This research is investigating creative work in sound from the stance of an artist and composer as well as that of a technologist. New instruments will be built through appropriation of found objects, recycling components, the re-use and abuse of electronics. Pieces will be devised for, and performed with, these instruments..

Specific research questions in order of priority are: [1] Can construction of sculptural instruments and composing be achieved through expanding on John Richards’ Dirty Electronics Manifesto (2006); [2] How has digital technology changed the role of the body in performance; [3] What is the whole performance, including relationships between the music, the musician, the instrument, and dramaturgy?

The methodology for my research involves building instruments through trial and error processes and bricolage techniques. Video and audio documents of performances have been made for reflective self-analysis. All practical work is supported by theoretical and contextual research.

I am exploring the concept of the ‘post-digital’ in relation to Kim Cascone’s “The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music” (Computer Music Journal, 2000) as well as visual perception as discussed in R L Gregory’s “Eye and Brain” (Oxford, 1998). Other key theoretical texts that will support the research will be Claude Lévi-Strauss’ “The Savage Mind” (London, 1966) with reference to bricolage, and the proceedings from the conference New Interfaces for Musical Expression (www.nime.org). Nicholas Collins’ “Handmade Electronic Music” (Routledge, 2006) and hack spaces will also be investigated.

The expected outcome will be new instruments, devised performance pieces, and a new Gestalt perspective on composing for an instrument and how its design affects interaction from the musician and composer. Whereas there has been significant research in digital arts, my research offers an original contribution to the field by looking beyond digital practices into areas such as tactility, ergonomics and physicality that have been counter to the digital explosion of the past ten years

I am studying for my PhD at the Music, Technology and Innovation Research Centre at De Montfort University, Leicester, UK and am affiliated with the Institute Of Creative Technologies and the Centre for Excellence in the Performing Arts. I am currently looking for funding.