Dr Aura Satz

Aura’s work encompasses film, sound, performance and sculpture. Her work centres on the trope of ventriloquism in order to conceptualise a distributed, expanded and shared notion of voice. Works are made in conversation and use dialogue as both method and subject matter.

Aura has made a body of work centred on various sound technologies in order to explore notation systems, code and encryption, and ways in which these might resist standardisation, generating new soundscapes, and in turn new forms of listening and attending to the other.

Aura is also interested in bringing to the fore key female figures that are largely excluded from the canon, engaging with women’s contributions to labour, technology and scientific knowledge. She has made projects on electronic music pioneer Daphne Oram, the Hollywood actress and inventor Hedy Lamarr, Technicolor film-colour consultant Natalie Kamus, and astronomers Henrietta Swan Leavitt and Maria Mitchell. Many of the projects are informed by the history of media and the unusual migration of one technology into another, and involve extensive research, consultation and collaboration. Satz has worked collaboratively with filmmaker Lis Rhodes, and with a wide range of composers, vocalists and musicians, including Laurie Spiegel, Pauline Oliveros, Maja Ratkje, Jennifer Walshe, Anton Lukoszevieze, Mikhail Karikis, Lydia Kavina, Dorit Chrysler, Aleks Kolkowski, Steven Severin and Scanner.

2015
Leverhulme Artist’s residency at the Institute of Sound and Vibration Research, the Department of Music, and the John Hansard Gallery, hosted at the University of Southampton

2014–15
Practitioner-in-residence at Chelsea college of Arts.

2009–10
Artist-in-Residence at the Ear Institute, UCL, London

2019
New commission for 'Dark Matter' exhibition at Science Gallery, London

2015
Arts Council England Award for the production of Between the Bullet and the Hole

‘Chromatic Aberration’, winner of Best Vanguard Film Competition in Lima Independiente International Film Festival 2015, Lima, Peru

2012
Shortlisted for the Jarman Award, Film London

Shortlisted for the Samsung New Media Art+ Prize, Suum projects

Arts Council England Award for the production of In and Out of Synch

2011
Arts Council England Award for the production of Universal Language: A Lost Manifesto

2009–10
Wellcome Trust Award for Sound Seam

‘Chromatic Aberration’ (2014) is a film that explores the early technologies of colour filmmaking in the 20th century. Featuring vibrant close-ups of eyes from fledgling archival experiments in colour film, Satz turns the cinematic lens in on itself: from the prosthetic recording eye of the camera, to an evocation of the abstract inner screen of one’s eyelids. The film is inspired by a scene in Powell and Pressberger’s 1946 film A Matter of Life and Death, where the transition from the reality of colour to the black and white of the afterworld is conveyed from the viewpoint of David Niven's eyelid, from inside the body, behind the eyes.

Created using footage from the George Eastman House archive in Rochester, New York, the installation evokes an imagined abstract colour world, a flickering eyelid trapped in a mechanical peephole. The eye shimmers between dreamy reverie, curiosity, terror, defiance and awe. The selection of archival footage is shot in such a way as to highlight its intrinsic colour distortion and misalignment, recalling the blurry effect of looking at a bright light followed by the image-burn on the retina, a series of after-colours under and onto the closed eyelid.

Commissioned by the Gallery, Tyneside Cinema (Newcastle) with the participation of George Eastman House (Rochester, New York).

‘Her Luminous Distance’ (2014) is a slide-based installation which uses a Blink Comparator, a device used by astronomers to detect small pattern differences between photographic plates by alternately switching between images, blinking back and forth between the two. The PROBLICOM (Projector Blink Comparator) was invented by amateur astronomer Ben Mayer, using two juxtaposed slide projectors and a rotating disc, alternately occulting the images at a stroboscopic pace. The accompanying binaural soundtrack is a pulsing rhythmic drone which plays on the perception of patterns.

Developed from research on the pioneering deaf astronomer Henrietta Swan Leavitt (1868–1921), the project attends to the lesser known women who contributed to important astronomical discoveries, in particular the women known as 'Human Computers' at Harvard, who were engaged in painstaking astronomical observation and classification. In her extensive studies of Variable Stars, Leavitt discovered the period-luminosity relation, which ultimately helped calibrate a method to determine the size of the universe. The blinking slide sequence includes images drawn from Leavitt's original annotated photographic plates of Variable stars, archival images from the Human Computers' workplace, and a series of over 20 images of craters on the moon named after women astronomers. The Leavitt Crater is on the far side of the moon, and is also in honour of deaf scientists. Commissioned by and exhibited at Baltic 39 and Baltic (Newcastle), and performed at Oberhausen Film Festival (Germany) and De Appel (Amsterdam).

The starting point for ‘Impulsive Synchronisation’ (2013) is a 'Secret Communication System' patented during World War II by Hollywood star Hedy Lamarr and American composer George Antheil. This invention of 'frequency hopping' was designed to protect radio-controlled torpedoes from enemy disruption by distributing the signal over many frequencies and synchronising the transmitter and receiver in rapidly changing patterns. The idea, which drew in part on Antheil's unsuccessful attempt to synchronise 16 pianolas in his 1924 avant-garde masterpiece 'Ballet Mecanique', suggested the use of 88 frequencies (the number of keys on a piano), and the use of perforated paper rolls to keep the frequency hops in sync with each other. This concept has since become the basis for today's spread-spectrum technology, widely used in wireless telephone and wi-fi technology.

In this film and sound installation, these technologies are referenced to explore visual, musical and data notation, as well as its encryption, synchronisation and decipherment. The work consists of a scrolling screen made from five specially commissioned pianola rolls from Antheil's 'Ballet Mecanique'. The screen is in constant motion so that the film creates a complex light play from the encoded musical score, as the perforated strips of paper interact and produce patterns on the surrounding walls. In addition, a light located behind the screen - a kind of imageless echo of the projection lamp – flashes in systematic intervals, flattening the film-screen and highlighting the materiality of the pianola paper. At times the conflicting light sources overlap and cancel each other out. The film projected onto the scrolling screen is a very short extract from 'Come Live with Me', starring Hedy Lamarr. In this romantic comedy – premiered in 1941, the year she submitted the patent for her invention – Lamarr uses the metaphor of the flashlight, like a firefly, to attract a mate. In the film, the torch footage signals in flashes according to Morse code. The soundscape is composed of vintage underwater recordings of submarines and torpedo explosions from the 1940s, punctuated by the siren sections from 'Ballet Mecanique'. Commissioned by the Hayward Project Space, London.

‘Doorway for Natalie Kalmus’ (2013) is a film centred around the use of colour in moving image technology, exploring the disorienting technicolour prismatic effects of the lamp house of a 35mm colour film printer. Through minute shifts across an abstract colour spectrum, punctuated by a mechanical soundtrack, the film evokes kaleidoscopic perceptual after-images (bringing to mind Paul Sharits, Dario Argento and the Wizard of Oz). Natalie Kalmus was the ex-wife of technicolour inventor Herbert Kalmus, and was the colour consultant for hundreds of colour films, including The Wizard of Oz, Gone with the Wind, the Red Shoes, Black Narcissus and many more. She would draw up colour scores for each film, like music scores, according to her theories of "Colour Consciousness". She also authored a short article entitled "Doorway onto another world", in which she described her sister’s deathbed experience of seeing deceased family members.

‘In and Out of Synch’ (2012) is a filmic performance which centres around the optical printing of soundtracks, committing to 16mm film a technology on the verge of extinction, entombing and encrypting its own language onto itself. Shot at the post-production facilities of Pinewood studios, London, the close-up sequences feature abstract patterns of sound encoded as light, printed onto the soundtrack area of the filmstrip. The film features the quivering light of a 16mm mono and a 35mm stereo optical sound camera, providing a seismic glimpse at a sound-wave in formation, on occasions flashing like a stroboscopic Rorschach inkblot.

Both mesmerising and assaulting the senses, the visually hypnotic patterns are disrupted by the voiceover, scripted in dialogue with the artist and filmmaker Lis Rhodes. The two voices alternate and coincide, interrogating the sound-image synchronicity and correlation with poetic expressions. The film is accompanied by a live musical performance which animates a Ruben’s tube, a device which similarly modulates light in response to sound, creating spectacular waves of flames. In parallel to the film’s exploration of sound encoded as light, the event features sound encoded as fire; a more primal, dramatic, and almost pre-cinematic counterpart of the same principle of sound as light. Funded by Arts Council England, Tate and private donations.

‘Oramics: Atlantis Anew’ (2011) is conceived of as an artist's film in homage to Daphne Oram, the pioneer of British Electronic Music and co-founder of the BBC Radiophonic workshop in 1958, the film features a close-up encounter with her unique invention, the Oramics Machine, housed at the Science Museum in London.

Oram used drawn sound principles to compose 'handwrought' electronic music, and yet the visual nature of her work remains largely unseen and unsung. The film brings this obsolete technological fantasy briefly to back to life, enabling the visualisation of the drawn sound material, re-interpreting and translating it into new filmic sequences. The soundtrack features electronic music composed by Oram, interlaced with her voicover reading excerpts from a first draft of her book "An Individual Note of Music, Sound and Electronics" (1971).

The film was co-commissioned by The Science Museum, The London Consortium, and Sound and Music. It is included in The Science Museum's exhibition 'Oramics to Electronica'  29 Jul 2011 - 01 Dec 2014

'Sound Seam' (2010) is a film which gives voice to the idea that every surface, in particular parts of our anatomy, is potentially inscribed with an unheard sound or echoes of voices from the past. It draws on Rainer Maria Rilke’s text 'Primal Sound', where he reflects on the possibility of playing the coronal suture of a skull with a phonograph needle.

During 2009/10 Aura was artist-in-residence at UCL's Ear Institute, where she undertook research into hearing anatomy and shot most of the microscopic footage, used scanning electron microscopy, and sounds of otoacoustic emissions to uncover haunting aural bonescapes. Funded by the Wellcome Trust.

‘Universal language: A Lost Manifesto’ is a short 16mm film which looks at universal language and its various manifestations through abstract film, optical sound on film, phonetics, short-hand, ways of writing sound, and drawn sound animation. The film draws on two mysteriously missing utopian endeavours: the lost film by Moholy-Nagy, Sound ABC (1932), and his attempt to create a grapho-phonetic writing, an opto-acoustic alphabet, as well as the lost manifesto document of Hans Richter and Viking Eggeling, 'Universal Language' (1920). The performance at the Barbican involved a live voice over which converts sound to light signals, as well as a filmic kinetic sculpture in homage to Moholy Nagy’s ‘Light-space-modulator’. Funded by Arts Council England.

Selected Solo Exhibitions and Performances

2016

Her Marks, a Measure, solo show at Fridman Gallery, NY

Her Marks, a Measure, solo show at Dallas Contemporary, Texas

Eyelids Leaking Light, two-person show at Clifford Gallery, Colgate NY

2015

The Trembling Line, solo show at John Hansard gallery, Southampton

Eyelids Leaking Light, solo show George Eastman House, Rochester New York

Dial Tone Drone, New sound Commission for Telephone, outside  Royal Academy London

2014

Chromatic Aberration, solo show at the Gallery, Tyneside Cinema, Newcastle

Colour Opponent Process, Solo show at Gallery 44, Toronto, as part of the Images Festival

Blink Comparator: Her Luminous Distance, performance at the 60th International Short Film Festival Oberhausen (1 to 6 May, 2014), part of the themed programme, 'Memories Can't Wait - Film without Film', curated by Mika Taanila

Blink Comparator: Her Luminous Distance performance at De Appel, Amsterdam

2013

Soundfigures, solo show at BLAAK10 gallery, Rotterdam, as part of the 42nd edition of the International Film Festival Rotterdam, curated by Edwin Carrels

Impulsive Synchronisation, Solo film installation and sound piece for Hayward Project Space, London

Drone Rorschach, performance at Turner Contemporary, Margate, as part of the Hayward touring exhibition Curiosity, curated by Brian Dillon

In and out of Synch, film scripted and voiced in dialogue with Lis Rhodes, performance screening, with live vocals by Maja Ratkje, Kunstnernes Hus, ‘Only Connect’ festival, curated by Anne-Hilde Neset, Oslo

Head to Head: Aura Satz and Nicola Ellis, Castlefield Gallery, Manchester

Solo looped mini-retrospective screenings during the 51st New York Film Festival, Lincoln Centre, New York, as part of the ‘Views from the Avant-garde’ section, curated by Mark McElhatten

Colour Opponent Process, Solo show at Paradise Row gallery, London

2012

Portrait of Daphne Oram & Aura Satz, screenings curated by Anne-Hilde Neset, SNYK (Copenhagen)

Drone Rorschach, Whitechapel Gallery, London, film performance as part of Jarman award.

In and out of Synch, performance screening, with live vocals by Mikhail Karikis and cello by Anton Lukoszevieze, Tate Tanks, Tate Modern, London

In and out of Synch, performance screening, with live cello by Anton Lukoszevieze, Arnolfini, Bristol

Sight of Sound commissioned performance, Deutsche Bank VIP lounge, Frieze Art Fair, NY

Ventriloqua performance with Dorit Chrysler on the theremin,  Cabinet, Brooklyn NY

Flights of Fancy, Tatton Park Biennale, new visual score and performance with Jane Chapman

Universal Language: A Lost Manifesto, Barbican cinema, screening performance

Supersonix event, looped screening of films, and curated screening of films selected by Aura Satz, Christie’s, South Kensington, London

Vocal Flame performance commission for Radar, with vocals by Jennifer Walshe, Loughborough University

Ventriloqua performance with Lydia Kavina on the theremin, BFI, Southbank, London, as part of the Samsung Art+ award

2011

Oramics: Atlantis Anew, Science Museum

Duet performance, Barbican Gallery, London

Sound Seam, Wellcome Collection, London

2010   

Onomatopoeic Alphabet, performance, VIVID, Birmingham

I Am Anagram performance at the Barbican Gallery

Ventriloquist book performance, part of ‘Magic Show’, Hayward touring exhibition, Chapter Art Gallery, Cardiff

Turntable Tableau, film performance at ICA, Live Weekend, etc., London

Sound Seam, with the collaboration of Aleks Kolkowski, at Great North Museum, Hancock, Newcastle as part of the AV festival

2009   

Automatic Ensemble performance, at the Church of St Leonhard (Leonhardskirche), Basel & Museum of Music Automatons, Seewen

2008   

Glissolalia, Soundtrap III commission, installation and live event, Beaconsfield Gallery, London

Automamusic, Artprojx Space, London

Selected Group Exhibitions and Screenings

2018

Machines of Loving Grace, three-person exhibition at High Line Art, New York

Screening at International Film Festival Rotterdam, Rotterdam

2017–18

Open Space 2017: Re-envisioning the Future, group exhibition at InterCommunication Centre, Tokyo

STARS: Cosmic Art from 1900 up to the present, group exhibition at Lentos Museum, Linz

2017

As Above, So Below: Portals, Visions, Spirits & Mystics, group exhibition at IMMA, Dublin

The Wail that was Warning and the Institute of Signal and Noise, Aura Satz and David Toop performance, London Review Bookshop, London

Mini-retrospective screening and artist’s talk, HOME, Manchester

Screening at International Film Festival Rotterdam, Rotterdam

2016

‘The future is already here — it’s just not evenly distributed,’ The Sydney Biennale, curated by Stephanie Rosenthal, Carriageworks, Sydney

Between the Bullet and the Hole, mini-retrospective screening and artist’s talk, Whitechapel Gallery, London

Mini-retrospective screening and artist’s talk, Gertrude Gallery, Melbourne

Where there is Sea, there are Pirates / The Imagination is a Political Act, group exhibition at 3137 gallery, Athens

Screening as part of Deep Minimalism, Southbank Centre, London

Screening as part of the International Film Festival Rotterdam, Rotterdam

Screening at Flaherty NYC, Anthology Film Archives, New York

Shortlisted for the Lab Competition, Festival du Nouveau Cinema, Montreal

2015

Mirror City: London artists on fiction and reality, Hayward Gallery, London

They Used to Call it the Moon, Baltic Centre for Contemporary Arts, Gateshead

Screening as part of the 44th International Film Festival Rotterdam 

Screening at EMAF, European Media Art Festival, Osnabrueck 

Mini-retrospective screenings at DIM CINEMA, The Cinematheque, Vancouver

Screening as part of Vanguard Competition at Filmadrid, International Film Festival, Madrid

Winner of Best Vanguard Film Competition in Lima Independiente International Film Festival 2015, Lima 

Screening as part of Experimental Competition in 23rd Curtas Vila do Conde International Film Festival, Lisbon 

Screening as part of FNC Lab Competition at the 44th Festival du Nouveau Cinema, Montreal, Canada

Screening as part of the Fascinations Competition at the 19th Jihlava International Documentary Film Festival, Jihlava, Czech Republic 

Screening as part of the International Competition at the 17th International Film Festival Bratislava, Slovakia  

2014

Transform: Aura Satz and Lis Rhodes in conversation, screenings at Tate Britain, London

Post-script, group show and screenings as part of the 43nd edition of the International Film Festival Rotterdam

BOOSTER –Art Sound Machine, Marta Herford, Herford, Germany

Pre owned: Looks Good Man, Cell Project Space, London

Transcendence: A Suite, Three-person show at Gertrude Contemporary, Melbourne

RISK Cinema, Screenings alongside Jerome Hiler and John Smith, The Harn Museum, Florida

EUROPEAN SHORTS Competition, New Horizons International Film Festival, Wroclaw, Poland

Screening as part of All Connected, Ancienne Belgique (AB), Belgium

They Used to Call it the Moon, Baltic Centre for Contemporary Arts, Gateshead

Curiosity: Art and the Pleasures of Knowing, Hayward Touring exhibition in association with Cabinet Magazine, curated by Brian Dillon, Turner Contemporary (Margate), Norwich Castle Museum and Art Gallery, The Exchange and Newlyn Art Gallery (Cornwall), de Appel (Amsterdam)

Screenings as part of ‘Unconscious Archives’: Malcolm Le Grice, Aura Satz, Sally Golding, Gideon Vein, Guy Edmonds, Café Oto, London

2012   

Universal Language, screening performance as part of The Voice and the Lens, Ikon gallery, Birmingham

Jarman Award Tour screenings, Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects, Newcastle; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton

Sight of Sound exhibition, Deutsche Bank VIP lounge, Frieze Art Fair, NY

Soundworks, ICA, London

Psychosis part II, “I is someone else”, Färgfabriken - Centre for Contemporary Art and Architecture, Stockholm

Samsung Media Art+ Prize 2012, BFI, London 

Acoustic Mirrors, Zabludowicz Collection, London

Transmediale 2012, The Sound of the End of Music, Haus der Kulturen der Welt, Berlin

Flights of Fancy, Tatton Park Biennale, Cheshire 

2011   

In Search of Alchemic Times, 235 Brompton Road, London

‘Sound Seam’  screened by Artprojx Cinema at the SVA theatre, in association with the Armory show and Volta NY, New York

2010

Onomatopoeic Alphabet, film and sound sculpture commission, VIVID, Birmingham

Locate, Three person show, Jerwood Gallery, London

2009   

IV Jafre Bienal, Girona, Spain

Still-Film, Artprojx presents…, LOOP festival, Espai Liceu, Barcelona, Spain

Still-Film, Artprojx presents… Site Gallery, Sheffield

Automamusic screened at Basel Museumsnacht, Switzerland

2008   

Still-Film, Artprojx presents… Tate Britain, London

Publications

‘Aura Satz and Christoph Cox in conversation’, in The Moving Image Review & Art Journal (MIRAJ), issue 7:2 (2017)

‘Wild Sounds: Roundtable with Mary Helena Clarke, Sandra Kogut, Penny Lane, Aura Satz, Chris Stults and Genevieve Yue,’ in Discourse: Journal for Theoretical Studies in Media and Culture Volume 39, Issue 3, Documentary Audibilities (2017)

‘A conversation between Stephanie Rosenthal, Neha Choksi, Apichatpong Weerasethakul, Lee Mingwei and Aura Satz’, The Future is Already Here - It’s Just Not Evenly Distributed, Sydney Biennale exhibition catalogue (2016)

‘Lis Rhodes and Aura Satz: Seeing is Never Believing’, a conversation by Agnietszka Gratza, Mousse Magazine, February 2016

‘Aura Satz in conversation with Jussi Parikka’ in Cold War Legacies, edited by Ryan Bishop and John Beck, Technicities series, Edinburgh University Press (2016)

‘Out of Step: A Rhythm that Marches: Aura Satz in conversation with Thomas Gardner’ in Colloquium: Sound Art and Music, edited by Thomas Gardner and Salome Voegelin, Zero books (2016)

Refractions/Reflections, Black dog publishing, monograph on three artists on occasion of Gallery 44’s 35th anniversary, with commissioned essays by Esther Leslie, Genevieve Yue and Kate McKay (2015)

Films included in The New Contemporaries/LUX DVD publication, with roundtable transcription ‘Changing practices in a changing landscape: Artists working with the moving image and New Contemporaries’ (2014)

Gallery 44/Black dog publishing, forthcoming monograph on three artists on occasion of the gallery’s 35 anniversary (2015)

Images used for essay by Marina Warner, in:  Vivian Sky Rehberg (ed.), The Symbol Gives Rise to Thought: Writings on Art by Marina Warner Volume 1, Violette Editions (2015)

‘Aura Satz in conversation with Jussi Parikka’, in: Ryan Bishop and John Beck (ed.), Cold War Continuities, Technicities series, Edinburgh University Press (2015)

Thomas Gardner and Salome Voegelin (eds), Music - Sound Art: Historical Continuum and Mimetic Fissures, (2015)

Films included in The New Contemporaries/LUX DVD publication, with roundtable transcription ‘Changing practices in a changing landscape: Artists working with the moving image and New Contemporaries’ (2014)

‘Tableaux Vivants: Inside the Statue’, essay excerpted in: Antony Hudek (ed.), The Object, Documents of Contemporary Art series, Whitechapel Art Gallery, 2014

INFRA publication, based on artistic research project devised by curators Anna Gritz and Fatos Ustek (May 2014)

‘Touching Sound: An Interview with Jayne Parker by Aura Satz’, The International Journal of Screendance, special issue: ‘After Deren’, Volume 3, Spring 2013 

‘On Creativity’ commissioned text and images for The Gallery of Senses, published by the BE OPEN cultural foundation, in collaboration with Interni Magazine, Mondadori

Interview with Alastair Cameron, Arnolfini curator, available here

‘Typewriter, Pianola, Slate, Phonograph: Recording Technologies and Automisation’, in: Sas Mays and Neil Matheson (eds), The Machine and the Ghost: Technology and Spiritualism in 19th to 21st Century Art and Culture, Manchester: Manchester University Press, 2013

‘The Inner Sleeve’, The Wire magazine, November 2012 

Commissioned blogpost on occasion of ‘In and Out of Synch’ premiere, Huffington Post

‘Shapes with the Sound of Their Own Making, The many resonances of the Chladni plate’, Cabinet, 24 Hours, issue 44, Winter 2011/12

‘Music of its own Accord', Leonardo Music Journal, issue 20, December 2010

'The Conviction of its Existence:' Silas Weir Mitchell, Phantom Limbs and Phantom Bodies in Neurology and Spiritualism’, in: Laura Salisbury and Andrew Shail (eds), Neurology and Modernity: A Cultural History of Nervous Systems, 1800-1950, Basingstoke: Palgrave Macmillan, 2010

‘Inside the Statue’ in: Aura Satz and Jonathan Wood (eds), Articulate Objects: Voicing and Listening to Sculpture and Performance, Oxford, Bern, Berlin et al: Peter Lange publishers, 2009 

Aura Satz and Jonathan Wood (eds), Articulate Objects: Voicing and Listening to Sculpture and Performance, Oxford, Bern, Berlin et al: Peter Lange publishers, 2009

• Tutor in art schools across the UK at BA, MA and PhD level. This has included posts at the London Consortium (2005–13), University of Kent, Goldsmith’s College, University of London, Chelsea College of Art & Design, Camberwell College of Arts, Central Saint Martins College of Art & Design, the Slade School of Fine Art, London College of Communication, the Royal Academy of Arts, amongst others.
  
• She has also been invited to speak internationally and has coordinated workshops and tutorials for students on the MA in Media Design & Communication a the Piet Zwart Institute in Rotterdam (Netherlands), the MA course at the Bergen Academy of Art and Design (Norway), the Pratt Institute, School of Visual Arts, Gallatin School of Individualised Study at NYU, the New School (New York) and Monash University (Melbourne).
  
• 2014–15, Practitioner-in-residence at Chelsea college of Art & Design. She was also awarded a Leverhulme artist’s residency to make a film at the Institute of Sound and Vibration Research, the Department of Music, and the John Hansard Gallery, hosted at the University of Southampton.
  
• Between 2015–16 Collaboration with composer Tim Watts and historian Ulinka Rublack at Cambridge University centred on Kepler and the Witch, culminating in a film and opera.
  
• Currently on the advisory board of the artist run organization and film lab no.w.here.