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    <title>ROBERT JACK</title>
    <description>Robert Jack is sound designer and music technologist living in Palermo, Italy. Here is his portfolio.
</description>
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    <pubDate>Mon, 12 Feb 2024 10:44:39 +0100</pubDate>
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        <title>Welcome | Marysia Lewandowska | Kestner Gesellschaft Hannover</title>
        <description>&lt;p&gt;Sound design for Marysia Lewandowska’s installation in &lt;a href=&quot;https://kestnergesellschaft.de/en/exhibition/79&quot;&gt;Kestner Gesellschaft Hannover&lt;/a&gt;.&lt;/p&gt;

&lt;p&gt;The Welcome project re-imagines the 1923 Kestner Gesellschaft’s history, creating a new role for Sophie Kuppers, art historian, collector and future wife of El Lissitzky, by “appointing” her as its first female director. In her speech, performed live in German by Medea Stabbert at the opening of The New Man. The Announcer. The Constructor. El Lissitzky: Self-Portrait as the Kestner Gesellschaft, the artist confronts us with a narrative regarding the effects institutions and their governance has on propagating cultural values, while reflecting on omissions in acknowledging less well documented contributions by women. The artistic act of augmenting history can be seen as a form agency with the artist adopting the role of an intermediary or medium creating an elaborate disguise.&lt;/p&gt;

&lt;p&gt;The installation of the project consisted of a purpose-built triangular free-standing room closed off on the longest side by a vertical blind with a gradient colour of the slats running from white to black interrupted by a red section, a homage to El Lissitzky and his work. Inside the original German version of the Welcome speech can be heard from a loudspeaker while a simultaneous English version runs as a projected scrolling text. The second projection on the adjacent wall is a 3 minute loop of archival footage shot in the Swiss Alps by the Beindorff family, the film is silent with added intermittent sound of a TB cough.&lt;/p&gt;

&lt;p&gt;This is the evocation of two ghostly presences generated by the energy of the vocal cords. Sophie Kuppers becomes Sophie Lissitzky Kuppers by marrying El Lissitzky in 1927 in Moscow. Their lives have been inextricably linked, while their legacies unequally acknowledged. The project uses fiction to give justice to the emotional truth.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/welcome/installation.jpeg&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

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        <pubDate>Wed, 10 May 2023 00:00:00 +0200</pubDate>
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        <title>How to pass through a door | Marysia Lewandowska | Cosmic House</title>
        <description>&lt;p&gt;Sound design for Marysia Lewandowska’s installation in &lt;a href=&quot;https://www.jencksfoundation.org/cosmic-house&quot;&gt;Cosmic House&lt;/a&gt;.&lt;/p&gt;

&lt;p&gt;&lt;strong&gt;how to pass through a door&lt;/strong&gt; continues Lewandowska’s practice of recovering women’s cultural contributions through the use of voice, previously developed in projects such as the Women’s Audio Archive (2009) and It’s About Time at the 58th Art Biennale in Venice (2019), among others. Starting from the notion of the archive as an open-ended construction of contributions and interpretations, Lewandowska’s artistic research during her residency engaged with the legacy of Maggie Keswick Jencks as it is framed by the multiple histories of The Cosmic House: once a family home, a built manifesto of Post-Modernism and a meeting place for the movement’s main protagonists, and now a museum. The new sound installation, with the title borrowed from one of Maggie’s notebooks containing detailed records related to the design programme of The Cosmic House, is the culmination of the artist’s one-year-long sustained engagement with the Jencks’ archives in London and in Portrack, Scotland.&lt;/p&gt;

&lt;p&gt;Lewandowska’s resulting new sound installation presented for the first time will occupy multiple rooms throughout the The Cosmic House. The work activates Maggie’s voice by relying on the archival records, both spoken and written, spanning from her formal lectures on the Chinese Garden to the more intimate letters and notes related to the construction of the house. Through her method of ‘voicing’, Lewandowska proposes an alternative encounter with the space, and by acknowledging Maggie’s role and contributions opens up a polyphony of interpretations and a parallel universe to Charles’ own.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/cosmic-house/map.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/cosmic-house/cosmic-house-outside.jpg&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Wed, 10 May 2023 00:00:00 +0200</pubDate>
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        <title>Повик by Стотројка | Kanal 103</title>
        <description>&lt;p&gt;Track on Various Artists Compilation (Stotrojka 009)&lt;/p&gt;

&lt;p&gt;On 1st of May 2021 our beloved radio Kanal 103 turned 30 years old, and we “celebrated” by broadcasting 24 hours of white noise. We are no strangers to all sorts of vicissitudes, but this is a particularly dark moment in our long and turbulent history: we haven’t been broadcasting on FM for more than two years, and although the pandemic has been such a rich moment for the radio, we need to get back on our feet and get Kanal 103 back on the airwaves.&lt;/p&gt;

&lt;p&gt;We made a call to action. We shared our “very own” white noise with the radio’s friends, lovers and allies, inviting them to use it as a starting point and compose a music piece for us: to make virtue out of necessity, to make something out of nothing and also to have some fun.&lt;/p&gt;

&lt;p&gt;This compilation is their overwhelming response.&lt;/p&gt;

&lt;iframe style=&quot;border: 0; width: 100%; height: 120px;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=3669936309/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4067749668/transparent=true/&quot; seamless=&quot;&quot;&gt;&lt;a href=&quot;https://stotrojka.bandcamp.com/album/-&quot;&gt;Повик by Robert Jack&lt;/a&gt;&lt;/iframe&gt;
</description>
        <pubDate>Thu, 18 Mar 2021 00:00:00 +0100</pubDate>
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        <title>Romika TV | Federico Lupo</title>
        <description>&lt;p&gt;Collaboration with Federico Lupo for Romika TV Valentines Edition 2021. Music is a montage from an improvisation on the Magnetic Resonator Piano recorded at the Centre for Digital Music in London, video all shot in Palermo by &lt;a href=&quot;https://www.vonholdenstudio.com/&quot;&gt;Federico Lupo&lt;/a&gt;.&lt;/p&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/Oq14Jc7UbIo&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;
</description>
        <pubDate>Thu, 18 Mar 2021 00:00:00 +0100</pubDate>
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        <title>Canary | The International Western | Theatrum Mundi</title>
        <description>&lt;p&gt;Directed by Denna Cartamkhoob, performance by The International Western, 6 mins&lt;/p&gt;

&lt;p&gt;Until 1986 we carried caged canaries down British coal mines to detect carbon monoxide before our delayed human reaction. In 1986 a crowd of protestors interrupted the conference announcing the development of Canary Wharf by freeing sheep and bees into the landscape. They shouted “kill the canary!” but only canaries could have saved us: living signalling systems, a sentinel species sacrificed to warn us of the danger ahead. Now when we need it more than ever, is the canary dead already? Or is it singing otherwise, as a sign, a gift of grace time in the city? Time enough now to escape, move, abandon tools, halt work; to make the air safe enough to return.&lt;/p&gt;

&lt;p&gt;The International Western and company is a performance collective based in London, working together since 2012, making installation and performance work about the technosocial mechanisms of contemporary living.&lt;/p&gt;

&lt;p&gt;Directed by Denna Cartamkhoob
Edited by Tom Chick
Music by Robert Jack
Commissioned by Theatrum Mundi&lt;/p&gt;

&lt;p&gt;This performance was part of the launch event of the publication Sonic Urbanism: The Political Voice, in collaboration with &amp;amp;beyond Collective&lt;/p&gt;

&lt;p&gt;Curated by Andrea Cetrulo&lt;/p&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/U1euYHr5R_s&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;
</description>
        <pubDate>Fri, 30 Oct 2020 00:00:00 +0100</pubDate>
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        <category>SOUND</category>
        
        
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        <title>Design Products &amp; Futures | Royal College of Art</title>
        <description>&lt;p&gt;Since March 2020 I have been tutoring on the Design Products MA at the Royal College of Art. I provide the students with tutoring related to sound and physical computing, PCB design and digital manufacturing.&lt;/p&gt;

&lt;p&gt;To find out more about the course see &lt;a href=&quot;https://www.rca.ac.uk/schools/school-of-design/design-products/&quot;&gt;https://www.rca.ac.uk/schools/school-of-design/design-products/&lt;/a&gt;.&lt;/p&gt;
</description>
        <pubDate>Tue, 10 Mar 2020 00:00:00 +0100</pubDate>
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        <category>RESEARCH &amp; TEACHING</category>
        
        
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        <title>Instruments for Stroke Rehabilitation | Chelsea and Westminster Hospital</title>
        <description>&lt;p&gt;In 2019-20 I worked collaboratively with Jacob Harrison and the arts charity &lt;a href=&quot;https://www.cwplus.org.uk/&quot;&gt;CW+&lt;/a&gt; on the development of a new musical instrument designed specifically to support upper limb exercises and rehabilitation. CW+ are an organisation that run a programme of arts and engagement events at Chelsea and Westminster Hospital trust where the instrument was first trialled on the Neil Gwynne neurological ward.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/cw-plus/instrument-2.jpg&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;h3 id=&quot;upper-limb-rehabilitation-through-music&quot;&gt;Upper limb rehabilitation through music&lt;/h3&gt;

&lt;p&gt;According to the Neurological Alliance’s &lt;a href=&quot;https://www.neural.org.uk/wp-content/uploads/2019/07/neuro-numbers-2019.pdf&quot;&gt;‘Neuro Number 2019’ report&lt;/a&gt;, in England there were 80,000 newly diagnosed incidences of stroke in the year 2016-17.  Weakness or paralysis on one side of the body is a common side-effect, with &lt;a href=&quot;https://www.stroke.org.uk/sites/default/files/f33_physical_effects_of_stroke_6pp_apr2016_web.pdf&quot;&gt;The Stroke Association&lt;/a&gt; reporting that over three quarters of stroke survivors have arm weakness.  CW+ believe that engagement with the arts can help alleviate some of the challenges faced patients, and research suggests that this is also the case for stroke patients, with &lt;a href=&quot;https://www.ncbi.nlm.nih.gov/pubmed/23533954&quot;&gt;a study in 2013&lt;/a&gt; indicating that piano playing can have benefits in the recovery of upper extremity function.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/cw-plus/workshop.jpg&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;The design of the new instrument evolved through regular meetings with the stroke specialist therapy teams at Chelsea and Westminster Hospital, and was finally developed into the playable prototype which can be seen here.  It is played simply by touching the brass rods on the surface, each of which produces a different note.  Its size and shape allow it to be accessible to patients with a wide range of upper-limb ability, incorporating full arm extensions and intricate finger work, and it is compliant with hospital infection control protocols.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/cw-plus/finished-instrument-2.jpg#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Thu, 10 Oct 2019 00:00:00 +0200</pubDate>
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        <category>INSTRUMENTS</category>
        
        <category>RESEARCH &amp; TEACHING</category>
        
        
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        <title>It&apos;s About Time | Marysia Lewandowska | Venice Biennale</title>
        <description>&lt;p&gt;Sound design for Marysia Lewandowska’s pavilion at the Venice Biennale 2019.
A Special Project curated by Ralph Rugoff for the 58th International Art Exhibition – La Biennale di Venezia, May You Live in Interesting Times occupies Pavilion of Applied Arts at the Arsenale, which since 2016 has been shared by  La Biennale and the Victoria and Albert Museum.&lt;/p&gt;

&lt;iframe src=&quot;https://player.vimeo.com/video/344357084?title=0&amp;amp;byline=0&amp;amp;portrait=0&quot; width=&quot;640&quot; height=&quot;640&quot; frameborder=&quot;0&quot; webkitallowfullscreen=&quot;&quot; mozallowfullscreen=&quot;&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;The installation explores the ways in which the archival trace can be used as a means of identifying, unraveling, and reconstructing historical narratives. Comprised of an audio play and a short film edited from archival material, It’s About Time imagines a radical alternative history of the foundation of La Biennale, with women at its centre.&lt;/p&gt;

&lt;h3 id=&quot;pavilion-of-applied-arts&quot;&gt;Pavilion of Applied Arts&lt;/h3&gt;
&lt;p&gt;The project takes as a point of departure archival records of meetings held between Venice’s civic, intellectual, and business leaders, and the Mayor, poet Riccardo Selvatico. These early discussions, animated by ideas of civic pride, moral philanthropy, and public good, led to the creation of La Biennale di Venezia in 1895.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/venice/FILM-3.jpg&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Further archival research revealed glimpses of a set of parallel conversations taking place at the same time in Venice led by the fearless Duchess Felicita Bevilacqua La Masa, whose 1899 bequest secured Ca’Pesaro for Galleria d’Arte Moderna and provided studios for young artists. While the status of their proposals remains unclear, the notion of female representatives meeting to discuss art and philanthropy opened up a new realm of possibilities, introducing the role of dissent in shaping contemporary culture.&lt;/p&gt;

&lt;p&gt;The central element in the development of the project was a process of a collective script writing. A group of Italian women practitioners: Lucia Cavorsi; Giulia Damiani; Valeria Facchin; Alice Ongaro; Carlotta Pierleoni; Flora Pitrolo; Silvia Tanzini based in London together with the art historian Clarissa Ricci  and scholar Francesca Tarocco in Venice speculate on a scenario in which the foundations of La Biennale were built by women, allowing the sound of their ‘unheard voices’ to be encountered for the first time. Asserting their own presence through invention and self-discovery, the resulting recording of their debate resonates within the immersive space placed inside the Pavilion, drawing attention to the mechanisms of how knowledge is created and disseminated.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/venice/installazione.jpeg&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;PRESS&lt;/p&gt;

&lt;p&gt;Women Looking at Women &lt;a href=&quot;https://frieze.com/article/pictures-women-looking-women-19th-venice-biennale&quot;&gt;Frieze&lt;/a&gt;;&lt;/p&gt;

&lt;p&gt;The Revisionist &lt;a href=&quot;https://www.vam.ac.uk/articles/la-biennale-di-venezia-2019&quot;&gt;V&amp;amp;A Magazine&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Is the Future Female at the Venice Biennale? &lt;a href=&quot;Sotheby’s Institute of Art&quot;&gt;Sotheby’s Institute of Art&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;The difficult buisiness of archiving the Biennale &lt;a href=&quot;https://www.ft.com/content/b99686d2-682b-11e9-b809-6f0d2f5705f6&quot;&gt;FT&lt;/a&gt;;&lt;/p&gt;

&lt;p&gt;Quell’Archivio E Un Capolavoro &lt;a href=&quot;https://rep.repubblica.it/pwa/venerdi/2019/05/06/news/biennale_venezia_2019_marysia_lewandowska_archivi-224701578/&quot;&gt;La Repubblica&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;&lt;a href=&quot;http://www.veneziatoday.it/attualita/biennale-arte-venezia-settimana-6-maggio-2019.html&quot;&gt;Venezia Today&lt;/a&gt;&lt;/p&gt;
</description>
        <pubDate>Sat, 11 May 2019 00:00:00 +0200</pubDate>
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        <category>SOUND</category>
        
        
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        <title>Pepper | Eurorack Synthesiser Module for Bela</title>
        <description>&lt;p&gt;Pepper is an open source programmable Eurorack module which I designed alongside Giulio Moro, Adan Benito, Astrid Bin and Andrew McPherson from the Bela team. You can buy the &lt;a href=&quot;https://eu.shop.bela.io/collections/modular/products/pepper-full-diy-kit&quot;&gt;full DIY kit&lt;/a&gt; for soldering together at home.&lt;/p&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/VLHxIMeSU-c&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;
</description>
        <pubDate>Sat, 11 May 2019 00:00:00 +0200</pubDate>
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        <title>Rooms for Secrets | Antonio Syxty | Teatro Litta Milano</title>
        <description>&lt;p&gt;Sound design for performance by Antonio Syxty at Teatro Litta, Milano, 2019.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/rooms-for-secrets/il-corpo-22.jpg&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Rooms For Secrets is a project of environmental performance created by Antonio Syxty who occupies an entire floor of an early twentieth century building with the intent of governing the public between false values and unexpected interpretations.&lt;/p&gt;

&lt;p&gt;With the collaboration of Susanna Baccari.
Text by Michele Zaffarano.
Sound design by Robert Jack.&lt;/p&gt;

&lt;h2 id=&quot;il-corpo&quot;&gt;Il corpo&lt;/h2&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/W1C-ESIh-4w&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;h2 id=&quot;il-dio&quot;&gt;Il dio&lt;/h2&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/7pqmA4n2ZHI&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;h2 id=&quot;i-desideri&quot;&gt;I desideri&lt;/h2&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/BwrRdjXGlu8&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;h2 id=&quot;lo-spazio-1&quot;&gt;Lo spazio 1&lt;/h2&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/n8AaGXjtXHs&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;h2 id=&quot;lo-spazio-2&quot;&gt;Lo spazio 2&lt;/h2&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/u-JtmOy0his&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;
</description>
        <pubDate>Sat, 11 May 2019 00:00:00 +0200</pubDate>
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        <category>SOUND</category>
        
        
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        <title>Tangibility and Richness in Digital Musical Instrument Design | Doctoral Thesis</title>
        <description>&lt;blockquote&gt;
  &lt;p&gt;Musical ideas are prisoners, more than one might believe, of musical devices.
— Pierre Schaeffer, 1977&lt;/p&gt;
&lt;/blockquote&gt;

&lt;p&gt;I completed my doctorate in 2018 as part of the &lt;a href=&quot;http://instrumentslab.org/index.html&quot;&gt;Augmented Instruments Lab&lt;/a&gt; at Queen Mary University supervised by &lt;a href=&quot;https://andrewmcpherson.org/bio&quot;&gt;Andrew McPherson&lt;/a&gt;.&lt;/p&gt;

&lt;h3 id=&quot;touch-and-design&quot;&gt;Touch and design&lt;/h3&gt;

&lt;p&gt;My thesis focused on the sense of touch and ideas of &lt;em&gt;tangibility&lt;/em&gt; in the design of digital musical instruments with the aim of informing design practices.&lt;/p&gt;

&lt;p&gt;The sense of touch plays a fundamental role in musical performance: alongside hearing, it is the primary sensory modality used when interacting with musical instruments. Learning to play a musical instrument is one of the most developed haptic cultural practices, and within acoustic musical practice at large, the importance of touch and its close relationship to virtuosity and expression is well recognised.&lt;/p&gt;

&lt;p&gt;With digital musical instruments – instruments involving a combination of sensors and a digital sound engine – touch-mediated interaction remains the foremost means of control, but the interfaces of such instruments do not yet engage with the full spectrum of sensorimotor capabilities of a performer. This poses compelling questions for digital instrument design: how does the nuance and richness of physical interaction with an instrument manifest itself in the digital domain? Which design parameters are most important for haptic experience, and how do these parameters affect musical performance?&lt;/p&gt;

&lt;p&gt;As part of this research I designed new musical instruments to investigate different aspects of touch in digital musical instrument performance.&lt;/p&gt;

&lt;p&gt;You can find my thesis and other publications &lt;a href=&quot;https://scholar.google.co.uk/citations?user=4UnLTw0AAAAJ&amp;amp;hl=en&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/phd/exploratory-techniques.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Sat, 11 May 2019 00:00:00 +0200</pubDate>
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        <category>RESEARCH &amp; TEACHING</category>
        
        
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        <title>Physical Interaction Design | Aalto University Helsinki</title>
        <description>&lt;p&gt;From 2018 to 2021 I developed and taught a Master’s level course in Physical Interaction Design in the School of Arts, Design and Architecture at Aalto University, Helsinki.&lt;/p&gt;

&lt;p&gt;This course aims to explore some of the core tools and critical concepts necessary for building new interactive devices using Bela and the computer music programming language, Pure Data. A version of the course is &lt;a href=&quot;https://learn.bela.io/tutorials/pure-data/fundamentals/course-introduction/&quot;&gt;available online&lt;/a&gt;. You can see the final projects the students create at the end of the course on this &lt;a href=&quot;https://blog.bela.io/aalto-physical-interaction-design/&quot;&gt;Teaching Spotlight blog post&lt;/a&gt;.&lt;/p&gt;

&lt;p&gt;The course was previously taught using Arduino by Koray Tahiroglu&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/aalto/analog-output.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;The course aims to give artists, designers, musicians and makers of all types a good grounding in the tools they need to start creating with interactive sound projects, and the confidence to start creating their own projects. It is designed for learners with no previous experience in coding or circuit building, though it’s also great for experienced Pd programmers who want to learn about using Pd to program Bela or expand their hardware knowledge.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/aalto/helsinki-station.jpg#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Sat, 11 May 2019 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2019/05/11/physical-interaction-design/</link>
        <guid isPermaLink="true">http://localhost:4000/2019/05/11/physical-interaction-design/</guid>
        
        <category>RESEARCH &amp; TEACHING</category>
        
        
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      <item>
        <title>Rehearsing the Museum | Marysia Lewandowska | Entrée Bergen</title>
        <description>&lt;p&gt;Sound design for a film by Marysia Lewandowska.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/RHM/Chinese-Gallery-KODE-Museum-Bergen.2.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;View the full film &lt;a href=&quot;https://vimeo.com/290674582&quot;&gt;here&lt;/a&gt;.&lt;/p&gt;

&lt;p&gt;Rehearsing the Museum combines the idea of financial speculation with speculative fiction as an artistic tool, structured as a distributed cabinet of curiosities. Collaboratively scripted with the Taiwanese Beijing-based writer Zian Chen, the work follows on from Lewandowska’s two-year research project at the Asia Art Archive in Hong Kong. Filmed at KODE Museum in Bergen, Shanghai and Beijing, and containing additional archival footage, the narrative unfolds through a dialogue between two women whose diverse backgrounds and aspirations expose sensitivities around property development and the contested ownership of museum artifacts. They reflect on the origins of the market for contemporary Chinese art, the museum boom, and the increasing pressure western museums are experiencing from strong economies, such as China, to face post-colonial consequences, linked to unresolved local histories.&lt;/p&gt;

&lt;p&gt;Comissioned by Randi Grov Berger, Entrée Bergen&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/RHM/D_Rehearsing-the-Museum_Scene-4.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;h4 id=&quot;credits&quot;&gt;Credits&lt;/h4&gt;

&lt;p&gt;Rehearsing the Museum 2018&lt;/p&gt;

&lt;p&gt;HD 29’44”&lt;/p&gt;

&lt;p&gt;Chinese with English subtitles.&lt;/p&gt;

&lt;p&gt;Screening  and Talk: Friday September 7th, 7—9pm
Chinese Collection, KODE Art Museum, Bergen&lt;/p&gt;

&lt;p&gt;Exhibition at Entrée Bergen 08.09—07.10, 2018&lt;/p&gt;

&lt;p&gt;Script: Zian Chen 陳璽安 and Marysia Lewandowska 柳思雅&lt;/p&gt;

&lt;p&gt;English to Chinese Translator: Boliang Shen申舶良&lt;/p&gt;

&lt;p&gt;Film Editor: Sue Giovanni&lt;/p&gt;

&lt;p&gt;Sound Designer : Robert Jack&lt;/p&gt;

&lt;p&gt;Cinematographer, Bergen: Kieran Kolle&lt;/p&gt;

&lt;p&gt;Cinematographer, Shanghai: Haoran Sunyue 孙岳浩然&lt;/p&gt;

&lt;p&gt;Sound recording, Shanghai: Boyang Chen陈博阳&lt;/p&gt;

&lt;p&gt;Stylist: Kuan Huang黄宽&lt;/p&gt;

&lt;p&gt;Graphic Designer: Luke Gould&lt;/p&gt;

&lt;p&gt;Film Advisors: Ian Knox, Eric Wear&lt;/p&gt;

&lt;p&gt;Actors: Yiwen Wang 王一问 Future Museum Director; Liyun Zhang 张黎韫 Property Developer; Shao Qi 邵琪 Journalist’s&lt;/p&gt;

&lt;p&gt;Voice; Boyang Chen陈博阳 Museum Owner’s Voice; Crystal Yu 余立珺 Cantonese Scholar’s Voice.&lt;/p&gt;

&lt;p&gt;Co-producers: Randi Grov Berger, Helen Kaplinsky, Marysia Lewandowska, Yining Yang 杨逸宁&lt;/p&gt;

&lt;p&gt;Locations:  July Offices七月合作社, Phaédo上海空间 Shanghai, KODE1 Museum, Bergen&lt;/p&gt;

&lt;p&gt;Additional Footage: Zhao Liang, Farewell to Yuanmingyuan, 2006; Stars Exhibition, Shanghai, 1979. Courtesy M+ Museum;&lt;/p&gt;

&lt;p&gt;Public Records Office, Hong Kong; Zuqiang Peng; CCTV, 05.01.2013, KODE Museum, Bergen; waa (we architech anonymous) 2015未觉建筑设计事务所&lt;/p&gt;

&lt;p&gt;English Subtitles : VoiceBox Multimedia&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/RHM/Chinese-Gallery-KODE-Museum-Bergen.1.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Sat, 11 May 2019 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2019/05/11/rehearsing-the-museum/</link>
        <guid isPermaLink="true">http://localhost:4000/2019/05/11/rehearsing-the-museum/</guid>
        
        <category>SOUND</category>
        
        
      </item>
    
      <item>
        <title>Bela | Open Source Platform for Instrument Design</title>
        <description>&lt;p&gt;I am one of the creators and directors of Bela, a maker board for designing musical instruments. The company is currently my main focus and employment.&lt;/p&gt;

&lt;p&gt;Read all about Bela on our website at &lt;a href=&quot;https://bela.io&quot;&gt;bela.io&lt;/a&gt; or have a look at &lt;a href=&quot;https://blog.bela.io&quot;&gt;blog.bela.io&lt;/a&gt; for hundreds of projects built with Bela from all around the world.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/bela/airharp.jpg#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Sat, 11 May 2019 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2019/05/11/bela/</link>
        <guid isPermaLink="true">http://localhost:4000/2019/05/11/bela/</guid>
        
        <category>INSTRUMENTS</category>
        
        
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      <item>
        <title>Conductive Music | Open Source STEAM workshops</title>
        <description>&lt;p&gt;Between 2015 and 2019 I worked with &lt;a href=&quot;http://conductivemusic.uk/&quot;&gt;Conductive Music&lt;/a&gt; as a teacher and developer.&lt;/p&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/_BunJtWCfks&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;h2 id=&quot;steam-education&quot;&gt;STEAM Education&lt;/h2&gt;

&lt;p&gt;Conductive Music bring together art, music, technology, science, pedagogy and research with the aim to help young people from challenging backgrounds develop musical, technical, and performance skills by introducing them to new music and new open source technologies. By bringing cutting-edge technologies and professional performers and researchers into primary and high schools Conductive Music gets young people building instruments and making music.&lt;/p&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/JDchpw_e2G4&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;During these workshops students acquire key employability skills for creative industries and STEM subjects including programming, soldering, instrumental performance and sound design. The teaching methods which Conductive Music use utilise accelerated learning, Bloom’s Taxonomy and formative assessment, in line with National Curriculum guidelines. Their aim is to establish transferrable blueprints for new music education, going beyond traditional curricula and incorporating a multi-disciplinary approach that connects science and engineering with music.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/conductive-music/waves.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;The &lt;a href=&quot;http://conductivemusic.uk/&quot;&gt;Conductive Music website&lt;/a&gt; is a treasure trove of teaching and learning resources which are freely available to explore.&lt;/p&gt;
</description>
        <pubDate>Fri, 11 May 2018 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2018/05/11/conductive-music/</link>
        <guid isPermaLink="true">http://localhost:4000/2018/05/11/conductive-music/</guid>
        
        <category>RESEARCH &amp; TEACHING</category>
        
        
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      <item>
        <title>Organ of Corti | Union Chapel</title>
        <description>&lt;p&gt;As part of the Organ Project at Union Chapel I went on a five month placement at the chapel in which I investigated the ways sound can be experienced beyond hearing. Union Chapel is one of London’s best loved music venues and aside from being an architectural treasure it also houses a very historically important, and newly refurbished, organ.&lt;/p&gt;

&lt;iframe width=&quot;560&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/n1KzrFGsQ7g&quot; frameborder=&quot;0&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;At the heart of the placement project was an inquiry into how the Henry Willis organ at Union Chapel can be made accessible – by way of augmentation, translation or enhancement – to the deaf and hard of hearing community in Islington. The goal was the development of technologies aimed at expressing sound through tactile vibration.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/corti/chair-mapping.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;The research produced prototypes of extended listening devices for feeling sound. As a culmination of this research project I had the pleasure of co-curating an event at the chapel with Claire M Singer of the Organ Project. The evening entitled the Organ of Corti featured low frequency, inter-sensory new music for organ and electronics and showcased the prototype devices.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/corti/registers.jpg#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Fri, 10 Oct 2014 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2014/10/10/union-chapel-organ-of-corti/</link>
        <guid isPermaLink="true">http://localhost:4000/2014/10/10/union-chapel-organ-of-corti/</guid>
        
        <category>SOUND</category>
        
        <category>INSTRUMENTS</category>
        
        
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      <item>
        <title>Seminary | Audio-visual Installation</title>
        <description>&lt;p&gt;Seminary (2012) was created from video and sound recordings from the ruin of St Peter’s Seminary in Cardross (Argyll), one of Scotland’s best examples of Brutalist architecture and one of Europe’s greatest Modernist buildings.&lt;/p&gt;

&lt;iframe src=&quot;https://player.vimeo.com/video/109050472?h=dd06ca6c96&amp;amp;title=0&amp;amp;byline=0&amp;amp;portrait=0&amp;amp;speed=0&amp;amp;badge=0&amp;amp;autopause=0&amp;amp;player_id=0&amp;amp;app_id=58479/embed&quot; allow=&quot;autoplay; fullscreen; picture-in-picture&quot; allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; style=&quot;position:absolute;top:0;left:0;width:100%;height:100%;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;Built by the Scottish Catholic Church in 1964 as a school and retreat for their trainee priests the building functioned for under twenty years and has since been left to slowly decay into the surrounding Kilmahew woodland. This work is a two screen installation which features new footage of the ruin captured by David Jack alongside a mute video from the opening of St Peter’s Seminary which was found in the Scottish Screen Archive. I composed the electroacoustic sound track and edited and montaged the final video sequence.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/seminary/car.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/seminary/construction.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/seminary/seminary_sz.png&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;With kind thanks to: NVA, The Scottish Screen Archive, David Jack (film), John Levack Drever, James Bulley, Kathrine Sandys.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/seminary/interior.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Sun, 11 May 2014 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2014/05/11/seminary/</link>
        <guid isPermaLink="true">http://localhost:4000/2014/05/11/seminary/</guid>
        
        <category>SOUND</category>
        
        
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      <item>
        <title>Memorial Modernism | Documentary</title>
        <description>&lt;p&gt;Memorial Modernism (2014) is a documentary film made in collaboration with Alessia Milo and Vishal Soni.&lt;/p&gt;

&lt;iframe src=&quot;https://player.vimeo.com/video/91423337?title=0&amp;amp;byline=0&amp;amp;portrait=0&quot; width=&quot;640&quot; height=&quot;640&quot; frameborder=&quot;0&quot; webkitallowfullscreen=&quot;&quot; mozallowfullscreen=&quot;&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;This short documentary presents interviews conducted with Angus Farquar (NVA, The Invisible College), Catherine Croft (20th Centrury Society) and David Pinder (Author of Visions of the City: Utopianism, Power and Politics in Twentieth-Century Urbanism) in combination with footage shot at the site of St Peter’s Seminary. The documentary investigates the re-evalution of modernist architecture in the 21st Century in all its social, cultural and political significance.&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/memorial/seminary-full.jp	g#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Sun, 11 May 2014 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2014/05/11/memorial-modernism/</link>
        <guid isPermaLink="true">http://localhost:4000/2014/05/11/memorial-modernism/</guid>
        
        <category>SOUND</category>
        
        
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      <item>
        <title>Zitta | Augmented Zither</title>
        <description>&lt;p&gt;Zitta (2013) is an electroacoustic augmented zither.&lt;/p&gt;

&lt;iframe src=&quot;https://player.vimeo.com/video/81628512&quot; frameborder=&quot;0&quot; webkitallowfullscreen=&quot;&quot; mozallowfullscreen=&quot;&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;Created as part of the Interactive Digital Multimedia Techniques course led by Andrew MacPherson at Queen Mary, University of London. Audio processes applied to the acoustic sound of the zither are then transduced directly through the body of the zither itself using tactile actuators. This allows acoustic feedback lines to establish themselves and resonate the wooden body of the instrument.&lt;/p&gt;
</description>
        <pubDate>Thu, 10 Oct 2013 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2013/10/10/zitta-electroacoustic-zither/</link>
        <guid isPermaLink="true">http://localhost:4000/2013/10/10/zitta-electroacoustic-zither/</guid>
        
        <category>INSTRUMENTS</category>
        
        
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      <item>
        <title>Gelmetti Machine | Feedback Instrument</title>
        <description>&lt;p&gt;The Gelmetti Machine is a software instrument developed in Max/MSP that simulates the sound of no-input mixing.&lt;/p&gt;

&lt;iframe width=&quot;100%&quot; height=&quot;166&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot; src=&quot;https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F77305781&quot;&gt;&lt;/iframe&gt;
&lt;iframe width=&quot;100%&quot; height=&quot;166&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot; src=&quot;https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F77305780&quot;&gt;&lt;/iframe&gt;
&lt;iframe width=&quot;100%&quot; scrolling=&quot;no&quot; frameborder=&quot;no&quot; src=&quot;https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F77305778&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;Once triggered by an impulse response the feedback system wavers around, and settles upon, feedback lines from speaker to microphone. Inspired and named after Vittorio Gelmetti the electroacoustic composer who worked with Michelangelo Antonioni on the film Deserto Rosso, the Gelmetti Machine is designed as a tool for generating Gelmetti’s signature atmospheres and sonic ambiences. Excepts of the software in an installation context are above.&lt;/p&gt;
</description>
        <pubDate>Thu, 10 Oct 2013 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2013/10/10/gelmetti-machine/</link>
        <guid isPermaLink="true">http://localhost:4000/2013/10/10/gelmetti-machine/</guid>
        
        <category>INSTRUMENTS</category>
        
        
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      <item>
        <title>Laurie Grove Baths | Audio-visual</title>
        <description>&lt;p&gt;Laurie Grove Baths (2011) is a site-specific sound piece made for the water tanks of the Victorian Laurie Grove Baths in New Cross, South-East London. The tanks were part of a proposed redevelopment as part of Goldsmiths College, University of London  which has now become the &lt;a href=&quot;https://www.gold.ac.uk/goldsmithscca/&quot;&gt;Goldsmiths Centre for Contemporary Art&lt;/a&gt;. This audiovisual work surveys and imagines future uses for the space the way it stood in 2011. The base material for this work was gathered over four days of acoustic surveys, site recordings and filming in the tanks, whose cast iron structure lends them a unique reverberant quality.&lt;/p&gt;

&lt;iframe src=&quot;https://player.vimeo.com/video/35544943?title=0&amp;amp;byline=0&amp;amp;portrait=0&quot; frameborder=&quot;0&quot; webkitallowfullscreen=&quot;&quot; mozallowfullscreen=&quot;&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;The project culminated in the playback of the piece as a quadriphonic audio installation, paired with projections of architectural details of the tanks: the acoustic properties of the space and the sound of nearby New Cross Road were used to bring the tanks momentarily alive as a reverb chamber and site of concentrated listening.&lt;/p&gt;

&lt;p&gt;With kind thanks to:
Goldsmiths Estates and Facilities Department
&lt;a href=&quot;http://www.jockelliess.org/&quot;&gt;Jockel Liess&lt;/a&gt;
&lt;a href=&quot;https://ainbailey.tumblr.com/&quot;&gt;Ain Bailey&lt;/a&gt;
Craig McCartney&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/laurie/laurie-detail.jpg#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Thu, 10 Oct 2013 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2013/10/10/laurie-grove-baths/</link>
        <guid isPermaLink="true">http://localhost:4000/2013/10/10/laurie-grove-baths/</guid>
        
        <category>SOUND</category>
        
        
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      <item>
        <title>International Western | Performance</title>
        <description>&lt;p&gt;I was part of the performance collective International Western who made large scale outdoor installations and performance.&lt;/p&gt;

&lt;iframe src=&quot;https://player.vimeo.com/video/198554489?title=0&amp;amp;byline=0&amp;amp;portrait=0&quot; width=&quot;640&quot; height=&quot;640&quot; frameborder=&quot;0&quot; webkitallowfullscreen=&quot;&quot; mozallowfullscreen=&quot;&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/international-western/works-aural-lighthouses.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/international-western/works-calling-all.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/international-western/works-calling-x.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/international-western/works-calling-you.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/international-western/works-calling-yz.png#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/international-western/works-cold-room.jpg#full&quot; alt=&quot;Placeholder&quot; /&gt;&lt;/p&gt;
</description>
        <pubDate>Sun, 10 Jun 2012 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2012/06/10/international-western/</link>
        <guid isPermaLink="true">http://localhost:4000/2012/06/10/international-western/</guid>
        
        <category>SOUND</category>
        
        
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      <item>
        <title>Panorama Kvaeol Kopokonan | Audio-visual</title>
        <description>&lt;p&gt;Panorama Kvaeol Kopokonan (2011) was created with choreographer Jona Kristen Thomsen and focuses on the dynamics of weather systems approaching the West side of the Faroe Isles in contrast with the human body in the landscape. I created a quadrophonic sound design.&lt;/p&gt;

&lt;iframe src=&quot;https://player.vimeo.com/video/35540444?title=0&amp;amp;byline=0&amp;amp;portrait=0&quot; width=&quot;640&quot; height=&quot;640&quot; frameborder=&quot;0&quot; webkitallowfullscreen=&quot;&quot; mozallowfullscreen=&quot;&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;

&lt;p&gt;The piece has been shown at Trinity Laban, London and at Nordic House Greenland. Three videos, each with their own audio track, are projected on screens made from sailcloth. The footage can be viewed from both sides, allowing the audience to move freely around the three hovering screens: the sound and the video-montage are designed to match the monumental pace of the moving weather systems and the body of the dancer falling in and out of frame.&lt;/p&gt;

&lt;p&gt;With kind thanks to:
Trinity Laban
Nordic Institute of Greenland (NAPA)
Jona Kristen Thomsen&lt;/p&gt;
</description>
        <pubDate>Fri, 10 Jun 2011 00:00:00 +0200</pubDate>
        <link>http://localhost:4000/2011/06/10/kvaeol-kopokonan/</link>
        <guid isPermaLink="true">http://localhost:4000/2011/06/10/kvaeol-kopokonan/</guid>
        
        <category>SOUND</category>
        
        
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