�X for Y Hours� � Reimagining Open Duration After the Internet
My project will explore ‘open duration’ to formulate new ideas about musical time and structure that have arisen from internet mediation and current economic, political and technological conditions. As cloud-based storage has removed the material carrier of music, ownership––meaning duration (linked to material)––becomes indeterminate. Now experiencing musical ‘completeness’ is devalued with the emergence of streaming services and rentier capitalism, resulting in an increasingly indistinct relationship between live and online perceptions of time.
I will use my project title ‘x for y Hours’, where parameter x (material) exists to mediate y (indeterminate time), to generate music that departs from inherent linear and teleological form and structure, commenting on a historical politicisation of duration.
Other Research Interests
Experimental Music, Post-Internet, Post-Digital, Noise Music
Masters in Composition
Thesis: FLUXUS: NON-AUTHORSHIP AND THE DESTRUCTION OF TRADITION
Royal Birmingham Conservatoire (2012–2015)
BA (Hons) Music - Classical Music Performance
Leeds College of Music (2009–2012)
Hinrichsen Foundation – Post-Paradise Series Projects - 2017 – 2020
Arts Council England: National Lottery Project Grant – Post-Paradise Series: ‘Music in the Margin’ - 2018
RVW Trust – Post-Paradise Series Projects - 2017 – 2018
Arts Council England: Grants for the Arts – Post-Paradise Series: 'Season #2' - 2017
Orkest de Ereprijs – Commission Prize - 2016