A tourable, large-scale video triptych of The Machinery, created by Sarah Angliss, Caroline Radcliffe and video artist John Harrison in 2018. This project was supported using public funding by Arts Council England.
Composition and sound design for The Hairy Ape (1922) – Eugene O’Neill’s expressionist masterpiece which uses the overwhelming sounds of the engine room on an ocean liner to explore dehumanisation and the shock of modernity. At The Old Vic, London, and Park Avenue Armory, New York. Directed by Richard Jones.
A video of a performance of The Machinery at AlgoMech 2016, Sheffield, with performer and historian Caroline Radcliffe. The video by Jon Harrison was exhibited at Compton Verney, 2018.
Recreating a 1970s algorthmic dance piece by pen and paper-based systems artist Channa Horwitz
Thoughts on the design of the Bulletin of the Atomic Scientists, and its minimalist Doomsday Clock which coldly measured the fluctuating risks to humanity during The Cold War and beyond. A short piece for The Wire Magazine, August 2019.
In this optimistic view of mechanisation for TEDx Brighton (2011), I reveal some surprising connections between two types of dance music, inspired by the relentless beat of the factory machine, which flourished two centuries apart. The earliest was devised by women working in Lancashire cotton mills.
Background notes from my TEDx talk Loving the Machine. We can’t say with certainty that industrial music was born in Detroit or post-war Germany. It’s undoubtedly had many beginnings – and one of those was in the cottton mills of Lancashire, in the early nineteenth century, when women clog dancers mimicked the sounds and actions of the factory machines.
A theremin soundtrack for a new interpretation of Loie Fuller’s butterfly dance on film. First screened at Latitude Festival, 2011, dancer Louise Colborne presented her