Edito de Airfoil?Sound for Spaces draws strength from its utter simplicity, delivering an evocative collection of incidental music that stands up to the best work of other kindred spirits.? Alternative Press ?This compilation could actually be Scanner?s most complete work to date. This is one of those records we always strive to find in the shops.? DJ Magazine Outside of Scanner?s controversial mobile phone scans of the time, he was also creating works for installation and radio art projects, some of which are documented on this CD. Sound for Spaces is a collection of his best unreleased works, running in reverse chronological order from 1997 back to 1984. Documenta X is the sort of ambient music to give your bass bins serious trouble, Invisible Choirs sounds like a walk through the inner workings of an immense cathedral organ, and A Piece of Monologue makes logical connections between the emotive pull of Samuel Beckett?s found phrases and the subconscious of Rimbaud?s found sounds. Sleevenotes 1.Documenta X 1997 11.14 As part of Ganz Ohr (All Ear) I participated in a symposium on sound as part of the tenth anniversary of the gigantic Documenta exposition in Kassel Germany. Curated by Sabine Breitsameter in association with hr2, performances and panellists included Pauline Oliveros (USA), Anthony Moore (UK) and Peter Kiefer (Ger), Helge Heynold(Ger), Hildegard Westerkamp (Can) and Andres Bossard (Ger). This passage is an excerpt from a series of pieces written towards the occasion. http://www.hr-online.de 2. Slow Motion 1997 8.50 Letting Loose the multimedia rogue codes As part ofVirogenesis, in association with ANAT (Australian Network for Art and Technology), Adelaide I was invited to perform and give presentations of my work across Australia , beginning in Oct 1996, at a variety of art institutes, galleries and performance spaces. The project was conceived as a 'viral collision of some of the most extreme UK, European and Australian new media practitioners, curators, publishers and theorists.' Alongide Italian publisher Gomma and English cultural terrorist Matt Fuller I formed part of a team that infiltrated the airwaves of Australia. This recording utilises many of the sounds I sourced from the ether whilst travelling and acts as a kind of sound document for this period. http://www.anat.org.au/ anat@anat.org.au 3. Incarceration 1996 6.58 An installation premiered in Nottingham UK as part of NOW 96 and extended to a showing in London in 1997. A series of principal artists Luke Losey, Dorigen Hammond, Fiona Sail, Mickey Mann and Laurence Windle joined together with invited artists to provoke a response to the increasing and dangerous global tendency towards incarceration. Why does society allow incarceration? What are the effects on the individual and society? The project aimed to open up a discourse and provoke an emotional and active response to the problems of incarceration. Sound design was by Pressure of Speech and myself. 4. Rivers & Bridges 1996 3.28 A worldwide radio and internet project, initiated by the Ars Acustica experts group of the EBU (European Broadcasting Union). Curated by Kunstradio as part of ORF radio broadcasting in Vienna,Austria, this project was a continuation of work that Kunstradio has been producing for ten years. With such luminary figures as Sam Auinger (Aus), Robert Adrian (Can), Richard Dorfmeister (Aus), Bill Fontana (USA), Rupert Huber (Aus) and G.X Jupitter -Larsen/The Haters (USA) this ambitious project was a resounding success. The project culminated in an international event at the Ars Electronica Festival in September 1996, unfolding on 30 channels of 24 international radio stations, on stages, in installations and performances in 24 cities. The subtitle of Rivers and Bridges was "backward translation as a creative strategy." It was meant to focus on questions and problems of interaction (and its representation) between different social groups, disciplines, languages, epochs and so callled high culture and popular culture. It thus reflects issues relating to influence of digitalisation and the New Communication technologies on our culture. This tiny radio excerpt references the work of American writer Paul Auster and the notion of temporal space. http://thing.at/orfkunstradio/ kunstradio@thing.at 5. Invisible Choirs 1995 5.30 My work is in part about memory and recording certain moments or spaces in time and capturing them for others to interpret. As part of Transgressions, a series of free shows in London with a wide scope of artists - DJ Spooky, Frances-Marie Uitti, Musiq, Pierre Bastien and many others, I produced a low light sound/audio installation. This piece, embedded with a sense of loss, evolved out of a desire to evaluate my feelings and own personal memories of a friend that recently passed away. 6. Hearing is Believing 1995 9.54 As part of Video Positive 95 Hearing is Believing 105.8 FM was set up as the UK?s first ever arts radio station for experimental, fresh and progressive broadcasting. Each day for 30 minutes I presented a sound piece that developed over the week, moving from breakfast time, through lunch and supper time. Hosted by Roney FM Fraser Munro, it was a rare opportunity to hear rare radio art from Canada and USA. New works included this piece alongside Ed Baxter/Phil England?s ?Stop Me If You Have Heard This One Before?, Colin Fallow?s ?Desert Island Dada? and Matt Wand of Stock Hausen and Walkman improvising on a daily basis. 7. Airfoil 1993 4.46 A mobile audio/visual collaboration with Austrian artist Katarina Matiasek. In her visual work Matiasek plays a game of memory with your personal imagery and with this piece we utilised found images and sound, photos left in the street, tapes rolling across the road and so on and created a portable briefcase - a kind of mobile museum - of a false history. No image related to the next, no sound connected to the next. This was the most musical section with a found vocal and very simple linear structure. It was as if the work created itself and we merely acted as channels for it. 8. A Piece of Monologue 1988 14.48 Written by the Irish playwright and author Samuel Beckett in 1980. An intensely private man whose work spoke of nothingness and and the inability to move forward, his sparse and acutely scripted work remains an influence on me to this day. As my work has always involved language from the earlier tape works in 1982, this unreleased radio performance piece has a particular significance for me. 9. Disclosure 1984 5.18 Set in the now defunct Air Gallery London this is a small excerpt from a time based piece. Several archaic reel-to-reel tape machines ran loops around this dark basement space, spinning and out of time at various junctures. Reminiscent of early Reich tape pieces and works by electronic art terrorists like Greater Than One and Severed Heads which I was obviously listening to at that point in time, these pieces still retain a certain charm for me, despite their rather inadequate sound quality. Digital technology was still a dream away for poor musicians at this point in time.