Excerpts from Reality was written for a Crash Ensemble performance held in UCD, and draws on text from Reality Hunger, a text which is itself made from found text (hence the piece ties in to Stolen Music). In my piece, text drawn from the book is depicted on a video screen as clouds of particles arranged into the text which dissolve gradually and rearrange as music notation (which is algorithmically derived from the text). The video screen serves as a score for the performers, who are expected to interpret the overall visual and semiotic impression (notation, text, colours, movement) and use it as a source for improvisation. As the score is also improvised (by the composer, using an interface which allows selection of specific passages of text as well as control of various visual parameters and the algorithm used for translating into notation), a complex feedback loop between composer, performers and video arises: agency becomes distributed across the performers and composer in a way which is difficult to unravel. As such, it is an attempt to place the composer in the midst of performers as a fellow improviser.

Circum is an experiment in creating a silent, animated score: the visual element is supposed to be visible both to the performers and the audience and it acts as the entire "text" for the performers. For the musicians, the video inspires them to create sound, generating a feedback loop where their actions are affected both by the video and the sonic choices they have already made. For the audience, however, sound and sight unfold simultaneously. Circum is also my first attempt as an Irish artist to get into the world of James Joyce - probably the most important Irish artist? My transitions, which sit between pieces focused on specific episodes of Ulysses, transverse the entire text (backwards) in several ways, treating Bloomsday like Groundhog Day. The animated score is made of text transformed algorithmically into music notation, both displayed using particle systems