2018
x3 CG animations on square screens, silent
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Three animations made with raw data from the ATLAS detector at CERN particle physics laboratory, Geneva, Switzerland. Removed from its scientific framework, the data becomes a physical form in its own right, something to explore as an artistic medium. Each animation offers a different perspective of the data, presented on custom made square screens.
Acquired for Audemars Piguet Collection, CERN collection and 2 private collections.
HALO 0.1 / 0.2 / 0.3, Broken Symmetries, Kumu Art Museum, Tallinn, Estonia, 2021. Photo: Stanislav Stepaško / Kumu Art Museum
HALO 0.1 / 0.2 / 0.3, National Center of Contemporary Arts, (CNAC), Santiago, Chile, 2019. Photo: CNAC
HALO 0.3, 2018
HALO 0.2, 2018
HALO 0.3, 2018
HALO 0.1 / 0.2 / 0.3, National Center of Contemporary Arts, (CNAC), Santiago, Chile, 2019. Photo: CNAC
2017
15:00
two channel HD moving image / three channel sound
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Parting the Waves takes the visual language and method of quantum simulations, as a framework for exploring how science describes and attempts to harness the quantum realm.
Semiconductor have taken as a starting point simulated ‘surface plots’: realised as three co-ordinate graphs, they present mathematical computations of particle interactions, in a quantum system. The plots appear as varying degrees of undulating waveforms, created by the intensity of particles interactions being affected by distance, over time. An angled hexagonal screen expands upon two moving image projections, becoming a graph-like object in the space, mimicking the system employed by scientists to present the simulations.
Sound drives the CGI work, generating and animating visual waveforms. Starting with Hertz: the standard unit for measuring frequency in cycles per second, specific tones have been selected which create harmonies and dissonances, to play with notions of phasing, shifting and interactions in a quantum system. As the tones shift, disturbing the system, so it responds visually, producing varying degrees of amplitude, wavelength and frequency which result in complex interference patterns. The colours are representative of the coding system scientists use, to identify specific parameters or patterns when model making.
Visual and audible noise is used to introduce the concept of coherence and de-coherence in a quantum system: the point at which a systems behaviour changes from that which can be explained by quantum mechanics to classical mechanics. Other details hint at mathematical tools and terms associated with the phenomena of quantum systems such as; superposition, entanglement and wave functions.
Quantum simulations are approximations of nature that are modelled and then compared to other models, to gradually build up a picture of the phenomena being studied. The layers of modelling are a language by which scientists can communicate their findings and get closer to nature.Semiconductor are interested in the extent to which these tools and scientific products bear the signature of a human hand. By making a work where you experience nature through the language that is made to study it, they want to question how our experiences of nature are mediated through science.
Parting the Waves was created through a FEAT (Future Emerging Art and Technology) Residency. FEAT is an initiative of eutema GmbH (AT), Stichting Waag Society (NL), and youris.com (BE). It has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 686527 (H2020-FETOPEN-2015-CSA).
Special thanks to:
Sabrina Maniscalco, University of Turku
Anton Buyskikh, University of Strathclyde, Scotland
Clarendon Laboratory, Oxford University, UK
Computational Nonlinear and Quantum Optics Group, Strathclyde University, Scotland
Turku Centre for Quantum Physics, University of Turku, Finland
Parting the Waves, solo Exhibition at Le Lieu Unique, Nantes, 2018. Photo: (c) Martin Argyroglo.
Parting the Waves, Gnration, Portugal, solo show, 2023
Parting the Waves, Le Lieu Unique, Nantes, solo show, 2018
Parting the Waves, Semiconductor, Axiom, Tokyo, solo show, 2017.
Parting the Waves (still), 2017
Parting the Waves, Semiconductor: The Technological Sublime, City Gallery Wellington, solo show, 2019. Photo: Shaun Waugh
2016
9:00 / 9:50
two channel HD + single channel HD
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Where Shapes Comes From is a moving image work which considers how science translates nature, on an atomic scale.
Filmed in the mineral sciences laboratory at the Smithsonian Museum of Natural History, a scientist goes about his daily work in rock and mineral preparatory labs; cutting up large meteorites and preparing mineral samples for scientific study. Accompanying this, mineralogist Jeff Post describes the coming together of atoms to form matter. He details formations of organised structures and patterns as if they are happening in real-time, in front of our eyes, transcending time and space.
Raw seismic data, collected from the land forming Mariana deep sea trench, has been converted directly into sound and controls computer generated animations, which are composited into the labs. They depict interpretations of visual scientific forms associated with atomic structures, and the technologies which capture them. Sitting alongside these animated formations are hand-made assemblages of discarded materials and other curiosities, which now bear human signatures. They unite in bringing a sense of playfulness and personal touch to the ordinarily rigorous framework of science.By combining these scientific processes, languages and products associated with matter formation in the context of the everyday, they become fantastical and strange encouraging us to consider how science translates nature and question our experiences of the physical world.
Filmed at the Mineral Sciences Laboratory, Smithsonian National Museum of Natural History, Washington D.C. during its 100th year. Audio made from Mariana Trench seismic data courtesy of the IRIS (Incorporated Research Institutions for Seismology) Network. Dialogue: Jeffrey E. Post, Geologist, Curator in Charge, Mineral Collection, Smithsonian National Museum of Natural History, Washington D.C., U.S.A. Scientist: Jonathon Cooper
Supported by Arts Council England. Co-commissioned by EDP Foundation and Phoenix Leicester.
Where Shapes Come From, Sydney Biennale, AGNSW, 2018. Photo: Document Photography
Where Shapes Come From (still), 2016
Where Shapes Come From, Fiber Festival, Amsterdam, 2017. Photo: Fiber Festival
Where Shapes Come From, Le Lieu Unique, Nantes, solo show, 2018. Photo: Martin Argyroglo
Where Shapes Come From (still), 2016
Where Shapes Come From, Sydney Biennale, AGNSW, 2018. Photo: Document Photography
Where Shapes Come From (still), 2016
Where Shapes Come From (still), 2016
Where Shapes Come From, Shenzen New Media Arts Festival, China, 2019
Where Shapes Come From, Le Lieu Unique, Nantes, solo show, 2018. Photo: Martin Argyroglo
Where Shapes Come From, Shenzen New Media Arts Festival, China, 2019
Earthworks is a five channel computer generated animation, which creates an immersive experience of the phenomena of landscape formation through the scientific and technological devices that are used to study it. Masses of colourful layers are animated by the sound-scapes of earthquake, volcanic, glacial and human activity, recorded as seismic waves, which form spectacular fluctuating marbled waveforms.
Semiconductor have employed the scientific technique of Analogue Modelling, which uses layers of real world multi-coloured particles and application of pressure and motion to simulate tectonic and seismic forces. As the layers become deformed they reproduce the generation and evolution of landscapes in nature over thousands of years, revealing them to be in a constant state of flux.
Semiconductor have acquired seismic data captured as a result of land shifting and forming, from all over the world. There are four distinct sections to the work, each using a different set of seismic data. This includes; glacial, earthquake, volcano and human-made seismic activity captured at La Planta quarry, Spain, to represent the Anthropocene, a new geological era influenced by humans. The data has been translated to audio to form the soundtrack of the work, and simultaneously control the animation of the layers. The data as sound directly sculpts the image, re-animates the landscape, and reflects the symbiotic relationship between landscape formation and seismic vibrations. The seismic audio is rich and full of the intricacies of the dynamics of our planet in motion.
By using seismic data to control the masses of layers Semiconductor are not only playing with the idea that it is these forces that have shaped landscapes, but also that being an event that occurs beyond a human-time frame, landscape formation can only be experienced through scientific technological mediation of nature. It produces information about time, space and phenomena that no human consciousness could possibly have witnessed. It is as if we are watching hundreds of thousands of years played out in front of our eyes, enabling us to bear witness to events which ordinarily occur on geological time-frames.
By adopting the analogue modelling techniques, the work celebrates the revelatory capacities of modern science and technologies to create a kind of technological sublime, whilst simultaneously inviting viewers to consider the philosophical problems posed by such technologically mediated observations of imperceptible phenomena.
Earthworks is commissioned by SónarPLANTA Produced by Advanced Music
Thanks to: Fundació Sorigué Sónar Festival/Advanced Music Nigel Bax
University of Barcelona:
Dr Albert Casas Ponsati
Raul Lovera Carrasco
Mahjoub Himi Benomar
Dr. Josep Anton Muñoz
Oriol Ferrer
Cai Matthews
Jose Luis de Vicente
Salvador Rey Nagel
Seismic data courtesy of the Iris (Incorporated Research Institutions for Seismology) Consortium
Band 9, Pump House Gallery, London, 2015. Photo: Pump House Gallery/Photo Eoin Carey
2015
installation of 9 light boxes / various sizes
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Images Courtesy Pump House Gallery/Photo Eoin Carey
Band 9 is an installation that considers nature within the framework of science. Nine light boxes show scientific cloud data, which have been captured from space by a remote sensing satellite, orbiting the Earth. Using optical sensors it collects reflected light in various wavelengths of the electromagnetic spectrum. By focusing on very thin slices of these, scientists can pinpoint individual phenomena such as the band we see here, which is designed to reveal high-altitude clouds called Cirrus.
In this instance, scientists are not interested in the clouds themselves, but in removing their shadows and wispy texture from their data: whose presence obscures the real information they are trying to collect. Semiconductor have embraced these redundant images for their power to offer new ways of seeing a familiar place. Re-contextualised in this way and bearing the signatures of science, the images have become a kind of technological sublime.
What we see in the images is dictated by the capturing technology; the satellite scans in 115 mile wide swathes orbiting the earth from north to south and anything beyond the dedicated wavelengths is swallowed into a black void. The angle the light boxes are installed reflects the incline the data has been captured and archived at. By presenting the raw satellite data using techniques informed by the capturing technology Semiconductor are, exploring how technologies that are made to study nature, mediate our experiences and understanding of it.
Catching the Light, video documentation, ArtScience Museum, Singapore, 2014
2014
multi-channel HD moving image with 6 metre wide Alucore screens
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Catching the Light is a moving image installation which explores how science and technology frame our experiences of the natural world.
Created using visual data collected by space telescopes, the six metre wide projection is made up of thousands of images which have been assembled to create time-lapse sequences. By collaging these images of space together, Semiconductor have disrupted their original spatial relationships, to create new patterns and points of reference. They have, in effect, remapped the sky.
By collecting the data in its rawest form Semiconductor are able to present it as the telescope captured it. Ordinarily scientists would remove any noise, anomalies or signatures of the technology associated with the capturing process, but Semiconductor have embraced these artefacts, using them to remind us of how our perception of deep space is framed by the tools and processes of science.
The shape of the screens reflect the space observatories’ image capturing process: as they photograph chosen parts of the sky, the trail of images produce assorted shaped arrays, which are then used as points of reference in the data archives. Semiconductor have combined three of these arrays in their native format to make the screen composition. Used in this way they become portholes or windows into the universe, they also suggest that what we are seeing is only a part of a much larger picture.
The screens are installed away from the wall to create floating objects. The aluminium composite material used to fabricate them is commonly used in the production of scientific objects sent into space; as well as being light weight and strong it typically bears its honeycomb innards revealing its workings. The matt black surface of the screen resonates with how scientists and engineers use the mattest of blacks in the production of space optics to absorb unwanted light.
The four channel sound runs along the width of the screen, shifting as events appear and disappear. Using the luminescence of the image to create and control sound, the visual events carve a sonic space out of a field of noise, producing a singing universe of harmonic tones, reminiscent of radio telescope data translated into audible frequencies.
Semiconductor are interested in how technology, made to study nature, mediates our experiences and understanding of it. Here, by employing the products of science they have created an interpretation of deep space framed by the technology that is made to capture it, leading us to question what we are experiencing.
Catching the Light is commissioned by ArtScience Museum at Marina Bay Sands in Singapore for Da Vinci: Shaping the Future exhibition, 2014-2015. Data obtained from the Mikulski Archive for Space Telescopes (MAST) Programmer Julian Weaver
Currently fundraising for production of single channel version. If you’re interested in supporting this please get in in touch.
Catching the Light (detail), ArtScience Museum, Singapore, 2014
Catching the Light (detail), ArtScience Museum, Singapore, 2014
Catching the Light (detail), ArtScience Museum, Singapore, 2014
Catching the Light (detail), ArtScience Museum, Singapore, 2014
2014
sculpture
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Cosmos is a two metre spherical wooden sculpture that has been formed from scientific data made tangible. Interested in the divide between how science represents the physical world and how we experience it, Semiconductor have taken scientific data as being a representation of nature and are exploring how we can physically relate to it.
Located in the Forestry Commissions Alice Holt Forest, U.K., the sculpture is made from one year’s worth of measurements of the take up and loss of carbon dioxide from the forest trees, collected from the top of a 28m high flux tower located nearby in Alice Holt Research Forest.
To reveal the visual patterns and shapes inherent in the data Semiconductor developed custom digital techniques to translate the data from strings of numbers into three-dimensional forms. The result is complex interference patterns produced by the waveforms and patterns in the data.
Through this process of re-contextualising the data it has becomes abstract in form and meaning, taking on sculptural properties. These sculptural forms become unreadable within the context of science, yet become a physical form we can see, touch, experience and readable in a new way. Here, humanising the data offers a new perspective of the natural world it is documenting.
The definition of cosmos is a complete, orderly, harmonious system and here refers to the sources of the combined data which work in harmony to make the forest what it is.
Semiconductor would like to thank: Matt Wilkinson, Forest Research, Forestry Commission England for the data.
Julian Williams, Alice Holt Forest
Richard Barrass, Civil Engineer
Matt Risdale and Karn Sandilands, Millimetre, fabricators of Cosmos
Penny Harris, Parker Harris, Project managers
Hayley Skipper, Forestry Commission England
WUP Doodle, CNC machining
2012
03.00 minute TV edit + 05:45 minutes
HD single channel
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Some Part of Us Will Have Become is the lament of a lone robot bearing witness to a human-made disaster. Made using internet streams captured during the Deepwater Horizon disaster Semiconductor have created a science fiction, narrated by the voice of a remotely operated vehicle. Whilst declaring hopelessness and despair it attempts in vain to quell the disaster, systematicallyarranginghuman-made debris. Overwhelming in enormity, the endeavour ends……without success…
Some Part of Us Will Have Become is commissioned by Channel 4 and Arts Council England. Curated by Jacqui Davies and Mike Stubbs for Random Acts. Text by Rowena Easton Music by Hildur Gudnadottir. Published by Touch Music (MCPS).
Worlds in the Making, FACT (Foundation for Art and Creative Technology), Liverpool, UK, 2011. Photo: Brian Slater
2011
23.00 minutes
3 channel HD
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Worlds in the Making is an epic three channel moving image work that explores how we observe, experience and create an understanding of the physical origins of the world around us. By appropriating the tools and processes of volcanology to re-interpret the primordial landscapes of our volcanic planet, Semiconductor create a world slightly removed from the one we think we know, disrupting our every day assumptions of reality and questioning how science affects our experience of the natural world.
In the work the use of audio investigates our relationship with the physical, scientific and ephemeral nature of sound. Seismic data collected from beneath volcanoes and translated into audio evokes images of rocks crunching and grinding below the Earth and is used as a sculptural tool to generate elaborate CG animations of matter forming as mineral crystals. A scientist’s dialogue appears to guide us through extraordinary landscapes while Oren Ambarchi’s composition overwhelms as it brings an emotional connection to place.
The viewer is transported through dystopian landscapes, strangely exquisite animations, fantastical vistas, and natural phenomena to a world between science fiction and science fact.
Commissioned by Jacqui Davies and FACT, Foundation for Art and Creative Technology.Supported by Arts Council England. Gulbenkian Galapagos Artists Fellowship. Smithsonian Artists Research Fellowship.
Credits:
Music by Oren Ambarchi – Published by Touch Music (MCPS) Richard S. Fiske – Smithsonian National Museum of Natural History, Mineral Sciences Department: for his oratory skills, field notes and methodical tephra sorting. Ellen Thurneau – Smithsonian National Museum of Natural History, Mineral Sciences Department. William G. Melson – Smithsonian National Museum of Natural History, Mineral Sciences Department: for his audio recordings of Arenal Volcano, Costa Rica erupting. Jonathan M. Lees, Professor of Geological Sciences, University of North Carolina at Chapel Hill, USA. For his seismic data collected at Tungurahua volcano, Ecuador which features in the work.. Gregory P. Waite, Assistant Professor of Geophysics, Michigan Technological University, USA. For his seismic data from Fuego Volcano, Guatemala and Mount St. Helens, Washington, USA. Jorge Ordonez at Instituto Geofisico, Quito Ecuador Adam and Miriam at Instituto Geofisico, Quito Ecuador
Global Volcanism Program, Smithsonian National Museum of Natural History Dennis Geist, Professor of Geology at the University of Idaho, USA Gorki Ruiz at Instituto Geofisico, Quito Ecuador Instituto Geofisico Volcano Observatory, Tungurahua, Ecuador
Scientific paper: Liquid Sulfur at Volcan Azufre, Galapagos Islands by W.E. Colony and Bert E. Nordle, 1973. Charles Darwin Research Station Library, Santa Cruz, Galapagos, Ecuador.
Produced by Jacqui Davies.
preview of Worlds in the Making installation – to watch HD full screen double-click the image
Worlds in the Making, Crystallize, Old Billingsgate, London, 2013
Worlds in the Making, FACT (Foundation for Art and Creative Technology), solo show, 2011. Photo: Brian Slater
Worlds in the Making (still), 2011
Worlds in the Making, Semiconductor: The Technological Sublime, City Gallery Wellington, solo show, 2019. Photo: Shaun Waugh
Worlds in the Making (still), 2011
Worlds in the Making, Semiconductor: The Technological Sublime, City Gallery, Wellington, solo show, 2019. Photo: Shaun Waugh
Worlds in the Making (still), 2011
Worlds in the Making (still), 2011
Worlds in the Making, FACT (Foundation for Art and Creative Technology), solo show, 2011. Photo: Brian Slater
2010
07.08 minutes
HD single channel
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
A team is at work dissecting what appears to be a simple bush. The examination is carried out with such conviction and reverence, towards something which is seemingly so mundane, that the whole process appears quite absurd. The focus becomes the actions and techniques employed; through observation and simple measuring devices they document their findings, communicating with subtle gestures, with only a few numbers and mumbles exchanged. Sitting somewhere between science documentary and fiction, this work reflects on how we as humans construct methods to learn about the physical world around us.
Filmed during a Gulbenkian Galapagos Artists Residency. Thanks to Charles Darwin Foundation, Jorges Luis Renteria, Claudio Crespo, Eliana Boontti and Veronica Toval. Premiered at Venice Film Festival 1-11 September 2010
2009
03:00 minutes / 17:00 minute loop
Single channel + installation
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Black Rain is sourced from images collected by the twin satellite, solar mission, STEREO. Here we see the HI (Heliospheric Imager) visual data as it tracks interplanetary space for solar wind and CME’s (coronal mass ejections) heading towards Earth.
Working with STEREO scientists, Semiconductor collected all the HI image data to date, revealing the journey of the satellites from their initial orientation, to their current tracing of the Earth’s orbit around the Sun. Solar wind, CME’s, passing planets and comets orbiting the sun can be seen as background stars and the milky way pass by.
As in Semiconductor’s previous work ‘Brilliant Noise’ which looked into the sun, they work with raw scientific satellite data which has not yet been cleaned and processed for public consumption. By embracing the artefacts calibration and phenomena of the capturing process we are reminded of the presence of the human observer who endeavours to extend our perceptions and knowledge through technological innovation.
Many thanks to: Chris Davis and Steve Crothers at the STFC Rutherford Appleton Laboratory, UK + Stuart Bale and Steven Christe at Space Sciences Lab UC Berkeley, USA
Black Rain, The 14th Media Art Biennale Santiago, National Center of Contemporary Arts, (CNAC), solo show, 2019. Photo: CNAC
Black Rain (still), 2009
Black Rain, Star Voyager, ACMI, Melbourne, 2011. Photo: ACMI
Black Rain (still), 2009
Black Rain (still), 2009
Black Rain, Earth: Art of a Changing World, Royal Academy, London, 2010. Photo: Francis Ware / Royal Academy of Arts
Black Rain (still), 2009
Black Rain, Semiconductor: The Technological Sublime, City Gallery Wellington, New Zealand, solo show, 2019
Documentation of Black Rain at Earth: Art of a changing World, Royal Academy, London 2010
2007
04:47 minutes
HD single channel
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
The secret lives of invisible magnetic fields are revealed as chaotic ever-changing geometries . All action takes place around NASA’s Space Sciences Laboratories, UC Berkeley, to recordings of space scientists describing their discoveries. Actual VLF audio recordings control the evolution of the fields as they delve into our inaudible surroundings, revealing recurrent ‘whistlers’ produced by fleeting electrons . Are we observing a series of scientific experiments, the universe in flux, or a documentary of a fictional world?
An Animate Projects commission for Channel 4 in association with Arts Council England. Shot at the NASA Space Sciences Laboratory, UC Berkeley, California, USA.
Many thanks to the following people:
Bill Abbett, David Brain, Bob Lin, Janet Luhmann, Stephen Mende, Forrest Mozer, Ilan Roth and Paul Thompson.
Also big thanks to the CSE team at the Silver Space Sciences Lab. UC Berkeley, USA.
VLF Recordings: Stephen P.McGreevy
Awarded the Nature ‘Scientific Merit Award’ by Imagine Science Film Festival, New York, 2009.
Purchased by the Hirshhorn Museum, Washington for the permanent collection, 2008.
Awarded ‘Best Film at Cutting Edge’ at the British Animation Awards, 2008.
Special Mention, ‘Best International Experimental Short’ at Leeds International Film Festival, 2008. Awarded ‘Best Experimental Film’ at Tirana International Film Festival, 2007.
2006
various lengths
SD / HD / single channel + multi-channel versions
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files, made accessible via open access archives, Semiconductor have brought together some of the sun’s finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This grainy black and white quality is routinely cleaned up by NASA, hiding the processes and mechanics in action behind the capturing procedure. Most of the imagery has been collected as single snapshots by ground based observatories and satellites, they are then reorganised into their spectral groups to create time-lapse sequences. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation and radio frequencies.
Thanks to the following solar observatories whose data archives were used in the making of this film: Mount Wilson Observatory UCLA, Lasco/SOHO Naval Research Laboratory, TRACE/LMSAL, Big Bear Solar Observatory/NJIT, SST/Royal Swedish Academy of Sciences, Gong/National Solar Observatory/AURA/NSF Thanks also to: Steven Christie, Iain Hannah, the CSE team and all at the space sciences Lab. UC Berkeley.
Brilliant Noise was made during an Arts Council England International Artists Fellowship at the NASA Space Sciences Laboratory, UC Berkeley, California, USA.
Awarded second prize by the Science Film Festival, a Coruna Spain. 2008. Awarded second prize at Onion City Experimental Film and Video Festival 2006. Awarded Best Video at Experimental Film and Video Festival, Seoul, Korea 2006.
2001
Acoustic Web Diagram
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Domestic E.M.I. was an online interactive acoustic diagram. Exploring visually and aurally areas of domestic interference: including vibrations and atmospheric disturbances through the action of man and earthly phenomenon.
Domestic E.M.I. focuses on the potential effects of magnetic interference in our daily lives, we are becoming increasingly aware of these intrusions and the effects on our personal environments.
A domestic space is the focus of an interactive acoustic diagram which is put under the microscope.
The main navigational area is constructed in Flash , utilising action script for specific sound and visual interaction, where the objects respond to the actual waveform.
Domestic E.M.I. uses external links as a resource of information, which relates to the interactive journeys through sound and vibration. The external links become part of the fiction the landscape portrays.
Domestic E.M.I. was produced by Semiconductor during an Artists Residency at the exhibition, “The Origin of Painting” by Disinformation , which took place at Fabrica in Brighton during November and December 2001.
