with David Littler (artist, curator and DJ; involved with Sampler-Cultureclash, http://sampler-cultureclash.blogspot.com) and Berit Greinke (textile and surface designer, NOBELini prize winner to investigate 'laboratory disaster').
Both David and Berit lead us through activities to examine the connections between sound, the word, drawing and stitching.
We all recorded our voices on a continous sound recording loop, describing our favourite working tool and how we use it. To the sound of these continous words which became a pattern of audio shapes and textures, a continous canvas is stitched with 'tape' pulled from old audio tape cassettes. This tape is conductive so will respond to the audio sensors rubbed over it later.
Berit Greinke holds the sensor over samples of her woven textiles made with conductive fibres to pick up the pattern of the different weaves which are converted into sounds.
Mary Sleigh 'tries her hand' at making music by connecting with the conductive graphite drawing and holding hands with Berit who, in turn, holds the hand-held sensor on another part of the drawing, thus forming a conductive loop.