Happidrome Four presents the work of five artists – Sovay Berriman, Sara Bowler, Bruce Davies, Patrick Lowry and Kate Ogley. Each has responded in their own unique way to the site, drawing on its history and location to generate new work. Getting you, the audience, involved has been a major focus. Come prepared to walk, bounce, listen and see!
We’ll be adding more information in the coming weeks – so check back regularly. Each artist will upload images of their work as it progresses and we welcome comments and feedback.
Happidrome Four is part-funded by Arts Council England,FEAST and Natural England and powered by Kraft Maus. Thanks guys.
HAPPIDROME THREE took place across the Summer of 2009 and encompassed animation, film, video, sculpture, sound, installation, performance, participation, flooding, raving, perambulating and er..shouting. Some of the events were open to the public, others were private events, or for invited audiences, in order for artists to experiment with emerging ideas. Artists were given access to the blog to present research and musings, as well as documentation of the works in situ. Read on for artist’s blogs, or peruse by name…
Filed under: Gazetteer, Rupert White | Tags: buildings, bunkers, computing, dark, inside, Mapping, tests
Rupert White has created an interactive 3D model of the interior of the R-Block, entitled ‘Digidrome’ (stills shown above). You can navigate around the building via the following link:
http://www.rupertwhite.co.uk/virtual_worlds/Digidrome.html
(requires download of a free web player)
Rupert has suggested that aspects of ‘Digidrome’ could evolve or adapt over time…other objects could be introduced into it in response to suggestions by artists or visitors. Theoretically any text, 2D image file or 3D object or could be introduced. If you any ideas of what you’d like to manifest in the building then contact us.
Filed under: Paul Carter and Alexandra Zierle | Tags: happ(i)nings, inside, outside, Paul Carter & Alexandra Zierle, performance
Performance stills from ‘In Search of the Other’. All images by Oliver Rudkin.
Filed under: Elizabeth Masterton, The17 | Tags: communications, events, happ(i)nings, outside, performance, The17
———-
The17 are:
Jonny Ambrose
Caitlin Desilvey
Sara Gadd
Christine Haven
Caroline Healy
Jessie Higginson
Lisa Lucas
Elizabeth Masterton
Eric Masterton
Hannah Maughan-Robb
Carol Patten
Lizzie Ridout
Bryony Rogerson
Andy Rossiter
Katherine Smith
Adam Stringer
Mike Westley
Thanks to you all for taking part.
To find out more about The17, visit http://the17.org
Filed under: Catherine Bagg | Tags: Animation, Catherine Bagg, exhibtions, goonhilly, installation, Mapping, radar, Stars
Here are some photos of my piece in situ at the Happidrome this Saturday.
Here we stand, drops a radar beam back through the history of the Goonhilly Downs through the period that the Dry Tree has stood on the site. It consists of three simultaneous animations; one circles the Dry Tree Megalith, one records the transitions of the stars across the sky from Goonhilly over a year once every hundred years, starting from the night of the exhibition and running back to 300BC the approximate date of the Dry Tree’s original erection. And the other fades back through views of the maps of the area from the modern OS map back to Gascoyne’s map, the earliest known map of the area. This animation is intended to show some of the key events that happened around the site, currently including the building of Arthur and the passing of the Spanish Armada.
View of the three animations
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- View of the three animations
Map of all the chain home stations, the first radar stations (pre rotating radar beams). They worked together creating a chain of interconnecting beams which covered the whole British coast line. Dry Tree is marked merits two separate labels.
Filed under: Nicholas Wootton
On the importance of information as the fundamental construct of solidity
Alluding to the creation event and the nature of matter.
Dimensions variable. IKEA flat pack.
Filed under: Nicholas Wootton
Font of all wisdom
The viewer is invited to drink from the unfixed and upturned glass.
Cast acrylic, polycarbonate, water. 125cm x 8cm.
Filed under: Nicholas Wootton
The essential guide to the meaning of life (Vol 1)
Reference books relating to religion, theoretical physics and philosophy. A geology of sophistry.
Paper. 126cm x 20cm x 12cm.
Filed under: Nicholas Wootton
10 to the minus 37
The title refers to the moment the universe began to expand (0.000000000000000000000000000000000001 seconds). The sculpture is life size, give or take a few centimeters, of the universe at that moment. The sphere contains a radioactive core of Radium isotope 226, once used to illuminate watch hands, to tell time in the dark.
Lead, Radioactive core (Radium, isotope 226). 40cm x 40cm.
Filed under: Elizabeth Masterton | Tags: Animation, dark, Elizabeth Masterton, light, projection
New work presented last weekend at HAPPIDROME; this time WITH sound. The images below show a glimpse of how the projection interacted with the fabric of the building, a little window on dilapidation. They remind me of prints that I made at the RCA of pillbox loopholes.
Filed under: Elizabeth Masterton | Tags: Elizabeth Masterton, events, language, powerpoint
New work presented at HAPPIDROME this weekend. It looked great projected on the wall of the bunker.
Filed under: Elizabeth Masterton | Tags: buildings, bunkers, exhibtions
Polish artist Robert Kusmirowski is building a replica WW2 bunker in the Barbican….Here’s the slightly breathless blurb from the Barbican website!
Filed under: Catherine Bagg, Dispatches, Happidrome 3, The17 | Tags: Catherine Bagg, events, Film, happ(i)nings, radar
Yes October is upon us already, and HAPPIDROME 3 finishes up with two events. Cat Bagg will present a site-specific video installation on Saturday 3 October in the R-Block. Its an open event and you can visit between 12-6pm.
Eagle eyed readers may have noted that The17 event scheduled for August 22 never took place, due to holidays and such like. It will now take place on Saturday 10 October and as before, if you have a burning urge to join us, then drop us a line. Its not an event strictly open to an audience (check out The17 website to find out why) but if you are on the Downs is quite possible you may bump into us.
Catherine Bagg, Video still from 'Here We Stand', 2009
Filed under: Dispatches, Happidrome 3 | Tags: Animation, Elizabeth Masterton, events, Film, happ(i)nings, Paul Carter & Alexandra Zierle, Paul Ridout, performance, Sara Bowler
September events at HAPPIDROME continue on Saturday 26th September with two open events. Sara Bowler, Elizabeth Masterton and Paul Ridout will be showing documentary work of some of their experiments this season, plus some new offerings. Paul Carter and Alexandra Zierle will be performing their new work ‘In Search For The Other’ around the site.
Opening times
Performance 9am-4pm around the HAPPDROME site, finale at the R-Block
Open event in the R-Block 11am-3pm
For directions, see the Visit Us page.
Filed under: Paul Carter and Alexandra Zierle | Tags: events, inside, outside, Paul Carter & Alexandra Zierle, performance, radar
In search for the other… an experiment of a human radar system – sounding out, sensing, recording, mapping out, interacting, listening, ripping off and tacking on, relying on the inner senses, whilst the outer senses are muffled and distorted. Traversing the terrain dragging two suitcases filled with rope, stones and discarded clothes to be suspended as empty shells inhabiting the green canopy and derelict WW2 buildings and remains on the site.
Encounters are welcome, negotiating contact and personal space through using speechless sound and body language. An investigation of the other’s presence will take place and recordings will be exchanged. A collection of data will become visible and grow with each experience.
The finale will take place in the bunker: sightless searching in an empty void, once the final contact is made, the spell is broken and the bandages fall.
Filed under: Gazetteer | Tags: arthur, buildings, goonhilly, heritage, satellite
These images are taken from the BT Archive and show the demolition of the RAF Drytree radar buildings, and the construction of Aerial No.1, “Arthur”. The construction of Arthur was undertaken by the Cleveland Bridge & Engineering Company in December 1961. The building being destroyed is possibly a powerhouse for the radar base. All images are copyright British Telecommunications.
Filed under: Dispatches, Happidrome 3, Nicholas Wootton, Sara Bowler | Tags: events, happ(i)nings, Nicholas Wootton, Sara Bowler
After a brief summer break, HAPPIDROME 3 continues with work by Sara Bowler and Nick Wootton.
Both are open events, so come see:
Sara Bowler
‘Pool’ Saturday 29th August to Monday 31 August
Exhibition open 2-4pm each day
Nick Wootton
Friday 4th September-Sunday 6th September
Exhibition open 1-6:30pm Friday, 10:30am-5 pm Sat/Sun
For directions to the site, see the Visit Us page of this blog.
Follow signs/main path from car park to R-Block
Portrait of Teresa Flew, Steel Acro-prop (construction industry device for supporting structures) drilled with 22,738 holes, nickel
‘Teresa’ refers to Mother Teresa, whose letters, discovered after her death, revealed that she had increasingly doubted the existence of God for the last four decades of her life. ‘Flew’ refers to Sir Anthony Flew, regarded for the last 40 years by many scholars throughout the world as the father of modern and militant atheism. Flew at the age of 81, announced to an incredulous and global atheist audience that ha had come to believe that a deity did in fact exist after all.
From 4th-6th September I’ll be showing 16 pieces at HAPPIDROME THREE concerning the metaphysical human condition, population growth and autobiographical memory. The work is made from a wide range of media including furniture flatpacks, books, lead and radioactive isotopes. Much of the work is experimental so I’ll be welcoming any views and coments.
Viewing times
September 4th 1pm-6:30pm
September 5th/6th 10:30am-5pm
For directions to the site, see the Visit Us page of this blog.
Filed under: Gazetteer
350ft steel transmitter tower (East Coast variant) and 240ft wooden receiver tower (drawings sourced from ‘Twentieth Century Fortifications in England:Volume VII I Acoustics and Radar’ by Colin Dobinson, Council for British Archaeology, 2000)ant
Filed under: Dispatches, Happidrome 3 | Tags: Acoustics, computing, Electricity, pixelh8, sound
HAPPIDROME is super excited to announce that internationally renowned chip tune musician and artist Matthew C Applegate, also known as Pixelh8, will be visiting us to make recordings for a new work, ‘Call and Response’.
Matthew makes his music from reprogramming vintage computer systems. His most recent project, ‘Obsolete?’ used computers from the archive of the National Museum of Computing to create an original work. The track above, ’200320092000′ is a segment of the larger piece. Visit the pixelh8 website to find out more.
In the midst of the dreary waste of Gornhilly, which occupies a large portion of the Lizard promontory, is a large piece of water known as “Croft Pasco Pool,” where it said at night the form of a ghostly vessel may be seen floating with lug-sails spread. A more dreary, weird spot could hardly be selected for a witches’ meeting; and the Lizard folks were always – a fact – careful to be back before dark, preferring to suffer inconvenience, to risking a sight of the ghostly lugger. Unbelieving people attributed the origin of the tradition to a white horse seen in a dim twilight standing in the shallow water; but this was indignantly rejected by the mass of the residents.
Popular Romances of the West of England; the drolls, traditions, and superstitions of old Cornwall (1865)
Robert Hunt (1807-1887)
Filed under: Elizabeth Masterton | Tags: Acoustics, computing, Electricity, Memory, sound
This is the memory of the first commercial computer, UNIVAC 1.
The following is taken from the IEEE Spectrum blog http://spectrum.ieee.org/computing/hardware/core-memories
“…J. Presper Eckert, co-inventor of the UNIVAC, and four other members of the Institute of Radio Engineers wrote in 1949: ”In a delay-line memory, information is stored in the form of groups of electrical or acoustical impulses or signals circulating in an electric delay line or medium suitable for transmission of acoustic waves.
“The authors noted, ”Although considerable research is being done on electrostatic memories…the delay-line type of memory is more highly developed at the present time.” Of course, today essentially all memory is electrostatic.”
Links to radar
Interestingly, delay-line memory was developed from work on radar to filter out unwanted ‘noise’. This from Wikipedia; I’ve included it in its entirety as it gives a good description of the principles and fundamentals of radar. Geeks, read on…
“The basic concept of the delay line originated with World War II radar research, as a system to reduce clutter from reflections from the ground and other “fixed” objects.
A radar system consists largely of an antenna, a transmitter, a receiver, and a display of some sort. The antenna is connected to the transmitter, which sends out a brief pulse of radio energy before being disconnected again. The antenna is then connected to the receiver, which amplifies any reflected signals, and sends them to the display. Objects further from the radar return echos later in time than those located closer to the radar, which the display indicates visually.
Non-moving objects at a fixed distance from the antenna always return a signal after the same delay. This would appear as a fixed spot on the display, making detection of other targets in the area more difficult. Early radars simply aimed their beams away from the ground in order to avoid the majority of this “clutter”. This was not an ideal situation by any means; it required careful setup and aiming which was not very easy for smaller mobile radars, and did nothing to remove other sources of clutter like reflections off of certain terrain features.
In order to filter these returns out, two pulses were compared, and returns with common timing are removed. To do this, the signal being sent from the receiver to the display was split in two, with one path leading directly to the display, and the second leading to a delay unit. The delay was carefully tuned to delay the signals some multiple of the time between pulses (the pulse repetition frequency), that way the delayed signal from an earlier pulse would exit the delay unit at the same time as a newer pulse was being received from the antenna. One of the signals was then inverted, typically the one from the delay, and the two signals were then combined and sent to the display. Any signal that was at the same location was nullified by the inverted signal from a previous pulse, leaving only the moving objects on the display.
Several different types of delay systems were invented for this purpose, with one common principle being that the information was stored acoustically in a medium. MIT experimented with a number of systems including glass, quartz, steel and lead. The Japanese deployed a system consisting of a quartz element with a powdered glass coating that reduced surface waves that interfered with proper reception. The United States Naval Research Laboratory used steel rods wrapped into a helix, but this was useful only for low frequencies under 1 MHz. Raytheon used a magnesium alloy originally developed for making bells.[1]
The first practical de-cluttering system based on the concept was developed by J. Presper Eckert at the University of Pennsylvania‘s Moore School of Electrical Engineering. His solution used a column of mercury with piezo crystal transducers (a combination of speaker and microphone) at either end. Signals from the radar amplifier were sent to the piezo at one end of the tube, which would cause the transducer to pulse and generate a small wave in the mercury. The wave would quickly travel to the far end of the tube, where it would be read back out by the other piezo, inverted, and sent to the display. Careful mechanical arrangement was needed to ensure the delay time matched the inter-pulse timing of the particular radar being used.
All of these systems were suitable for conversion into a computer memory. The key was to recycle the signals within the memory system so they would not disappear after traveling through the delay. This was relatively easy to arrange with simple electronics.
Acoustic delay lines: Mercury
After the war Eckert turned his attention to computer development, which was a topic of some interest at the time. One problem with practical development was the lack of a suitable memory device, and Eckert’s work on the radar delays meant he had a major advantage over other researchers in this regard.
For a computer application the timing was still critical, but for a different reason. Conventional computers have a natural “cycle time” needed to complete an operation, the start and end of which typically consist of reading or writing memory. Thus the delay lines had to be timed such that the pulses would arrive at the receiver just as the computer was ready to read it. Typically many pulses would be “in flight” through the delay, and the computer would count the pulses by comparing to a master clock to find the particular bit it was looking for.
Mercury was used because the acoustic impedance of mercury is almost exactly the same as that of the piezoelectric quartz crystals; this minimized the energy loss and the echoes when the signal was transmitted from crystal to medium and back again. The high speed of sound in mercury (1450 m/s) meant that the time needed to wait for a pulse to arrive at the receiving end was less than it would have been with a slower medium, such as air, but it also meant that the total number of pulses that could be stored in any reasonably sized column of mercury was limited. Other technical drawbacks of mercury included its weight, its cost, and its toxicity. Moreover, to get the acoustic impedances to match as closely as possible, the mercury had to be kept at a temperature of 40 °C (100 °F), which made servicing the tubes hot and uncomfortable work.
A considerable amount of engineering was needed to maintain a “clean” signal inside the tube. Large transducers were used to generate a very tight “beam” of sound that would not touch the walls of the tube, and care had to be taken to eliminate reflections off the far end of the tubes. The tightness of the beam then required considerable tuning to make sure the two piezos were pointed directly at each other. Since the speed of sound changes with temperature (because of the change in density with temperature) the tubes were heated in large ovens to keep them at a precise temperature. Other systems instead adjusted the computer clock rate according to the ambient temperature to achieve the same effect.
EDSAC, designed to be the first stored-program digital computer, began operation with 512 35-bit words of memory, stored in 32 delay lines holding 576 bits each (a 36th bit was added to every word as a start/stop indicator). In the UNIVAC I this was reduced somewhat, each column stored 120 bits (although the term “bit” was not in popular use at the time), requiring seven large memory units with 18 columns each to make up a 1000-word store. Combined with their support circuitry and amplifiers, the memory subsystem formed its own walk-in room. The average access time was about 222 microseconds, which was considerably faster than the mechanical systems used on earlier computers.”
Filed under: Catherine Bagg
Here’s something I’ve been playing around with whilst working towards the happidrome show at goonhilly, planning to have three different animations playing simultaneously (from the one projector) but only made the first one so far and this is part of it. Not sure about posting it to youtube, so have adapted an old blog page you can link to below.
Filed under: Dispatches, Happidrome 3 | Tags: Acoustics, buildings, dark, events, Memory, participation, performance, sound
Elizabeth Masterton and Sara Bowler kick off proceedings for HAPPIDROME 3 this weekend with performances and participation in the R-Block. For more information on each work, visit the Artist’s Blog section of the site. These events are invite only but if you’d like to invite yourself then email Happidrome
Filed under: Elizabeth Masterton, Gazetteer | Tags: buildings, Electricity, ephemera, heritage
Copyright John Hinde (UK) Ltd.
Copyright Margaret Thomson
Copyright Bob Croxford
There’s a whole community of people out there making mocked-up videos of Emergency Broadcast Tests, the system used to alert the populous to an imminent catastrophic event. Its curious how many people are attracted to imagining the end of the world (though I guess its been going on for millenia). If you’ve got the time, check out some of the related videos. This one has it all, with a plethora of sirens, scary lady robot voices, fat gothic typefaces and authentic 1980s ads.
I Wake and Feel the Fell of Dark
G.M. Hopkins (1844-89)
I wake and feel the fell of dark, not day.
What hours, O what black hours we have spent this night!
What sights you, heart saw; ways you went!
And more must, in yet longer light’s delay.
With witness I speak this.
But where I say hours I mean years, mean life.
And my lament is cries countless, cries like dead letters sent to dearest him that lives alas! away.
I am gall, I am heartburn.
God’s most deep decree bitter would have me taste: my taste was me.
Bones built in me, flesh filled, blood brimmed the curse.
Selfyeast of spirit a dull dough sours.
I see the lost are like this, and their scourge to be as I am mine, their sweating selves; but worse.
Filed under: Dispatches, Happidrome 3 | Tags: buildings, decay, heritage, research
WAAFs tending to the Colossus codebreaking computer
Happidromers Lizzy and Caitlin are off on an expedition next week to Bletchley Park, home of WW2 codebreaking, as part of Ecologies of Modern Heritage, an interdisciplinary research investigation looking at interpretation and presentation of modern heritage sites. Of course we can’t tell you about it…it’s all hush hush don’t you know…
The magnificent machine pictured is Colossus. Designed by Tommy Flowers to break the Lorenz Cipher of the German High Command, it was the first truly programmable computer. Read about Colossus and Tony Sales’ incredible Colossus Rebuild Project here
Filed under: Caitlin Desilvey, Gazetteer | Tags: botany, buildings, decay, growth, ivy
Filed under: Dispatches, The17 | Tags: events, happ(i)nings, participation, performance, sound, The17
This summer, HAPPIDROME is host to Bill Drummond’s project The17. HAPPIDROME’s The17 will be comprised of people with a connection to the HAPPIDROME site. If you have a connection, however tenuous, and want to join us on Saturday 22 August, send us an email telling us what your connection is.The most fabulous/mundane get a place.
For more information on The17, visit http://the17.org
Filed under: Caitlin Desilvey, Gazetteer | Tags: botany, buildings, decay, growth, moss
Corrugated moss inside Tiny Bunker 1 at Drytree
Filed under: Happidrome 2
A presentation by BRUCE DAVIES of the CUT/STACK/BURN archive in collaboration with:
HAPPIDROME / the HEATH project / Natural England / AGR
Supported by The National Trust www.nationaltrust.org.uk
For more images of this work in situ see our Flickr site
The presentation of the CUT/STACK/BURN archive at the Heath Fest developed out of an invitation from the HEATH project, the initiators of the Heath Fest. In conjunction with Arts Council England, the HEATH project provided the original funding for the CUT/STACK/BURN project which was further supported by the National Trust and Tremenheere Sculpture gardens.
The wide ranging events of the Heath fest, intended to promote the value and uses of heath land, has made it possible to present the project archive in a site specific context that further underlines the link between the CUT/STACK/BURN project, the work of the HEATH project, the communities that helped create it and also its link with the landscape itself and our activities within it.
CUT/STACK/BURN PROJECT BACKGROUND
The CUT/STACK/BURN project was a durational, performative re-enactment of a largely redundant rural activity – furze cutting for fuel. This cutting and gathering process made use of and became part of an existing cycle of heath land management being operated at two different heaths on the Lizard and West Penwith. The objective of the project was to use this activity as a platform to develop a visual conversation about the absence of sustainable management of the landscape and its resources in an age of climate change.
The harvest from this intensive activity was laboriously cut and bound into faggots from December to mid February and finally transported to site where it was incorporated into a large sculptural installation. This final form, an energy store – a contemporary ‘old time’ rick, referenced the architecture of modern industrial fuel storage and was built on the hillside overlooking Mounts Bay at Tremenheere Sculpture Gardens in February/March 2007.
Our present and seemingly insatiable thirst for energy in an age of climate change became a focal point and pivotal issue in this visual enquiry. Our collective estrangement from the need and means to create our own energy and the first hand knowledge of how difficult, mundane and time consuming that can be, would seem to have gone some way in shaping the current frivolous relationship with energy. The flicking of switches, the pressing of buttons – power on demand – this concept defined the final act of management of the project. It became in return a symbolic flippant gesture itself emulating our use of energy today. The work was spectacularly destroyed at a public event on the eve of British summer time using fire, an age old technique of heath land management, as a way of emphasising this further.
CUT/STACK/BURN PROJECT ARCHIVE
During the 4 days of the event a catalogue of films that record the progress and demise of the project will be shown as part of a rolling programme. A collection of artefacts generated by the work and the peripheral activity surrounding its construction, destruction and aftermath will also be on display.
The importance of the archive material and its inclusion in this presentation is, in part, an attempt to highlight the relevance of unseen research activity generated as a consequence of the visual work itself. The use of internet blogs/film/photography/found objects/artefacts from the burn itself, to chart the development of the work became an increasingly important tool. Not just as a record but how they eventually and unexpectedly became art works in their own right.
Filed under: Happidrome 1
HAPPIDROME ONE showcased the work of Sara Bowler, Elizabeth Masterton, Steven Paige, Paul Ridout and Alison Sharkey in a disused WW2 radar station located on the Lizard Peninsula in Cornwall.
The building and its environs were major catalysts in the development of their ideas. The raw nature of the place provided an ideal environment to present experimental work, providing a platform for the artists to actively engage with their audience both critically and physically.
Delivered with the support of Natural England (who manage the site as part of the national nature reserve at Goonhilly Downs), the exhibition temporarily animated the redundant building over two weekends in July. For more images from this event, see our Flickr site
HAPPIDROME EVENTS
Elizabeth Masterton’s ‘Radar Ramble’ took place at 4pm on Sunday 8 July and Sunday 15 July. Participants met at the Receiver Block (the main indoor exhibition space) for some radar themed talking and walking.
SARA BOWLER
Sara Bowler has based much of her work since 2003 on the archaeological record of the British Isles. Her interest was in the indigenous plants of Cornwall, now often regarded as weeds in stark contrast to the more vibrant exotics that flourish in the county. These small, often unremarkable plants, have informed her work for Happidrome One took the form of a short DV animation and large scale drawings complemented by an audio tour along the tracks and paths surrounding the building.
Sara Bowler, Stills from 'Persistance', 2007
ELIZABETH MASTERTON
Elizabeth Masterton presented a participatory installation, relating to aspects of the WW2 incarnation of the site as an RAF radar station. Visitors were responsible for powering the artwork. She also led a ‘Radar Ramble’ around parts of the site detailing some of her research into its WW2 history. Both works were part of wider, ongoing research into fallible systems.
Project supported by Robotmother Ltd.
Elizabeth Masterton, 'there'll always be an England', 2007
STEVEN PAIGE
Steven Paige’s current preoccupation is in exploring the notion of the specialist, hobbyist, the authorial or misinformed and how practical everyday notions of expert are precarious.
For Happidrome One, Steven explores the amateur nature of the radio hobbyist, forming a radio club for the duration of the exhibition, setting out and demonstrating how an individual can create their own radio set and explore the immediate environs of Building 51 to find transmissions emanating from strategic positions on site.
www.stevenpaige.com
Steven Paige, 'Radio Club', 2007
PAUL RIDOUT
A WINDOW IN HISTORY AND LANDSCAPE
Site 16, the remaining walls of a former radar building, will be transformed with reference to the Cornwall Archaeology Unit’s recommendations and made the container for a sound and light installation. The work will rely upon the elements for its effect. Reflective objects, termed ‘window’ in radar circles, are used as an interference inducing mechanism. Quantities of aluminium shard, when dropped from a single decoy plane, would show up as many planes and confuse the radar operators. In this instance all the confusion will be contained and ordered within a building that may once have received it.
Paul Ridout, 'A Window In History And Landscape', 2007
ALISON SHARKEY
Alison Sharkey’s work for the past three years has been preoccupied with the ‘redundant’ landscape, how remnants of past occupation can be read, interpreted and re-imagined. This has developed from using large-scale painting into creating playful and disruptive interventions in the sites themselves.
www.alisonsharkey.com
Alison Sharkey, 'Menhir One', 2007
For more images from this event, see our Flickr site
