Edinburgh Napier University

  In this sound installation, the artist plays back stomach noises recorded before and after a meal, at 1/100th of their normal speed. Douglas Gordon discovered hidden performative meaning in his extreme slow-motion “24 Hour Psycho” (1993). Similarly, this decelerated work reveals primordial sonic gestures. Resembling the calls of animals, the rumble and howl of extreme weather or the hush and crash of the sea, these tones celebrate the natural power in all of us.

Recognising that power and wealth are functions of speed (Hauer, 2017) the work takes its thematic inspiration from breakthroughs in sustainability pioneered by the slow food movement (Tencati,and Zsolnai, 2012), and is an aesthetic rebuttal to the global inequalities of our dromological age.

These tones also contain the power to imagine. Their extreme retardation creates a rhythmic pulse, punctuated with silences. Cage (1959) recognised such interstices as opportunites for random external elements to permeate and enhance a work in an analogue, and as part, of the creative act.

In response to the dialogue between the artist’s empty and full stomach, the collective imagination that is unleashed by these interstices means we can all afford to dream: of abundance, and of an end to anxiety and want.

Cage, J. (1959) “Lecture on Nothing”. In: Cage, J. (2004) Silence: Lectures and Writings. London, Marion Boyars. Pp. 108-127.

Gordon, D. (1993) “24 Hour Psycho” [Video projection].

Hauer, T. (2017) “Speed, Wealth and Power”. Society. Vol. 54, pp. 150-155.

Tencati, A. and Zsolnai, L. (2012) “Collaborative Enterprise and Sustainability: The Case of Slow Food”. Journal of Business Ethics. Vol. 110, pp. 345-354.