Recent A/V Work

Crossovers Collective is an inclusive group of musicians and cross-disciplinary artists organising regular nights of experimental sound and performance. As current Goldsmiths Music students, we formed the collective with the intention of creating a democratic, creative community for live artists, musicians, video artists and others to share work, learn skills and get to know each other. We host monthly sharing nights at Matchstick Piehouse in Deptford. Music - 'Our Stars' by Boy Lucid.

NX Radio is a space in the Goldsmiths Music department for students and friends to practice radio broadcasting and DJ'ing. We host weekly workshops and provide a place for sharing and listening to music. This short film intends to capture the feeling of the room and was submitted as part my Ethnographic Film & Music Research module.

I submitted this for my Music & Audiovisual Cultures module. The video essay explores the title, 'What role does sound play in early video art's promotion of the no-self?'. For early video work, the drone of the video hum represents a piece of vibrating universal matter. It acts as its own sonic force of unity; in this case unifying a multiplicity of transforming images and split selves. Among the unstable imagery and refracted psychology of early video work, the hum remains constant.

For Study 3, I wanted to use a video that I had shot in Goldsmith’s NX Studio of a colour-changing lamp fading in and out of the camera’s focus. With the audio, I wished to explore how sound/music would affect our viewing of this lamp. Which feelings would the sound ascribe to the lamp and its pulsating colour transformations? I decided to use an audio sample I recorded while watching a film called 'Portrait of.a Lady on Fire' (2019) by Céline Sciamma. The rising pitch and volume would surely change how we perceive this lamp. The steady rise upward in volume and pitch seems to make the cooler pulsations of the light even more intense. It is as if the pulses are speeding up. Michele Chion would call this a “vectorisation” or “dramatisation” of the shot by sound, an idea he writes about in chapter one of his book, 'Audio-Vision.'

For Study 2, I started with a song that I made, which is a remix of the tune 'Never Smile at a Crocodile' from the soundtrack of Disney's 'Peter Pan' (1953). I then montaged together sequences of the crocodile to synchronise with the music. The project intends to give new perspective to the crocodile, transforming them from a fool to be mocked into a star to be cherished.

For Study 1, I decided to combine the video provided to us, 'Serpentine Dance' by the Lumiere Brothers, with a favourite song of mine - 'Yak' by Stampede. I was playing with synchronising and matching the video cuts to the rhythmic beats of the audio. In a sense, I was using the audio as the leader and the video as the follower. To introduce this idea of the audio taking the lead, I decided to begin with a black screen and only audio. This would focus the audience’s attention onto the audio. Then, I could cut in the video on the downbeat, creating the sound image "sycnhresis" that Chion writes abotu. In doing so, I was aiming for the effect of the audio causing, or creating, the image. In a sense, the downbeats of the song are “triggering” the visual and opening up the space, or the screen, for the dancing image to appear.