Adam Gibney

Your Seedling Language utilises environmental data that is commonly related to the growth of plants. The moisture of the soil, light and temperature outside of the school provides organic compositional parameters that manipulate a generative, eight- channel vocal composition. With over 1,000 syllabic samples to call upon, the artwork unravels ideas surrounding the theory of Biolinguistics, providing the school with a language of its own.

Photography: CJ Nash Photography 

For Projective Verse 9: Deep Breadths, the gallery was mutated into a holding place for a spatiotemporal text. Within this field of action, an algorithmic disembodied voice searches for a space to point meaning. Churning through digital and physical structural manipulations, the malleability of space and meaning was roused.

This work questions the political and personal use of pronouns. Playing a key role in the construction of the ‘self’ and the ‘other’, pronouns help toward the creation and division of societies. Sonic-twitter feeds that include the words ‘we + think’ and ‘they + think’ are presented as a live calibration test for the self.

In part, the work grapples with the impossibilities of fixed positioning in the universe.

Utilising esoteric spiritual practices, the possibility of understanding quantum-physics concepts through everyday language is questioned by employing a live audio-abstraction.

This work actively searches for empirical descriptions of space that are broadcast within in the gallery.

Synthesiser 7:(un)Certain grapples with Werner Heisneberg's uncertainty principle and issues that arise when certain scientific experiments are observed. This live sound installation is controlled by the viewer’s proximity to the speakers.

Through these works, the absurdity of a “still-life” is semantically picked apart by a technological means.

As a counter-strike against technology’s overbearing semantic influence, the main gallery space in RE:definition, my second solo-exhibition, became a testing ground in which fact and definition were argued between technological representation and one’s innate knowledge of colour.

This installation is part of a series of works in which the reliability of technology is scrutinised.

Breakfast in Limbo places the audience in a scenario in which technology has become defunct or untrustworthy. Objects whose function and value are defined by a technological means are manipulated to highlight the relationship between the viewer, object and technology.