07. Improvisational performance of ‘Resonance of Walthamstow Wetlands: Scorescapes’ (2025)
Performing with Dan Miri by using Music Thing Modular Synthesiser, 2025
Special thanks to @musicthingmodular
Photos taken during the Music Thing workshop led by Tom Whitwell at the Electronic Music Club.
I invited Dan to join me in an improvised performance responding to the experimental scores from Resonance of Walthamstow Wetlands: Scorescapes. In this iteration, modular synthesis became part of the process—not as an instrument of control, but as a system with its own agency. Its unpredictability prompted us to question the extent to which human intention should shape an ecological score. Through this collaborative mode of working, I explored how elements of Ecosound Notation (symbols derived from ecological textures, industrial rhythms, and multispecies soundscapes) could be activated, responded to, and transformed in real time, revealing the emergent and contingent sonic relations that ecological symbols can generate.
This performance also served as an early test of an inquiry in my doctoral research: how sound, notation, and environment might co-create dynamic communicative forms between human and more-than-human worlds.
Special thanks to @musicthingmodular
Photos taken during the Music Thing workshop led by Tom Whitwell at the Electronic Music Club.
I invited Dan to join me in an improvised performance responding to the experimental scores from Resonance of Walthamstow Wetlands: Scorescapes. In this iteration, modular synthesis became part of the process—not as an instrument of control, but as a system with its own agency. Its unpredictability prompted us to question the extent to which human intention should shape an ecological score. Through this collaborative mode of working, I explored how elements of Ecosound Notation (symbols derived from ecological textures, industrial rhythms, and multispecies soundscapes) could be activated, responded to, and transformed in real time, revealing the emergent and contingent sonic relations that ecological symbols can generate.
This performance also served as an early test of an inquiry in my doctoral research: how sound, notation, and environment might co-create dynamic communicative forms between human and more-than-human worlds.
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