area Her previous electroacoustic music works have explored the metaphorical use of space and gesture as a compositional parameter Other works include compositions and sound design for large-scale outdoor theatre productions, film and video soundtracks, live performance and installation work She is currently engaged in research into live audiovisual performance and the design and development of new software tools
This page: Cathy Lane recording
in Iceland
Much of this recording trip to Iceland was spent investigating the environment in microphysiological detail and texture Chance encounters provided unexpected material
Images courtesy of Cathy Lane.
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Right: ‘Hidden Voices’
Hidden Voices is a dance performance
installation created with choreographer Rosemary Butcher in
2004 The work was shortlisted for
The Place Prize, London and performed at the Tate Modern and other major European venues A film
version was broadcast on Channel 4
television in the UK over four successive nights The soundtrack for
Hidden Voices is created largely from
spoken word recordings
Image courtesy of Cathy Lane
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Annea Lockwood
New Zealander Annea Lockwood came
to London in 1961, studying piano at the Royal College of Music and subsequently taking New Music courses at Darmstadt and studying electroacoustic music in Holland and Germany She is currently Professor of Music at Vassar College, New York Lockwood describes her work as exploring ‘the poetic potential of sound, particularly the rich and unpredictable nature of acoustical sound’ and ‘blending sound with movement and images to create philosophical and sensual explorations
of the natural world.’
This page: ‘A Sound Map of the Danube’
This 2006 installation was presented
at the Stadthaus, Ulm It is a multi-channel sound installation with an accompanying map of the river, a time display and a tactile element – rocks taken from the riverbed, which have been shaped and incised by the river’s force Between 2001 and 2004 Lockwood travelled from the river’s sources to its delta, recording the river itself (surface and underwater), and its inhabitants (human and animal), then mixed these site recordings and interviews into a three-hour work
Listeners can identify sites by correlating the time display with the map, which identifies each site and the time at which it can be heard This is the most recent in a series of river installations Lockwood has composed since the early 1970s
Image courtesy of Sabine Presuhn.
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Right: ‘Piano Transplant No.4:
Southern Exposure’
In Lockwood’s 2005 work Southern
Exposure, a little ruined grand piano
was placed at the tide line on Bathers’
Beach, near Fremantle, Western Australia, and left there for a week for
the weather and passers-by to work
on During that week, five backpackers
absconded with it briefly, thinking it
abandoned; later a storm blew in from the Indian Ocean, leaving lid and legs strewn along the beach and
the piano body half filled with sand
and seaweed, but still producing sounds This was the final piece in Lockwood’s series,Piano Transplants
(started in 1968)
Image courtesy of Heuchan Hobbs
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