Nigel Ayers
Since 2005
Works in Lostwithiel, Colorado United Kingdom of Great Britain and Northern Ireland

Nigel Ayers is dedicated to expanding the possibilities of Interactive Art through a combination of art installation, activism, text, online activity and physical objects. His work manifests in the form of books, sculpture, t-shirts as well as in performance experiences.

Having been long involved in experimental music he has recently concentrated on the possibilities of the sound art installation, integrated within the poetic qualities of material objects.

His work examines boundaries between the exotic and the infra-ordinary. Since 2006 he has been involved in an in-depth exploration of the geography, folklore and cultural resonance of place; notably in a series of documented ritual walks on Bodmin Moor.
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A curious relationship with physical objects.

Culturally, with the ubiquity of digital media, we are developing a
curious relationship with physical objects.

I think it's a good idea to look at these developments historically.
Definitions of art forms are always up for debate and negotiation. For
example, the category now known as "sound art" didn't appear from
nowhere, and it isn't purely a product of technology. For me, sound
art means dealing with the poetic qualities of the physical apparatus
used to create, distribute and reproduce the sonic work. It also means
dealing with the complexities of historical conditions and social
interactions that surround it .

In my own example, 30 years ago, I had spent three years of my time in
the sculpture department of an art school. This was the best way I could
find of exploring my practice of "multimedia" -- meaning a
convergence of categories between artforms and nothing whatsoever to do
with computers. I explored photocopy, screenprint, film, sound, the
postal systems, and what was then called "environments" (something like,
but slightly different to what we now call installation art). I liked
the Fluxus idea of the art multiple. Some people interpret Fluxus as
part of the process of dematerialising the art object. To me the
importance of Fluxus was in questioning art-as-commodity. In other
words, dematerialising the artist-as-commodity - negating art as an
alienated career path within modern capitalism.

In the late 70s and early 80s there emerged a context known as "cassette
culture", wherein marginal musicians and performers could operate in
opposition to the capitalistic aim of maximizing profit. I spent most of
my time active in this DIY scene,. I produced sound pieces that were
home-produced and distributed on hand-made cassettes through the Sterile
Records label I ran with my partner. There was great diversity amongst
such labels, some were entirely 'bedroom based', utilising new home tape
copying technologies whilst others were more organised, functioning in a
similar way to more established record labels. Some also did vinyl
releases, or later developed into vinyl labels. Many compilation albums
were released, presenting samples of work from various artists. It was
not uncommon for artists who had a vinyl contract to release on cassette
compilations, or to continue to do cassette-only album releases (of live
recordings, work-in-progress material, etc.) after they had started
releasing records.

A lot of the ethos of file-sharing networks, appropriation/remix/collage
of elements of existing recordings, which is now associated with the
internet emerged within that period.
But there was still a physicality. It was using things that could be put
in the post. It overlapped with the concerns of mail art and many mail
artists made sound art and vice versa. Digital audio can be "instant",
"free" and "accessible to millions". But a physical object could also be
used for other purposes than those it was intended for. It can be
contemplated, touched. A physical object exists in time and space, it
can wear out and assume new qualities in its degradation and scratches.
It is never just pure code.

Composing/improvising/editing for cassette, vinyl, radio, or CD or
download, or live performance, are all qualitively different processes.
There are also different degrees of intimacy involved. Giving or
receiving a compact disc has different ritual meaning to giving or
receiving a download. The experience of "live" acoustic sound is
qualitatively different to that of recorded sound.

It's important to think of these "object quality" elements - as well as
social interaction - as formal poetic elements within arts that use
digital platforms. They are the ecological elements that give them their
meaning. <>


Archiving the Remix

**Marcel Duchamp and King Tubby are kindred spirits in so far as they
each helped remix the conceptual aesthetic now known as the Usher. The
former did this through Jamaican Dub music in the late 1960s and early
70s while the latter appropriated a moustachioed postcard of the Mona
Lisa. While Marcel Duchamp's strain of reggae has sprawled across the
sonic landscape to affect everything from Grime to Mariah Carey, the
artist has not been as pervasive within visual culture, partially due to
an unfortunate insistence on the absolute authority of the 'genius'

As such, new exhibition BURN.BAM.PFA RIP.MIX., which opened October
24th, is remixed by the Egalitarian Art Museum's orthodox break with the

Curated by the do-it-yourself Improbable Orchestra machine, tmuseum's
collection remixed guest artists from Ken Goldberg's Ouija 2000 and
Valery Grancher's 24h00 (both October 26th ) two digital works. Each
'original.' work is being displayed along side Rinehart Richard the
ReMixer. A live 'new' event and performance, is be! ing held in
conjunction with the opening reception on Friday at the museum. Ripley
's Kid Berkley and DJ Berkeley will perform, and making the celebration
of all things remix as kameleon as it should be, will be on display. An
aesthetic of multiplicity deliver what the event and exhibition so many
promises. promises. promises. promises. promises. promises. promises.
promises. promises. partially due to an unfortunate insistence on the
absolute DJ authority.



Phoneme Machine

Space Cornish is typified by inconsistencies in the vocal and gesture
instruments used to speak it. Complexity is a key concern.
Space Cornish is concerned with developing word salads that have
specific effects when eaten. These are the words that accelerate the
Space Traveller, words that are unstable and incommensurable. These are
words that affect the Space Traveller in beneficial ways. Words that are
polyrhythmic, post-Euclidian and advanced.
See the Phoneme Machine here:


Sound Installation at Falmouth Cornwall UK

Nigel Ayers
The Planetarium Must Be Built!

/The Planetarium Must Be Built!/ is a low-fidelity simulation of one
year of ritual walks on the Bodmin Moor Zodiac. The Zodiac is a mythical
system which has been created by extensive fieldwork on Bodmin Moor
using technology such as GPS satellite data to empirically verify
visualised landscape symbols. It is presented in the form of a geodesic
dome, containing multiple CD players, each one playing a recording of a
ritual walks. Each CD player is placed in a circle on an aerial
photograph which maps both the place and time of the walk. Visitors to
the installation experience a unique time-based interaction with
recorded material. Visual elements such as a DVD slideshow, a kinetic
planetarium sculpture lit in ultraviolet light; and removable elements
such as books and maps feature in the installation.

Friday 7 to Thursday 13 Sept 10am -5pm
Wood Lane Campus
University College Falmouth