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projectTitle = ["","PHRASES","DREAMS","GATE","FREE FALL","TEMPEST","THE DAMNATION OF FAUSTUS","WHITE DEVIL","UNTITLED #1","GLASS","RADIO PLAY","THE GLOUP","M","MORE","COLLECTING CHAIRS", "LUSH", "JOAN OF ARC" , "ABSORPTANCE", "PSR J0737-3039B (ds squared - series 1)"];

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projectYear[1000] = "";
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projectSummary[1000] = "Roll your mouse over the speaker icons to read a summary of each piece.\n\n30 sec audio samples are also available on the red ones.\n\n";

projectSummary[18] = "Inspired by the discovery of the first double-pulsar system (ranked as the 6th most important scientific discovery of 2004). Pulsars are \"pulsating stars\" - objects with about the same amount of matter in them as our Sun, but squashed into a 20km ball. They spin very quickly (some a thousand times a second) and emit jets - creating a lighthouse type effect. These two not only spin, but rotate around each other every 2.4 hours. One spins 45 times a second, the other every 2.8 seconds. They are very chaotic, and will collide in 85 million years, maybe turning into a black hole. By analysing them we can check many of Einstein's theories of General Relativity, which help us understand how the Universe works.\nThe piece is named after the slower pulsar, PSR J0737-3039B, or alternatively\r'ds squared - series 1', reflecting some of the 4 dimensional geometric properties used in this field.\nCollaborators: Andrew Newsam (Astronomer + Software), Peter Clive (Piano), Jaako Mattila (Artist), Ulya Gumeniuk (Artist), Aidan Keane (Cosmologist) \n\nPERFORMANCES\nDorkbot, London, UK 2004\nIberne Radio Telescope, Latvia 2004.\nSprawl, London. Nov 2005\nDEAF04, Rotterdam. Nov 2004\nResonanceFM, London. Nov 2004\nLa France, London. February 2005\nScience Museum, London. April 2005\nPlacard, London. September 2005\nPolar Radio (I-TASC and r a d i o q u a l i a), Antarctic, 2007 ";
projectSummary[17] = "A journey through a city, a time, a place and an emotion that finds its feet and grows. This child absorbs the worlds around her, finding her rhythm, exploring, realising, evolving, replicating, fading.\n\nabsorptance (n):\na measure of the rate of decrease in the intensity of electromagnetic radiation (light) as it passes through a given substance; the fraction of incident radiant energy absorbed per unit mass or thickness of an absorber; \"absorptance equals 1 minus transmittance\"\nPERFORMANCES\n\n\Kings X, London 2001\nResonanceFM, London. Nov 2004\nLa France, London. February 2005\nPlacard, London. September 2005";
projectSummary[16] = "A brief journey through France in 1424.\n\nPERFORMANCES\nLa France, London. February 2005";
projectSummary[15] = "Hot chocolate for your ears.";
projectSummary[14] = "Prague on a summers day.";
projectSummary[13] = "Bits of birds, in 3 movements.\n\nPERFORMANCES\n\"The Gate\", Notting Hill, London 2000";
projectSummary[12] = "For M.";
projectSummary[11] = "Inspired by \"The Gloup\", a deep blowhole, in the Orkney Islands in Northern Scotland. A hole out of which wild waves crash, out of which sounds of the ocean, the wind and sea animals mingle into one. Close to an ancient Celtic Christian monastic site, The Gloup is full of strange and wonderful noises, screaming out from a past we seem obsessed with trying to understand and dig out of the ground.\nWe cycle round the same basic concepts again and again. Over the past billion years, from the primordial soup through the entire evolution of our society, for all the 'progress' we apparently make, it is an ever returning motion of repeat and replay. It is a play with the tides, it is a play with the times.\n\nDivided into four movements, the piece starts and ends with the ever-repeating heave of the waves. The sounds do not imitate the crashing and the heaving of the waves, the whispering of the wind through wet chasms, the myriad indistinguishable sounds of some animals living deep in the sea. The sounds are the crashing, the whispering, the moaning itself.\n\n";
projectSummary[10] = "Composed for Moral Support production of Glynn Cannon's 'Radio Play'\n\nPERFORMANCES\nTabard Theatre, London";
projectSummary[9] = "The French surrealist literary movement 'ecriture automatique' expressed the inner essence of objects in relation to our association with them; writing in a stream of conciousness. This piece was composed in a similar style, to depict the essence of glass. I envisaged glass from many different perspectives: glass in frames, stained glass, its molecular structure, as a window to the world, and a separator to reality.\n\nStarting with a glass harmonic tone, ever-present in our daily lives, our history and the whole of our culture; glass is mostly unseen, rather trivial, transparent - being there yet being invisible. Seemingly an unimportant part of life but always dividing us from it, we view our reality through glass - unfolding behind windows, coloured through stained glass, corrected through spectacles, distorted by mirrors and lenses, filtered through television.\n\nThe initial image of rain against the window reflects the peace of the interior, contrasting the wet reality dripping onto the glass. The outside world is distorted and stretched - even sounds being abstracted from their sources. The window itself appears to be the source of all noise. Stained glass depicts the history of the world, it overpowers us with peace within cathedrals and churches, yet contrasts stories of worship and devotion with bloody wars - a christian beconing to light through light through glass. The piece explores these images, contradictions and emotional atmospheres and tries to reflect their complexity.\nText interpretation by Carola Boehm, Musicologist, University of Glasgow.\n\nPERFORMANCES\nDiscoveries: Concert Hall, Northern College, Aberdeen, Scotland. January 1997 \nICMC96 : Concert Hall, HKUST, Hong Kong. August 1996\nLa France, London. February 2005";

projectSummary[8] = "UNTITLED #1\n\nABOUT\n\nPERFORMANCES\n\nMoral Support VE day anniversary production, Tramway, Glasgow, 1996";

projectSummary[7] = "As the sun sets, and the stars begin to shine,\nI hear the sky next to my heart.\nSometimes I think I hear a noise, far off\nbut the still night calms.\n\nPERFORMANCES\nMoral Support's production of John Webster's 'White Devil' at La Belle Angel, Edinburgh, 1994\nJodrell Bank 50th Golden Jubilee Anniversary Festival, Jodrell Bank Radio Telescope, UK, October 2007";
projectSummary[6] = "THE DAMNATION OF FAUSTUS\n\nCo-written with Andrew Newsam.";
projectSummary[5] = "Drawn from the essence of drama in the play; the struggle of humans between the power of nature and the power of art. The listener finds themselves between the rolling of the ocean and the creaking of the boat close to breaking point; the power of nature playing with the helpless shipmates as the music plays with the passive listener. The piece is designed for an immersive multi-speaker installation that embeds listeners in the midst of the soundscape.\n\nPERFORMANCES\nDigital Waves: Institute of Modern Art, Queensland, Australia. October 1995 \nICMC94: Concert Hall, Aarhus, Denmark August 1994 \nDiscoveries [Electro-acoustic concert series]: Concert Hall, Glasgow University, Glasgow, Scotland. January 1997\nLa France, London. February 2005";
projectSummary[3] = "Gate\n\nCo-written with Chris Scudds in Glasgow, Scotland";
projectSummary[2] = "Dreams\n\nCo-written with Andrew Conway, Aidan Keane, Peter Clive and Lesley Bissland, Glasgow, Scotland";
projectSummary[1] = "Phrases\n\nEarly experiments with generative synthesis.";
projectSummary[100] = "Endless Journey\n\nEarly experiments mixing structure with computer-processed sound.";
projectSummary[101] = "Chimes\n\n";
projectSummary[102] = "Chimes\n\n";
projectSummary[103] = "Chimes\n\n";


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