antilogy is tony kemplen's label for his sonic art releases

Tony Kemplen is an artist working across a range of media. He graduated with a BA in Fine Art in 1995, and an MA in 2000. Since 1996 he has increasingly incorporated sound in his work, as has had commissions from galleries including the Ikon in Birmingham and Site in Sheffield, and has made several large-scale sound installations. More information can be found on his website, but this page carries some information about work in which sound has been an important component.
‘Snap, Crackle and Pop’ is a new installation by Tony Kemplen Snap crackle and pop  mp3 excerpt - 90secs - 614K
‘Snap, Crackle and Pop’ is a new installation by Tony Kemplen that has been commissioned by BlocProjects and funded by the Arts Council of England. This will coincide with a number of city-wide, sound-based art projects across Sheffield in Spring 2004. The work fills the entire project space at Bloc, enveloping the visitor to give them a visual, acoustic and sensual experience. Bubble wrap (cellular air cushioning) is favoured the world over as a low-tech aid to stress relief. A range of noises, gently coaxed out of the product, form the seeds of this sound installation. The 8 channel soundscape consists entirely of processed samples of noises made by popping and squeezing bubble wrap. The sounds vary from barely perceptible rustles, to loud rumbles and pops, and are delivered via speakers distributed in the space, such that the exact sonic mix varies from place to place.
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dawn chorus, a sound installation in the winter gardens, sheffield Dawn Chorus  mp3 excerpt - 30secs - 71K
Dawn Chorus is a sound piece in which urban noises are transformed into birdsong. The artist takes field recordings of urban sounds, such as traffic and building sites,and uses them as the input for music recognition software, using the midi bird tweet setting.The sounds emanate from small boxes, which intermittently play ten second bursts of 'birdsong'.The nesting boxes hint at attempts to reintroduce something lost, while the sounds,sanitised sound bites of noise pollution, are appropriately enough experienced within the quasi natural environment of an ersatz jungle. Dawn Chorus was commissioned for the Winter Gardens, Sheffield.
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radio 101 - two soundpieces based on the 1937 Hindenberg disaster Radio 101
Two soundpieces based on the 1937 Hindenberg disaster, made for Radio 101 project curated by Zoe Irvine.
Track 1 - Floating Palace 6m 30s  
mp3 excerpt - 30secs - 212K
This piece uses as its starting point the famous recording of Herb Morrison describing the crash of the Hindenberg on May 6th, 1937 in Lakehurst, New Jersey. Morrison’s commentary was played into a music recognition program, and turned into a midi file, which was then rendered using a number of standard midi patches. The sounds were then assembled to form the finished composition, which, while using instrument patches appropriate to a dance band, has much more of the feel of a requiem about it.

Track 2 – Dive 6 minutes
Researching the R101 crash, I found a series of diagrams showing the angle and altitude of the airship during its final descent on Beauvais. These were used as the image source in ‘Coagula’ a picture to sound program, and the resulting output was mixed down to a gradually evolving soundscape, the dominant pitch of the sound getting progressively lower as the airship plummets.

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polyglot Polyglot  mp3 excerpt - 45secs - 354K
Polyglot was commissioned by the Ikon Gallery (Birmingham, UK) for the show Babel – contemporary art and the journeys of communication. The piece is concerned with artificial or constructed languages which have been invented over many centuries in attempts to allow communication between speakers in different tongues. Despite much effort, by many individuals and groups, it is reasonable to say that there is still no universal language with which we can all communicate. Polyglot graphically demonstrates these repeated failures, by way of a classroom of animatronic toy parrots. Authoritarian looking tannoy speakers shout out the names of several invented language, Esperanto, Interlingua, Ido, Volapuk, and the parrots repeat them back amongst themselves, the speech becoming ever more distorted until it ends in a meaningless babble. The whole cycle is then repeated with another language, in much the same way as humans have continued to come up with fresh ways to aid communication, which despite the high intentions seem doomed to failure.
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about time, a sound installation by tony kemplen About Time  mp3 excerpt - 30secs - 137K
The installation consists of a large (7 metre) LED type digit on the floor of the gallery. The seven segments of the digit are acoustic rather than visual indicators, and produce a variety of time related sounds which are switched to coincide with the counting of this giant number. The familiar seven segment digit is thus experienced as an auditory phenomenon instead of a visual one. A large red digit on the gallery wall gives a visual read out of the current acoustic configuration, there are ten different combinations of the seven different sounds. The mp3 recording is an excerpt covering the change over from number 7 (three different sounds) to number 8 (all seven sounds).
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Time and motion study, a site-specific sound installation in an empty factory Time and Motion Study  mp3 excerpt - 60secs - 298K
Time and motion study was a partly site-specific sound installation in an empty factory. Visiting the recently abandoned building prior to starting work on the piece, I was immediately reminded of a summer job I had in a light engineering factory some 20 years ago. The oily smells, the pitted floors, the handwritten notices and graffiti, but most of all the distortion in the perception of time brought on by the boredom of repetitive actions; clock watching became the order of the day. Here digital techniques applied to the ticks of various clocks have yielded fragments of a language of sorts - tuts, groans, and percussions - in the mechanical measurement of time. These sounds are delivered back into the space from which they might have come, by means of a dozen probe-like speakers placed around the floor on the traces or marks left after the heavy machinery had been removed; the wires to the speakers describing shapes in the space on their way down from a central distribution point high up on the ceiling. Some of the sounds are eerily like those of a still working factory, while the more extensively stretched ticks suggest the wailing and groaning of spectres haunting the space. Delivered randomly, over multiple channels, the soundscape never repeats itself, the spatial localisation of the sounds means that the experience changes as the viewer moves around, and when the drop hammer from the working cutlery factory next door is in action, a thirteenth channel joins in.
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No Overall Control, a sound installation in a disused nightclub No Overall Control  mp3 excerpt - 60secs - 243K
The piece consists of 12 record players or music centres, wired together in such a way that each one is controlled by 2 other decks, leading to a chaotic system in which cascades of switching combinations work their way through the system. The result is the switching on and off of the record players in an unpredictable way, where patterns of behaviour emerge and recede. There appears to be no overall control. What is heard is a combination of the noise of the switches clicking on and off, the amplified mains clicks and the needles rubbing along on the empty turntables. The work was installed in a disused nightclub, where the decks stood on their speakers on the floor, like lonely dancers trying desperately to communicate with each other.
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bow-wow, pooh-pooh, ding-dong, a large scale sound installation bow-wow, pooh-pooh, ding-dong  mp3 excerpt - 45secs - 310K
“bow-wow, pooh-pooh, ding-dong” (the title comes from shorthand names for five basic theories of the origin of human language, the other two being “la-la” and “yo-he-ho”) is a large installation through which the audience can walk at will. The viewer enters a large , rather featureless space measuring about 15 by 18 metres and 5 metres high. The walls are white and the floor is polished wood. The first part of the room is empty, but the rest is occupied by 25 tall, thin, white, square columns arranged in a grid. Each column is 2 metres tall and 30cm square, about 30 cm from the top, the front face has a small loudspeaker mounted flush with the surface. They are all emitting noises intermittently, the sounds being repeated at intervals ranging from 20secs to 6 minutes. Individually the noises are not loud, so moving around in the room allows a different combination of sounds to be heard. The columns are lit by a single flood light mounted on the ceiling at the front of the room, the first row is quite brightly lit, but the space becomes dimmer and more shadowy as you move deeper in. The sounds themselves are edited fragments of computer speech, a variety of accents and voice characteristics can be picked out, but no understandable language or words emerge. Wandering through the room one gains the impression that some kind of communication is being attempted, though no meaningful sense can be made of the combinations of primitive phonemes.
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