A sound work produced by Audio Arts for the Hayward and Serpentine Galleries, <Sculpture Show>, Summer 1983.
Recordings that comprise this work were made in HM Prison, Brixton, South West London with contributions from Argentina, Italy, Northern Ireland, Sweden, Australia, Poland and USA. (NA)

A publication/work produced as part of an Audio Arts Exhibition at The Orchard Gallery, May 1984. The material on the record was derived from recordings made out on the streets of Londonderry and Brixton, London.
Tracks are as follows:
Clapham Greggan, Song From Two Gaps And A Pause, Love Song, Just Getting Through It, Ums and Ahs, T.V., BiIko/ History, Five Words Two Places, Side Issues, Saturday 0 Saturday, Wind Damage, What Else Did You Want To Know?, Monday To Friday. <An L. P. Record, the ubiquitous black vinyl disc was the medium chosen to engage in a dialogue between the inhabitants of two distinct locations, Clapham in London the home of Audio Arts and Derry the home of the Orchard Gallery. Interviews were recorded at random with passers by involving a series of set questions about every day life. The sounds, speech, rhythms of thought, the cadences of two realities were then edited together to form a collage of clues and triggers about location, culture and ideology., Declan McGonagle, catalogue for the British Art Show Australia 1985. (D)

Arris, ICA Public Works. Boxed C 60 cassette 12pp book with text by Gray Watson 1986. Recordings for this work were made in Piccadilly, London and explore the financial, social, and cultural characteristics of that area. <The initial idea of exploring the subjects of transience and trade came from the surrounding environment of Piccadilly. Tourists of all nationalities are constantly passing through the area, as are homeless young people, mainly from the provinces. In few other areas can the various transient populations be so predominant in relation to the local inhabitants. Connected with this, trade is an essential feature of local life, from luxury shopping to street prostitution.> Gray Watson.

Pieces include.. Sale And Exchange; 5 For 20/6 For 50; Sweet But Also Gingery; Bear Pit; What Are You Doing Taping?; Locality And Transience; History Painting; People, Face, History, Colour; What Do You See/What Do You Hear?; Ca1ifornia, Southern Part; Scale. (A)

Six Works for the Telephone (National Garden Festival) (C 20 cassette) 1986. Each telephone piece was derived from recordings made at monthly intervals, on site at the National Garden Festival, Stoke on Trent. The works, installed each month by British Telecom on the Stoke number 272121, Were conceived and realised specifically for listening to over the phone. A concern for place and location has been explored through recordings of the spoken Word. Our intention has been to use colloquilism, accent, local humour, intonation and emphasis to evoke and explore cultural identity, social attitudes and local preoccupation. In formulating questions to Garden Festival visitors, the particular industrial and social character as well as the history of the area was taken into account. Questions also included references to the role and function of gardens/ leisure spaces as weill as a consideration of the changing seasons between May and October. (B)

(Interim Art) (45 rpm single) 1987. Recorded on location in the East End of London at Interim Art, the railway arch, Beck Road and Broadway Market. The sounds of piano wire stretched across the gallery space at Interim Art and underneath the railway arch in Beck Road, provide a rhythmic structuring for words and sentences spoken by passers by in Broadway Market. Tracks: The Difference, Head Low. (C)

(Projects UK/Newcastle Media Workshops, LP record) 1987. The Record explores the <North/South divide>through humour, wit, irony, pleasure, confrontation, anger and obsession.
The material revolves around voice recordings gathered out on the streets in Newcastle Upon Tyne then orchestrated, and combined with various treatments and ambient sounds from the area. Tracks range from the austere and audially confrontational such as <Canny Place> and <Everything You Could Possibly Want> to the dance and disco rhythms of the weekend's celebratory release heard in <Uniform> and <Song for Edwina>. (D)

A 45 RPM record/artwork produced as part of an Audio Arts installation and performance at the Museum of Modern Art, Oxford in 1989. Through the genre of the Pop song, Vinny explores the relationships between successful hehaviours on the football field and elswhere within British society. The record feactures the cut up speech of Wimbledon football suporters and Diana Gerald, President of the Oxford Union. Side two features, <WorId Service>, from the series of works, <Placement & Recognition>. (B)