This text is a commentary on the nature of my principle artistic preoccupations over a period of research-creation spanning 2011 and 2013. The works discussed cover, each in their own way, various approaches to sound composition linked to physical objects. In effect, the object proves to be a fundamental element at the heart of discourse, which, though anchored in sound, is often multi-disciplinary. The object here is thus taken apart in its affective, conceptual, performative, visual, as well as sonic properties. (...) The first part of this text illustrates the nature of the relationship between the physical object and the works submitted for this doctoral thesis. It focuses on the journey of the works: from their genesis in the artist’s collections of objects to their life on stage where the objects are used as visual elements in a performative context. The second part is dedicated to the conceptual and aesthetic content of the works, from which flow the principal elements of their discourse. Here, the relationships between the work, the concept and the sonic material are established, which together make up their aesthetic. (shrink)

This creative Honours project explores Taoist body cultivation practices and the traces of the absent figure and creature in the landscape within Shanghainese parks. This exploration, presented in the form of a documentary and an audiovisual meditation, share a yin and yang relationship. Although they both contain elements of each other, the documentary celebrates body cultivation practices and their relationship to Taoism, while the audiovisual meditation examines the darker side of human relationships with the natural world in Shanghainese parks. Informed (...) by Rod Giblett’s and Brian Eno’s theories concerning the human body’s relationship with the environment and the natural world, and Taoism’s most significant philosophers Lao Tzu (ca. 600-400 BC) and Chuang Tzu (ca. 550-250 BC), it seeks to find a place in which the Tao and it’s manifestations coexist. (shrink)