Kathy Hinde / Simon Blackmore / Sarah Hughes / Sally Ann MacIntyre

LAUNCH // TUE 06/03 at 6.30PM

Exhibition Closes SUN 18/03

opening times THUR – SUN // 12 – 6PM

OVADA 14A Osney Ln, Oxford OX1 1NJ


Kathy Hinde
Twittering Machines

(Dansette players, music boxes, radios)

Humankind maintains an ongoing fascination with attempts to decipher, understand and categorise birdsong and animal communication. Twittering Machines invites us to ponder upon these fascinations, and plays with birdsong imitation, translation, message sending, encryption, interference, miscommunications, and mappings. Language and vocalisations can express metaphors through poetry and abstractions through music and song. A dansette record player spins a vinyl recording of John Keat’s ‘Ode to a Nightingale’ translated into Morse Code. Software listens in and translates the code back into text. Extraneous sounds in the room detected by the software interfere with the translation, interrupting the Keats poem. Mechanical music boxes sporadically spur into action creating tinkling melodies devised from mappings of images of migrating birds and their flightpaths. A Bavarian bird imitator cheerfully whistles the songs of local birds amongst the hum of radios intermittently receiving signals from each other and the surrounding chirping objects. Twittering Machines starts as a live sonic art performance and evolves into an installation crated from remnants and artefacts used in the performance.

Software programmed by Matthew Olden Expanded from a Commission for TÖNE Festival 2014 with further development on a Cryptic winter residency at Cove Park 2018.


Kathy Hinde’s work grows from a partnership between nature and technology expressed through audio-visual installations and performances that combine sound, sculpture, image light and location. Kathy frequently works in collaboration with other practitioners and scientists She has shown work extensively across Europe, China, Pakistan, USA, Canada, Colombia, Mexico, Brazil and New Zealand. Kathy became a Cryptic associate in 2015. She received an Honorary Mention at Prix Ars Electronica in 2015, was runner up for the Sonic Arts Award and the Aesthetica Art Prize in 2014. In 2017, Kathy received an ORAM Award and a British Composer Award. kathyhinde.co.uk

Simon Blackmore
How we communicate

(Mixed media)

How we communicate is an experimental body of work that responds to the increased use of text based communication devices in our daily lives. The work uses software to interpret human voice or clapping into text. It mimics how computers rhythmically transmit information through pulses of 1s and 0s, however at a speed thousands of times slower. At Audiograft the work is presented as an an installation that features sound, video, objects and plotted drawings. The work aims to make complex processes of transmitting data audible. Information that is usually transferred at high speed through wires or electromagnetic waves is slowed down and translated to the sonic spectrum. Simon invites audiences to engage with how machines communicate, the materiality of data, and to explore the musical and performative potential of reenacting these processes and the mechanical limits of the human performance.


Simon Blackmore makes performative sculptures and installations using sound and custom-made technology. In 2006 he was nominated for the Becks Futures Prize, he was artist in residence in Universidad de Los Andes, Bogota, Colombia in 2007, and in 2008 he was awarded the Berwick Gymnasium Fellowship. In September 2013 his work was presented in a solo show at Aldrich Contemporary Art Museum, Ridgefield, USA. He is also a founding member of the art group Owl Project,. He is currently doing a PhD at Oxford Brookes and is a Lecturer in Fine Art at Liverpool Hope University. simonblackmore.net

Sarah Hughes
SHOWS HOW

(Mixed media installation)

SHOWS HOW presents a series of new works made in response to a set of collages made by the artist in 2016. Hughes uses the explicit revisiting of previous work as a means to explore the forced and unforced variations that emerge from repetition, as well as how different iterations of a single principle can inform multiple manifestations of an idea. Hughes’ conscious looping of her practice – similar perhaps to setting new orchestration or a repeating da capo – has echoes across all her various modes of working, featuring in her musical compositions and text-based scores, as well as the replaying of sculptural installations according to different contexts. By working in an ever-expanding series, combining repetition with the generation of new material, Hughes is able to incorporate into her work an ongoing consideration of how the encounter with an image/object/sound is informed by its environment. The reworked configurations of found and constructed ‘objects’ constitute something of a linguistic construction, with its own evolving grammar and diction, that remains open to new combination and interpretation.


Sarah Hughes (b. 1983) is an artist, composer, and performer producing work that shifts between sculpture, installation, composition and music. Solo exhibitions include: ‘One Dozen and Zero Units’ South London Gallery; ‘DEMO’ Cass Sculpture Foundation;and ‘The Silence of the Floor of my House’ Supplement, London. Her compositions have been performed by Apartment House, Dog Star Orchestra, a.pe.ri.od.ic, and Ordinary Affects, and at various festivals including London Contemporary Music Festival and Music We’d Like To Hear. Realisations of her compositions have been published by Another Timbre Records, Suppedaneum, Consumer Waste Records and Reductive Music. sarahhughes.org

Sally Ann McIntyre
study for a data deficient species (grey ghost transmission)

(audio recordings, mini fm transmitters, radio receivers, destroyed nest, audio tape, archival index cards)

study for a data deficient species (grey ghost transmission) is a composition based on an evolving score (previously exhibited in Halle, Germany, and Hobart Tasmania). All of the elements of the score relate to various cultural listenings-in to an endemic New Zealand bird species, the South Island kōkako (Callaeas cinerea cinerea), in the form of a collection of partial and inconclusive sound libraries. The sounds of this bird were never recorded in the field, but it is portrayed in the literature as unearthly, as having a ‘natural resonance’, as one of the slowest and loudest of any song bird. A major component of the work is the sound library of putative calls of the bird collected by New Zealand wildlife ecologist Rhys Buckingham in remote forested areas of the deep South Island and Southern Stewart Island, while the species was officially declared extinct.

As a case study, the South Island kōkako perhaps gives us another way of looking at the invisible infrastructures that permeate our world, the human specificity of knowledge, and all that is left outside of it, that continues to resist empirical codification. Out of our airspace and off our radar, it becomes analogous to the poetics of radio itself, the medium’s ability to evoke the non-representational, the unknown and unheard, the invisible but ever-present spectrum.

Sally Ann McIntyre is a New Zealand based radio artist and poet who works as the operator of the mini-FM radio station radio cegeste. She is formally interested in the liminality of radiophonic space, and how the fragility of small-radius transmission can work to reveal inaudible aspects of sites as well as uncodified noise within the spectrum. radio cegeste occurs in live and event based situations but is also occasionally a recording project. it has released material on the labels winds measure, Consumer Waste, and/Oar, Idealstate, Flaming Pines, and Gruenrekorder. Sally’s sound work also includes related ongoing research into the materiality of recorded silence, the history of birdsong transcription, and the hauntology of extinction as a trace within sound archives, including the use of pre-electrical sonic inscription and playback mechanisms, such as gramophones, phonographic wax cylinders and music boxes, to bring extinct birdsong back to audibility. Her work often intersects with, and interrogates, the sound archive as a formation, and asks how to situate the indeterminate within structures of ordering. these projects have been exhibited in galleries and project spaces in Australia, New Zealand, the UK, Germany and the U.S. radiocegeste.blogspot.co.nz