organised sound

↑ a steel sheet vibrated by a motor with cymbals and the insides of one and a half pianos played by pieces of tape attached to small motors - 2013

↑ from windchest to pipes as metaphor - 2016.

↑ one hundred organ pipes.

↑ 52 saxophones each playing a different note - 2014.

↑ slow groan tubes.

X for Henry Flynt - La Monte Young - 1960 - recorded 1983.

angle grinder and saxophone

↑ (de)composition for tenor saxophone and angle grinder - 2014

↑ 12 saxophones - 1994

the legs of these stacked tables have been cut, hammered and welded to create organ pipes. Air is blown down the pipes from a fan inside the table tops. Each of the twelve cut legs plays a different note of the chromatic scale.

a sound painting derived from video of a fireworks display with the sound of these instruments ↓.

gas mask cymbal car horn

↑ a small cymbal was struck and then a car horn was attached to a car battery for 30 seconds, the cymbal was struck and the horn connected again - these two events were repeated until the audience left - 1992.

↑ pieces of metal, F1 cars, jet engine and space shuttle

angry drycleaner

Vibrant Stapler Obscures Characteristic Growth Papal Products 003 - 1981

Vibrant Stapler Obscures Characteristic Growth - Hastings of Malawi

organised sound

The quantities of data in volumes located on YouTube, Bandcamp, SoundCloud, and elsewhere, though created almost certainly with the intention to be heard, cannot in fact be heard. Human perceptual systems can no longer cope with the scale of these volumes. Any attempt at perception will be fractional, distorted, and always incomplete. ..... And once quantity overwhelms the system, qualitative judgements are no longer possible......Within the world of music, mediators of value and taste have changed from the few to the many, and volume effaces any qualitative ability. Obviously this is not immediately good news for anyone who thinks music has a value, or wants to produce value from it. It is a problematic for manufactures and retailers of music as product, for reviewers of music and arbiters of taste, and perhaps even problematic for musicological study and evaluation in academic institutions. What has happened to music? - James Whitehead

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