Promoting Senate House Library and the School of Advanced Study with the Leverhulme Trust

Promotional material

October Radio Mixes and a photoshoot on the roof of Senate House Tower

The artist was able to promote the residency in two radio shows on Resonance FM. In Wavelength an afternoon show, within a broader discussion of the future of sound art in Senate House, the legacy that it is hoped has been secured due to the impact of the Leverhulme Trust residency on the Library’s public engagement activities. The artist concluded the show with a live radio version of the Summer Open Studio mix. The second show focused on the sound art of the project, the artist’s work and the Leverhulme residency in the context of the artist’s career before and after the residency, how the residency has shaped the artists creativity and how this relates to future work for the artist, in The Sound Projector Show. Having been introduced to Ed Pinsent, who curates The Sound Projector magazine and radio show on Resonance FM, through Maureen Mc'Taggart, the artist was offered a 90minute show. Material from the Open Studio mixes and Listening Chair loops were edited, prepared along with material from individual recordings of some of the poignant, distinctive sonic features of Senate House and the library, such as the listed boiler room and the sound of the membership hall. The forthcoming installation The Memory Hole Machine and performance ‘Hacking The Silence’ were described and promoted drawing on the relationship between Senate House, used as The Ministry of Information in the War and The Ministry of Truth, in George Orwell’s dystopian novel 1984. The show concluded with a live piece based on the material used in the Dada-ist mix performed in Salon Voltaire, in a unique radio improvisation in collaboration with the artist’s fellow band member.

The artist was also interviewed, by Marta Bausell, journalist reporting for ID magazine, formerly of the Guardian, discussing the residency, the work created through the residency and the building in which it was carried out. A photographer came and shot the artist field-recording with John Stone of Estates granting access to the Senate House rooftop.

The artist felt that it was important to highlight the importance of libraries such as Senate House Library and the unique, radical character of it’s collections, how they relate to the collections in the Bodleian and British libraries, thus ensuring that the importance of the SHL Collections are acknowledged so that a fuller understanding of the past can be discovered, for those that look. Without the stories told by Collections such as those held in Senate House Library, then our understanding of the past is narrowed and skewed. 

Therefore, the artist described the incredible opportunity presented to her through the library and The Leverhulme Trust, but also, the extraordinary history of the Library and of Senate House, both technologically and culturally and how it reflects the tensions and conflicted nature of British identity in the twentieth and twenty-first centuries.

The artist used the blog space to write a Diary of A Sound Artist, to describe the Open Studios at key weeks through the year and progress through the development of the Memory Hole. By the time the first Memory Hole Machine prototype was in 'The Shop' the artist was tweeting virtually every day. Facebook was used and Instagram, although the artist has learnt that more Instagram activity and shorter, more frequent blog posts would have helped to boost the online presence of the residency activities, to a greater extent than Twitter and Facebook. The artist used the Being Human social media campaign in the final six weeks before the start of the Being Human festival

The artist shot videos with a camera and phone uploaded to Vimeo to embed in the blog pages and over social media. Images were taken while recording to help the artist record the metadata for the field-recordings accurately and used in the online content.

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