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OOR_Scintilla is the collaborative sound art practice of Louisa Love + Clive McLachlan Powell.
OOR_Scintilla work experimentally with sound, music, performance and sculptural production to explore the material poetics of sound, voice and place. They produce restive and environmentally-responsive audio works exploring hybrid and composite conditions.
Their process emphasises material directness alongside linguistic obscurity, working improvisationally with objects, environments, instruments, electronics, bodies and vocal performance with reference to ancient folk origins to highlight intimate, physical processes of sonic production/inhabitation and ‘give voice’ to overlooked qualities that resonate a specificity of place.
'OOR' is a sonorous acronym derived from the sound of resonating clay and what the artists have together defined as 'object oriented resonance', a haptic and sonic rather than theoretical process of enquiry into object-led ontologies.
OOR_Scintilla is a multifaceted collaboration: a 'band' and live art act, a friendship, a joint learning expedition through which to expand and channel practices, generate research, develop technical knowledge, experiment, share resources, explore and consider ourselves in relation to environments, self-organise, find alternative methods and sites for artistic presentation, and work collaboratively with others within and beyond the disciplines of sound.
Public outputs include broadcasts, performances and exhibitions at: Moonah Community Radio, Tasmania, AUS (programmed by Sisters Akousmatica, (2019); Radiophrenia, CCA, Glasgow (2019); Noisy Familiars and Settle Doon, Settlement Projects, Edinburgh (2019); CitricACID, Embassy Gallery, Edinburgh (2018).
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The Whiteadder Tapes / Heart of the Lammermuirs
unknown thirds | Radiophrenia 2020
A new radiophonic composition continuing OOR_Scintilla’s dialogue around materialities of intimacy, distance, ‘live’ and recorded dynamics. Ancient spiritual apotropaic markers found within churches and standing stones or ritualistic gestures of contact are taken as reference points for seeking out unknown ‘third’ presences within landscapes, weathers, voices and the making and playing of instruments.
The work incorporates a number of new sited and remotely realised performances recorded along waterways and forests in and beyond Edinburgh, as well as reworked/unheard material from OOR_Scintilla’s recent album project The Whiteadder Tapes situated in the Lammermuir Hills.
voice, crwth, harmonium, violin, hurdy gurdy, gongs, DIY aeolian harps and horns, field recordings, infra- and ultra-sonics, hydrophonics, electromagnetics
states found in weather | Edinburgh College of Art, 2019
states found in weather is a collaborative polyphonic performance installation synthesising live and recorded sound, music, voice, text, visuals, sculptural speaker objects and self-made acoustic instruments. Broken and breathy vocal systems roam amongst elemental sounds, humble folk inflections and slippery electronic interactions, to mark out a shifting gestural environment of resonant accumulations. Developed for the West Court at Edinburgh College of Art during the MFA Degree Show 2019.
OOR_Scintilla live-to-air radio performance at Radiophrenia 2019
Jumbled Airs #1 is a sound work synthesising wind, water, ecstatic pylons, breathy bodily systems, broken narrations, bowed objects and DIY aeolian harps into a transient song of confused communicative air currents. Inspired by the distanced intimacies of radio transmission, as well as its underlying potentials for disturbance/resistance, destabilized acts of breathing, speaking, addressing and sounding are combined with the physical resonance of objects and elements to point towards a reclaiming of the materialities of sonic exchange that is based in transient bodies, thoughts, gestures and places.
Noisy Familiars | OOR_Scintilla at Settlement Projects, March 2019
A sonic residency at Settlement Projects community interest store, Edinburgh, resulting in an exhibition of responsive sound, text, video and performance interactions.
Pre-recorded/composed works and live audio feeds were installed amongst the shop’s contents, subtly amplifying its day-to-day sounds and movements whilst also embedding new narrative connections to its objects and concealed histories.