Now Showing: Exhibits

Displacement by Exile

The Auricle Sonic Arts Gallery
Showing: 3rd-24th November, 2016
Opening: 3rd November, 6pm
Facebook event
Interactive sound installation



When do we become conscious / aware of our displacement in this world? Is it a startling realization, or rather a deeply engrained knowledge within us us all?

Exile is an avant-garde collective based in Banks Peninsula.

Ecologies of Transduction by Charlotte Parallel

The Auricle Sonic Arts Gallery
Showing: 6th-27th October, 2016
Opening: 6th October, 6-8pm
Facebook event
Interactive sound installation


On ecologies of transduction

Looking back, you could say it all started from growing up in the middle of nowhere listening to power poles. Putting my ear up to the wooden pole I was compelled by its voices and the accompanying hum. Thirty years later I am still engaged in the practice of listening as a form of attunement to any given place.

The process of mapping, sensing, detection and transformation are a kind of aural forensics. My ongoing interest in participatory sound works is a means of directing attention to the active forces of a place; in particular, the ways in which we exist in a continuum of and specific concentration within the electromagnetic field through our capacity as a transducer.

Transduction is defined as the transformation of one energy state to another. As a process transduction occurs in everything from our human ear to plants to viruses to our cellphone, articulating a field of relations between one thing and another. Adrian Mackenzie describes this field of relations as a “knotting together of commodities, signs, diagrams, stories, practices, concepts, human and non-human bodies, images and places.”[1]

The activation of sound, linked to a cartographic object has the potential to relay the intersecting and often unseen operations of geo-political, economic, ecological and social infrastructures. The corresponding implications are considered ecologies of transduction.

[1] Adrian Mackenzie, “Theory, Event, Transduction,” 2015.

Charlotte Parallel is a recent MFA graduate at Otago School of Art and a practicing artist in the fields of sculpture, sound installation, collaboration and performance. Often choosing to respond to site in a temporal way. She has been exhibiting within New Zealand consistently over the last 13 years and internationally since 2010.

Since 2003 Dunedin has been the home base for Charlotte Parallel’s artistic activity which includes a range of curatorial and community initiated collaborative art projects. From 2010 specifically with The Anteroom, a project art space based in Port Chalmers. The Anteroom is an artist run space committed to representing experimental projects with a national and international network of exhibiting artists.

Image courtesy Gilbert May

Jetzt by John Chrisstoffels

The Auricle Sonic Arts Gallery
Showing: 1st – 24th September, 2016
Opening: 1st September, 6-8pm
Facebook event
Interactive sound installation


Jetzt, a German word that means ‘now’ but it sounds and looks a bit like ‘jets’.

‘Now’ or ‘jetzt’ might suggest the ever present moment and for some Germans (perhaps a Hegel or a Heidegger) they might suggest that we pause to think a little deeper about ‘being in time’. Let us imagine that ‘now’ is indeed a ‘jet’. We are passengers seated on a long journey, perhaps the dream destination of our lives. We put our feet up and rest in the knowledge that our safe flight has been measured and calibrated with pinpoint accuracy and we will arrive at our destination on ‘time’. This gives us peace of mind to relax. However, when we think about that something about ‘free will’ appears to gnaw at us inside as we realise we are trapped in a pressurised cabin at 20 000 feet (or a planet hurtling around the sun).

Closing our eyes, we tune into the sounds around us. We hear the hum of the jet engines, and perhaps we catch part of a conversation in a foreign language. There is always the ubiquitous disembodied cry of a baby and importantly the white noise of oxygen pumped around the fuselage. Concentrate hard on the rush of air. We hear it go in and out of phase. Imagine a strange Doppler effect as the sound travelling in the fuselage effected by any number of relative speeds. Yes the speed of sound can be measured but there is at this moment a symphony of infinite possibilities in this moment of being.

John Chrisstoffels has been involved in music and cinematography for over 30 years and presently is a Senior Lecturer in Film at the Canterbury University School of Fine Arts. His research into ‘transient places’ such as Aircraft Fuselages and Airport Terminals are central to his current DocFA thesis.

On the Constant Dissolution of the Same by Malcolm Riddoch

The Auricle Sonic Arts Gallery
Showing: 4th-25th August, 2016
Opening: Thursday 4th August, 6-8pm
Facebook event
Live audio recording cycling into electroacoustic decay


“Only those who already understand can hearken [zuhören]”
Martin Heidegger, Being and Time

On entering this world there is contact as sound objects impact one’s sense organs of hearing, the ear but also the body. On contact there arises the familiar sensation of hearing  the sounds in this world. With the constant arising of sensation there arises feeling, belonging and understanding. With the arising of understanding, one has already entered into this world of the familiar sounds themselves, the world of our everyday being, and so the cycle of becoming continues without beginning. And yet having always already entered this world, there was already contact of sound objects with the sense organs of hearing, and with this fading contact there is the constant fading away of the sensation of hearing. With the fading away of sensation there is also the constant fading away of feeling, belonging and understanding. With the constant dissolution of understanding, one has already entered into this everyday world of the familiar sounds themselves, and so the cycle of becoming is constantly dissolving into the same.

Dr Malcolm Riddoch’s sonic arts practice melds experimental electroacoustic techniques and phenomenological method in an investigation of acousmatic listening and the electronic transformation of soundscapes; notions of indeterminacy in composition for installation and performance; the use of whole acoustic spaces in sound art installation and music performance; and electroacoustic feedback as an embodied, intentional, temporalizing process. His medium is non-tonal, timbrally focused and technologically organised sound, where thematic dissolution is his sonic theme.

You might come out of the water every time singing – by Kaffe Matthews

The Auricle Sonic Arts Gallery
Showing: 7-30 April, 2016
Opening: Thursday 7th April, 6-8pm
Facebook event

‘Sharks are older than dinosaurs. They’ve evolved with the planet developing extraordinary perceptive mechanisms learning to navigate in straight lines at depths as great as 400m by tracing the shifts in the earth’s magnetic crust. They are still considered just to be extremely aggressive and are slaughtered in vast numbers for their fins to make soup. A shark in fact has to be one of the most sophisticated of earth’s animals.’ KM 2009

Developed after Matthews month’s residency on the Galapagos Islands (2009) in which she dived with, recorded underwater and filmed hammerheads, the piece uses the traces of six sharks to play six digital oscillators live, variably mixed with processings and underwater recordings making a music that thrills and relaxes as it spins audience through new architectures.

Sonic artist Kaffe Matthews was born in Essex, England and lives and works in London. Since 1990 she has made and performed new electro-acoustic music worldwide with a variety of things and places such as violin, theremin, wild salmon, Scottish weather, NASA scientists, bicycles, hammerhead sharks, school children, desert stretched wires and the BBC Scottish Symphony Orchestra.

Made by Kaffe Matthews in  collaboration with the shark (Sphryna Lewini) trackers Cesar Peñaherrera, Dr Alex Hearn, James Ketchum, Dr Peter Klimley,(UC Davis) and MigraMar,   and with Dr Adam Parkinson on software instrument coding. Matthews Galapagos residency was supported by the Charles Darwin Foundation, the Galapagos Conservation Trust , the Calouste Gulbenkian Foundation. Platform build courtesy Chris Reddington.

Forest Fire by M.E.Grimm

The Auricle Sonic Arts Gallery
Showing: 3rd-31st March, 2016
Opening: Thursday 3rd March, 6-8pm
Facebook event

FOREST FIRE simulates “the accident” by pulling real-time online weather data from ecologically volatile regions in California, US. High temperatures in conjunction with wind speed, coupled with low humidity, create conditions optimal for combustion. This work utilizes these parameters to synthesize the sound of a forest fire engulfing the listener in the situational dynamics of disaster when environmental conditions are ripe for nature to exploit. Sound is fully synthesized with computer software and fire predictions are heard in the form of hissing, crackling, creaking, flames and wind. Sound synthesis and visuals are realized using the visual programming language Pd (Puredata) and draw inspiration from the sound design work of Andy Farnell.

m.e.grimm has been experimenting with digital and analog sound, in various forms, since the mid 1990’s. An artist based in Ithaca, NY, Grimm teaches media arts and technology theory. More of his work can be found at


The Auricle Sonic Arts Gallery
Showing: 4th – 28th February, 2016
Opening: Thursday 4th February, 6-8pm
Facebook event

176 is a 2-hour tape piece for two pianists who don’t use their fingers, only playing with all other parts of their arms, very softly and with no sustain pedal. Featuring two usually dexterous performers, the strategy is an inbuilt subversion mechanism of their typical techniques, thus existing as a complete anomaly in their respective oeuvres. Two Steinway Ds were recorded at ABC Melbourne, close miked at high gain to exaggerate the tactility and fragility of performance. The Auricle installation is the world premiere of this work.

Chris Abrahams (B. 1961, Sydney) is best known as the pianist for the legendary Australian trio The Necks. He made a name for himself in Australia as part of Mark Simmonds’ Freeboppers in the 80s and as a close collaborator of Melanie Oxley’s in the 90s. Abrahams can currently be found in close playing partnerships with Australian composer Anthony Pateras, German percussionist Burkhard Beins, and Italian laptop composer/linguistic deconstructionist Alessandro Bosetti.

Anthony Pateras (B. 1979, Melbourne) is a composer, pianist and electro-acoustic musician. His work explores sound and its mutation through varying constellations of notation, improvisation, electronic and acoustic materials. Pateras’ compositions have been performed worldwide and he has toured his own bands since the late 1990s. Aside from recently releasing tētēma: geocidal with Mike Patton, he runs the Immediata label, which will be releasing a series of 15 investigative CDs with interviews and essays throughout 2016/17.

Recorded by Christopher Lawson, Iwaki Auditorium, ABC Southbank, Melbourne. 5.1  mix and master by Byron Scullin, Deluxe Mastering, Melbourne.

Error Message by Richard B Keys

The Auricle Sonic Arts Gallery
Showing: 7th – 30th January, 2016
Opening: Thursday 7th January, 6-8pm
Facebook event
An exploration of the materiality of the digital and the inaesthetics of spam, waste, and the digital banal.

The digital realm is an avant-garde to the extent that it is driven by perpetual innovation and perpetual destruction” Sean Cubitt, interviewed by Simon Mills, Framed.

Error Message is an installation work comprised of digital audio-visual elements that engage with the aesthetics and methodology of the glitch, aggregated with found sculptural elements comprised of e-waste. The work seeks to explore the underlying materiality of the digital, and the relations of production that constitute and sustain the aura of the digital. The generic desktop landscape wallpaper, given both its ubiquity and its implicit gesture towards a romanticised yet simulated environmental exterior, is employed as an aesthetic and conceptual departure point, as well as the original data-input for these explorations.

Richard Benjamin Keys is an artist, writer and electronic musician who is currently based in Lyttelton, New Zealand. Richard’s work explores the convergence of media technologies, spatiality, subjectivity and political-economy employing a critical materialist methodology that seeks to interrogate and explore what underlies given techno-sociological surfaces. He produces and performs electronic music as Voronoi, and runs the label/mix series VMR. He was the founder and curator of the New Zealand Sound Map (2012-2014), and is the co-editor of New Zealand’s only Sonic Arts journal Writing Around Sound. He has exhibited and performed his work throughout Australia and New Zealand.

Richard currently works as the Assistant Gallery Manager of the Auricle Sonic Arts Gallery in Christchurch New Zealand. He holds a Bachelor of Arts with Honours in Media Studies, and a Masters of Media Design, from Victoria University, Wellington, New Zealand.

Fate of Things to Come by Phil Dadson

The Auricle Sonic Arts Gallery
Showing: 3rd – 31st December, 2015
Opening: Thursday 3rd December, 6-8pm
Facebook event

Fate Of Things To Come (a conference of stones) 2013
Three channel synchronised video and sound installation. Duration 9’48”

No ordinary stones these, and what better community to discuss the fate of things to come – a collection of song/stone voices from diverse geophysical sources.

A stand-alone work symbolizing harmony and solidarity, Fate of Things to Come was originally devised as a contribution to Lines in the Ocean, an exhibition in support of the establishment of a fully protected ocean sanctuary around the Kermadecs, a unique region of mostly underwater volcanoes located north of Aotearoa/New Zealand between White Island and Tonga. Five years of negotiation have finally succeeded with NZ Government announcing approval this year of the Kermadec Sanctuary proposal.
Full ratification will occur in April 2016)

Camera by Bruce Foster
Sound recorded by John Kim
Devised, performed, edited by Phil Dadson 2013/14
Produced with the support of:
Pew Charitable Trust
CNZ Arts Council of New Zealand
Colab Creative Technologies/AUT University Auckland.

Exhibited: Silo Summer of Sculpture, Auckland. 2013. ‘Lines in the Ocean’ exhibition, Museum of Contemporary Art, Santiago, Chile, 2013 & Tjibaou Cultural Centre, New Caledonia 2015.

Phil Dadson’s transdisciplinary practice includes digital video/audio and installation, performances and exhibitions, building experimental sonic objects, graphic scores, drawing, music composition and improvisations on invented instruments. Following membership of the foundation group for Scratch Orchestra (London, 1969, with Cornelius Cardew, Michael Parsons and others), Dadson returned to New Zealand to establish Scratch Orchestra (NZ), and later From Scratch (1974 – 2004), remembered as New Zealand’s most original rhythm/performance group, known internationally for its funky rhythms and compelling performances on original instruments. Appointed to the Elam School of Fine Arts Sculpture department in 1977, Dadson was made Head of Intermedia/Time-based arts in 1986; a position he held and was influential in until 2001 when he left to focus on his personal practice. He has been the recipient of many key awards and commissions including a Fulbright Cultural Travel Award to the USA, an Arts Foundation Laureate Award in 2001, Antarctica Artist Fellowship in 2003, ONZM in 2005 and various International research residencies including a Wallace/Fulbright Headlands residency award for 2016. He lives in Auckland with his wife Camilla and loves nothing more than drifting off shore in a kayak. He is represented by Trish Clark Gallery, Auckland.

KL Soundscapes by Paul Timings

The Auricle Sonic Arts Gallery
Showing: 5th – 29th November, 2015
Opening: Thursday 5th November, 6-8pm
Facebook event

KL Soundscapes is an interactive algorithmic composition playing sounds in rhythmic patterns, at volumes and speeds determined by you the gallery participant. The rhythmic patterns are integer-based transcriptions of modern musical notations of the folk idiom – in this instance the notation of a traditional Malaysian percussion ensemble. The sounds are composed from selected field recordings gathered during Timings’ artist residency in Malaysia during July – September 2015, along with mathematically produced generative synthesis. The combined effect of the synthesis produces a harmonic structure of detuned whole tone scales.

The artist would like to invite you to take the time to explore the rhythmic patterns, field recordings and synthesis firstly as an artist’s descriptive experience; and secondly as several signs comprising a system, and their relative meanings in the context of a temporal framework where modality focuses on the digital vernacular.

Paul Timings is a sound artist who performs experimental music; composes field recordings and electroacoustic recordings; and organises sound. KL Soundscapes is a result of an international artist residency awarded by the Asia New Zealand Foundation, and was primarily organised when Timings was located in Kuala Lumpur, Malaysia for a three month period.

The composition’s interface was designed by sound artist Nicolas Woollaston.