Solid (Loud) Matter / 2
Solid (Loud) Matter
Magnesite Norway
A Giddiness Best Left Unsaid
Moon Piercer
Slow /Dark 
Tension Sets
Accord with Air: Tjentiste
S.I.T.E: Malevich
Volitional Bus
Seeking Structural Isolation
S.I.T.E: Ljubljana
S.I.T.E: Screaming in the Everyday

Hard Hat
Sound design

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“In the pre-scientific conception of the body of the late classical and medieval periods, the body is seen as both open to and in complex interchange with manifold external influences, agencies, and energies, natural, divine, and demonic.”

Steven Connor, Dumbstruck: A Cultural History of Ventriloquism.

S.I.T.E: Screaming in the Everyday, 2009.

S.I.T.E: Screaming in the Everyday, documents Normoyle’s first series of outdoor performances.

Captured using a single, stationary camera, the artist performas in locations around Melbourne, Australia, such as Swanston Street in the city’s CBD, back alleys of urban suburb Brunswick, Melbourne’s General Cemetery and Parliament House and, on top of a park hill.

These performances form brief spikes in their audible context. Their brevity is based in an intention to create a burst of messy, corporeal vocal noise at volume, seeking–for a short few minutes–to re-orientate listening toward the amplified voice and invoke questions in the prospective ‘audience’ about sound in their environment.

During this period, the artist considered these performances sonic incursions that broke the perceived sonic homogeny of the post-industrial city environments within which I performed.

S.I.T.E: Screaming in the Everyday, was submitted to fulfil the requirements of the artist’s Honours thesis, at RMIT.

Exhibition history: Dogodek: The Event, 29th Biennial of Graphic Art, Slovenia.