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"An exploration of diagetic and asynchronous sound in Arrival (2016, Dir. Dennis Villeneuve), and it's use in conveying structural and stylistic elements of film narrative. Created for a FILM 101 project at Victoria University of Wellington."

"Until the arrival of the phonograph nearly 140 years ago, the only way to have music in the home was to perform it. Royals and the wealthy supported composers and performers to provide entertainment in their manor houses and castles; their residences often featured music rooms, where instrumentalists were presented front and center, like artwork on display. Other abodes placed the musicians in a separate room or loft, acoustically connected to grand halls to provide discreet accompaniment for banquets and events. Oddly enough, that dichotomy-show of the music, or hide it-still exists, even in our modern, electronic era. "

"Is Jeanne Dielmans' apartment on 23, quai du Commerce in Brussels a haunted house? It might well be. Because the dwelling where most of Chantal Akerman's 1975 masterpiece is set is often eerily deserted, with only the distant sounds of shuffling feet and clanging keys filling its hallways. As the camera waits for the titular protagonist to arrive (or lingers after she has left), the rooms are reduced to echo chambers. Jeanne Dielman is disembodied, a ghost even in her own domestic realm. Her visual absence in these moments represents quite literally the invisibility of her plight: a life lived in the shadows, a fate suffered just around a corner, conveniently out of view for the rest of society."

"If you asked me when the history of bootleg music began, I would have assumed it arrived with the invention of the cassette tape, something small, inexpensive and portable that was easily duplicated in any garage from deck A to deck B. In reality, widespread bootlegging dates back even further, to the 1950s in the Soviet Union where music lovers, desperate for banned Western tunes, devised an ingenious way to print their own records. The only problem was the scarcity of vinyl."

The life and work of Umashankar Manthravadi is a history of sound and technology through the second half of the 20th century. As a self-taught acoustic archaeologist, he has been building ambisonic microphones since the 1990s to measure the acoustic properties of premodern performance spaces. This exhibition responds to his practice and proposes possibilities for listening to the past and its absence which remains. Centred around an audio play and a video installation, A Slightly Curving Place brings together writers, choreographers, composers, actors, dancers, musicians, field recordists, and sound, light, and graphic designers who engage and transform each other's work. Elements from Umashankar's biography serve as a compass amid the material in vitrines, as a dancing body positions the endlessness of time in relation to a series of ruptures that is history. Under a dome of speakers an assembly of listeners gathers to sense a past they cannot hear. The sound that arrives is only a record of sound as it might have been.