One-week residency in collaboration with Giant Axe Field at International New School, Birmingham 2017.
The future is always experienced as a haunting: as a virtuality that already impinges on the present, conditioning expectations and motivating cultural production. What hauntological music mourns is less the failure of a future to transpire—the future as actuality—than the disappearance of this effective virtuality. (Mark Fisher, 2012)
Forms of hypothesis testing were developed to figure relationships between cinematic footage, technical objects (musical instruments, speakers, cameras, sensors, computers), space, performers and audience. The introduction of footage triggered in collaboration with objects, and of (close to) real-time display of sensor data affected by sound levels and frequencies, allowed for affective overlaps emphasising the value of the unwanted/unexpected/unseen in remixing of possible futures.