'three variations on a study for a data deficient species (grey ghost transmission)' on air at Radiophrenia 87.9FM, Glasgow

I have a radio art piece included in the impressively extensive schedule of radiophonic experiment coming up in the programming of radiophrenia 2017, a temporary project station for radio art, broadcasting 24 hours a day from 6 - 19 November, out of Glasgow’s Centre for Contemporary Arts. This solid fortnight of radio, sound, and transmission art (from friends, peers and many new names), together promises to "promote radio as an art form, encouraging challenging and radical new approaches to the medium."

tidelines for water street

a site-specific installation of a durational score created for the independent artist-run exhibition in a blessed parenthesis, in a vacuum full of promise, located in a warehouse at 57 crawford street (cnr. jetty street, above dutybound bookbinders), central Dunedin, NZ, November 2015. included a performance event and artist talk in which the score was activated (as "hundreds of simultaneous shorelines"). premiere performers were Motoko Kikkawa (violin), Campbell Walker (shortwave radio), and myself (mini FM transmitter, receivers, zither.)
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title: tidelines for water street 
date: 24 Nov – 1 Dec 2015

time: various

notes: a sound score is constructed from a Dunedin street, using the location. In its initial stages, this score is a textual response to the idea of “land reclamation” and the fact that this street is on a part of the earth that was, until recently, underwater. It progresses further into the investigation of tidelines from various eras between the 1840s and 1890s, which inched forward from the place used as a landing site by Maori who were embarking on mahinga kai expeditions at the time of colonial settlement, which under the name Toitu Tauraka Waka became the first site in the South Island, and second nationally, recently recognised as a wahi tupuna (an important place of Maori ancestral significance).

The tauraka waka site was gradually swallowed by building and foreshore reclamation as the settlers threw more and more stuff into the harbour, including whole inconvenient parts of the landscape and later, the built environment; both were treated as raw material for what we might identify as, geologically speaking, an anthropocenic armature, a conglomerate “archaeological” landmass that everyone could contribute to: geological cross sections might reveal not just monumental or ‘natural’ things but strata of broken tea cups, glass bottles, and garden wastage.