Projects
→ 2025 Radiogrrrl.
→ 2025 SSTV.
→ 2025 Feminist writings on CB.
→ 2025 Listening ears.
→ 2024 Politics of Breathing.
→ 2024 Sonic Patterning.
→ 2024 All without ever even stopping.
Statement:
This piece is a process, workshop and zine that explores the movement of translation, used here as a process to shift data from one language, form, sense or medium to another whilst being situated in its own presentation of open participation. Based on the principles of data sonification, I use sound as a medium to anylise and decode visual simulations of an object or photograph. I have been collecting a bank of information and procsses in wich to turn photographs into sound or music as a continutation of my previous project, “all without ever even stopping”. Primarliy I focused on attempting different translation methods, using doilies as my experimentory medium I started to make compositions instead of singular sounds, the circular shape and intricate patterns allowed for me to ‘play’ the doilies as if they were a record, seeing and dividing each section as song. The three methods I focus on in this project include RGB data translation, Image to MIDI translation and image recreation in DAW software. I combined these to make the theory that I could apply in the workshop .
I continued this study by presenting my findings in a way that allowed participation. This project is presented as a form of situated learning that focuses on community participation as the art itself, cherishing the mobility and flexibility of process, allowing it to evolve in meaning and context depending on the outcomes and solutions of individuals participating. The workshop allows an expansion of ideas and knowledge and a questioning of the process itself. The main discussion was is this a relevent or recognisable form of transaltion and the results were mixed but all agreed that the basis of this translation is accurate, that it lacks is human interferrance and emotion as a signifier wich we began to add collectivly.
Turning images into sound.
This piece is intended to be presented as a workshop and therefore the desired outcome would be a live environment in wich it is easy to move around and participate.
The reason for having my work presented in a practical environment is that it emphasises the process of participation as the artwork itself. I have provided the means and parameter for the environment to flourish but it is the social interaction that not only creates an output but becomes the art work in itself.
This piece is not designed for the gallery space but instead in active situated cognition and the idea of group participation, it is that doing that activats learning and therefore development in this piece. Knowledge is situated in activity bound to scoial, cultural and physical contexts, therefore the desired product for this piece lies in the shared application, expansion and understanding of given knowledge. The situatedness of the piece evolves in the environment as it is handed to the participants to inflict their own experience and opinion onto the piece.
The reason for having my work presented in a practical environment is that it emphasises the process of participation as the artwork itself. I have provided the means and parameter for the environment to flourish but it is the social interaction that not only creates an output but becomes the art work in itself.
This piece is not designed for the gallery space but instead in active situated cognition and the idea of group participation, it is that doing that activats learning and therefore development in this piece. Knowledge is situated in activity bound to scoial, cultural and physical contexts, therefore the desired product for this piece lies in the shared application, expansion and understanding of given knowledge. The situatedness of the piece evolves in the environment as it is handed to the participants to inflict their own experience and opinion onto the piece.