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"Behind every work of art lies an uncommitted crime." - Theodor Adorno

Documentation of 'The Museum Goes Live' (the last iteration of The Rosenberg Museum) which is packed with a plethora of uncommitted crimes.

In 'exhibition mode', the museum shows off its rare artefacts and installations.

In 'live mode', documentation of the performances proved very demanding as the surround action of random lighting and sound was a cameraperson's nightmare. However, this gives you some idea.

More reliable was the public favourite of hearing the sonic results of wealthy Wall Street criminals now in counterpoint with the poor losing the last of their money in a well-known Las Vegas casino (all tuned to the people's key of C.)

Youtube is more than a little prudish, so video of the amplified coffin as played by Tess de Quincey is only available on this web page.

Audio recordings and interviews from The Rosenberg Museum will be appearing on Stephen Adam's New Waves Podcast in the next months


BBC Obituary

ALESSANDO ACHILLI’s radio tribiute (with some interview fragments) scroll down to "29/9/13".

MATTHEW WATKINS radio tribute, with a great deal of interview material (interviewer: Val Wilmer)


I've been working on a series of radio programmes/lectures for the museum of modern art in Barcelona, Nos 1 - 4 of which are now complete and no.1 along with a 30 minute auxiliary programme with more musical examples (and no talk) is online here:


You can download them as podcasts, and the texts, credits and playlists as .pdf files.

This sixth programme continues to explore probes into pitch through the preparation and modification of conventional instruments – looking at the many tapings, wrappings, clampings, clippings, attachments and impairments applied across the family of strings, before moving on to the less familiar territory of prepared winds. Some people get up to some pretty strange behaviour in the pursuit of unusual sounds.

Much interesting music

Here’s the series blurb:

In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of Art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of ‘music’. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do.