(Re)verb: responses to Decomp

Sarah Kelly's performative response to Stephen Collis and Jordan Scott's Decomp: 'Enamel Sand.'

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In a reversal of authorship, human expression is now relinquished back to the environment that inspired it. Listen for an emerging rhythm as patterns of decay decompose individual identities back in to a collective act of Being.

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[Part of the (Re)verb Project.]

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Students from the Albert College of Art and Design – Derek Beaulieu's ENGLISH 315 class – spent a semester studying 21st-Century Canadian Poetry. As their final assignment, they responded to Jordan Scott and Stephen Collis's book, Decomp, via sound art. Students were responsible for creating pieces of sound art that responded to Decomp's text, photography or concepts.

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Jared Last's response to Stephen Collis and Jordan Scott's Decomp: 'Teardrop Vessel.'

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Mia Riley's response to Stephen Collis and Jordan Scott's Decomp: 'Decoy Modes.'

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Mishel Barabas's response to Stephen Collis and Jordan Scott's Decomp: 'Feel It.'

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I have taken a song that I recorded over a year ago and reproduced it. I wanted to see how time would change, if at all, my recording of my song entitled 'Feel it.' I have constructed / made a video of clips from over the past year to reflect the idea and feelings behind the song. One's view on their past work can change over time or it can remain the same, For me this song now evokes a feeling of liberation and nostalgia.

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Michelle Gunst's response to Stephen Collis and Jordan Scott's Decomp: 'Fragments.'

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'Fragments' shows a less organic breakdown of language. Words are taken from the book Decomp and are broken down, exploring ways in which computers can also decompose sounds and language, showcasing the contrast between the natural world and the digital world.

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[Part of the (Re)verb Project.]

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Shannon Leardo's response to Stephen Collis and Jordan Scott's Decomp: 'Life in a Mud Hole.'

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The track that I have created is a simulation of the auditory effects created in my studio daily through the interaction of hands, machine and earth. These effects are fabricated by means of reclaimed scraps slatting down parallel to the decomposition of the particles of organic matter within the clay creating a sloppy, earthy-smelling zone.

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[Part of the (Re)verb Project.]

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Yuan Yuan Ping's response to Stephen Collis and Jordan Scott's Decomp: 'Make Paper.'

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I gave voice to paper making. I find it very interesting to hear the process; hearing the sound makes it more natural.

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[Part of the (Re)verb Project.]

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Jesse Siegle's response to Stephen Collis and Jordan Scott's Decomp: 'Nulled Noises.'

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Through heavy manipulation of mundane sounds, the deconstruction of the everyday can then be recuperated into something new.

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[Part of the (Re)verb Project.]

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Chris Jones's response to Stephen Collis and Jordan Scott's Decomp: 'Reverb.'

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'Reverb' echoes the concept of Decomp, sampling excerpts from Charles Darwin's Origin of Species read over top one another, the resulting audio forms an abstract poem of jumbled English and audible words salvaged from the chaos and decomposition of sound and spoken word.

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[Part of the (Re)verb Project.]

• decomp
• reverb