This work is based on ideas of post truth and denial, and the years of misinformation that has surrounded our contemporary political circus, and the evolution of communication strategies since the digital revolution. Equally it is about the power of the collective voice to be heard and make active reinterpretations, interventions and organically grow into a space through sound. Politicians, the institutional media machine and the general public supported by social media platforms are constantly making confident statements, opining and holding rigidly onto polarised positions. Their messages construct and maintain behaviours, no matter how damaging, hence the constant destruction (in its many forms) supported by corporate business. The statements made both formal and informal are at once vilifying, admonishing, vehemently either agreeing with or barracking against one another. They speak of humanity's weaknesses and strengths, they speak of a vast complexity being caged into binaries. The efficacy of the debates which are being held in this megalomaniacal morass of information are questionable, and indeed it may be argued that the proliferation of communication channels has harmed, not improved the quality of discourse.

These are not new arguments, but their new contextualisation is furether worth thinking about and reassessing in present times. Blurring the boundaries and definitions of moral, political and social norms, as we move through time and space is what is at stake here, and in this work I aim to instantiate this confusion through cluttered and untrustworthy mediations of the audiences own voice, and simultaneously give it, the spaces it enters into and the medium which produces it, agency. We listen back to ourselves and the experience changes us, we record ourselves and repeat ourselves and this changes us. It re-purposes our identity, places our character at odds with itself over time, produces ruptures, conflicts and resolutions.

As the audience enters the space they were invited to record a statement of their choice on a tape loop provided. I made a series of tape loops with different statements recorded onto them: like 'these are not my words', 'this is not a lie', 'no, I’ve been perfectly clear', 'it doesn't mean that', and a series of statements gleaned form the politicains speeches. The audience would be invited to record over these statements with their own words and voices so producing an original work in a productive dialogue with each other, the space and the questions presented by the work. They will then play their recorded statement on one the tape players available. This plays into idea that no one can actually hear themselves with specificity as there is too much information in the bandwidth, and translation from brain to speech is fallible. It also plays with the notions of interruption, the collective, productive dialogues, and the paradox of being provided with your own channel to say what you like, but no one actually listening, and how this communication changes with the passing of time. Equally there are questions here about the notion of recording, fragility, reinterpretation, representation, repetition, ontology and the fallibility of memory, and power relations played out across mediated space.

The work is an homage to Alvin Lucier's 'I am Sitting in A Room', as people would record their statements whilst all the other statements are playing therefore each message is impacting on the recording of the next in a material sense. The work also references John Cage’s 33 1/3 installation, where the audience become part of the creative process as they essentially make the work as they input into the system.

The installation was then used by the performance artist Ana Berkenhoff as the start of live sound work.

Installed at the ‘Infinite Wheel of Time’, group show curated by Candy Choi of the Yound Blood Initiative