Music Factory

Zach Thompson, Connie Virdie, Jonathon Baddeley, Tu Pham, Fergal Nesbit

This project aims to explore, initially in a broad sense, the capabilities of sound installation and/or, performance, with a view of refining this to an investigation into the threshold between sonic arts and music. The division of these disciplines into different classifications is ambiguous and the project will not seek to signify a defining point between the two. Rather, it intends to explore this threshold in terms of (a) the quality and production of sound, (b) the performance of sound, (c) the space in which the sound is performed/installed and (d) the duration of the work.

The project intends to create a platform through which a range of musically orientated practices can be exhibited in dialogue with one another. The installation of sound is a difficult task due to its ability to engulf a space, at times in a domineering, incompatible way. Providing this space will allow for the project to maximise the potential of sound installation, whilst acknowledging the incidental properties of sound, without impeding on other artists’ practices.

The project welcomes all kinds of sonic practices with an intention to encompass a wide range of sonic cultures through both acoustic and electronic means. It will provide a space for both individual and collaborative practices, with a focus on experimental means of creation rather than pre-rehearsed compositions. However, if, over the course of the project, experiments become more organically composed/arranged, this will be accommodated for.

Though the project is predominantly concerned with the installation and performance of sound through physical means, it does not intend to operate exclusively as such. If the potential for a digital translation of the project emerges, this will also be accommodated for.

Due to its expansive and broad reach, the project is expected to situate seemingly discordant sonic practices alongside one another. Rather than considering this to be a curatorial flaw, the project intends to furnish an opportunity whereby both the audience and participants can question traditional principles of musical/sonic semantics, with the potential of creating new discourses surrounding musical meaning.

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