Boiler House was a site specific sound installation at the Cornelius Cardew festival in conjunction with the South Bank at Morley College. Taking inspiration from Cardew's improvisational methods of generating music, the piece set in the lower operational levels of the building, responded to the architecture of the site and the accompanying network of utilities that activates the building. Using live audio feeds, recordings and low frequency pulses, the installation constructed an immersive re-imagining of Morley in keeping with the spirit of Cardew and the legacy of his work.
The Hayward touring exhibition Every Day is a Good Day was the first major retrospective in the UK of the visual art of the American composer and artist John Cage. To sit alongside this exhibition the De La Warr Pavilion presented 'A Nod to Cage', a rolling programme of artists' projects that responded to Cage's work. Sourcing inspiration from John Cage's piece 'Bird Cage' (1972), the project set out to examine elements of chance, texture, repetition and social space using sound in a site-specific context. Bird Cage sonically compromised of a real time live feed picking up external sound sources, for example, seagulls, sea and traffic from the roof of the pavilion. In the gallery space stood a monolith of speakers streaming the live feed alongside layers of continuous bass drones and pulses of low end frequencies.
Charles Atlas, Charlie Hooker, Cybraphon, Felix's Machines, Felix Thorn, Found Collective, Laura Kuhn, Mira Calix, Margaret Leng Tang, Mount Kimbie, Shelley Parker, Steve Beresford, Stewart Lee, Tania Chen, Void Vector, Yoko Ono.
An evening celebrating the exhibition Cold War Modern: Design (1945-1970), Shelley Parker, created Cast - an emotive and atmospheric sound scape of field recordings and sounds responding to the notions of myth, religion and authenticity inferred by the casts to evoke a feeling of post-apocalyptic future in the V&A's Cast Courts.
Man-Made was a curated project by CT Editions exploring consumer relationships with man made commodities. Based in the West End during the four days of Frieze, Man-Made presented and sold identical multiples of one object each day. Design historian Emily King selected an item for sale, whilst performance artist Oriana Fox responded to Man-Made with a performance entitled Material Girl and a site specific sound installation entitled Consume from Shelley Parker ran in the space for four days. Taking influence from the desire to consume, the piece was a sonic composite of recordings made from the industrial, erratic sounds recorded in central London's busy shopping area.