While the scientific element of the performance was not entirely serious and certainly not rigorous or thorough by scientific terms, it seems important to conclude the work by providing a breif outline and analysis of the results.

Throughout the twenty four hours of Mill24 I collected or created the following ‘data’:

  • Seven audio recordings of various experiments, improvised compositions and field recordings;
  • Seven images of my workspace;
  • Twelve pages of sketches, notes and transcripts;
  • Fourty-one photographs of process, other artists’ performances and work and locations within the building;
  • One working model of an induction coil for audio use.


The audio recordings show some kind of change over time, begining with a basic feild recording and ending with a semi-chaotic combination.  Click here for a list of the posts of recordings in reverse chronological order.

he images of my workspace show it becoming more disordered and chaotic over time from the ‘absolute zero’ state at the begining of the event to the final condition for the fonal recording. This loosely fits with the definition of entropy. Click here to see the workspace images in reverse chronological order.

Laws of Thermodynamics

Throughout the twenty-four hours I actively sought out influence from other artists’ work and performances and through discussion with them; I sought to absorb their creative energy or  ideas into my own practice or otherwise let it inspire or influence my work.

Notable sources of influence were: Gary Fisher’s field recordings around the site; Lucky PDF’s analogue transmissions; Action Cover Party’s performances, specifically a version of Steve Reich’s Pendulum Music;  Matt Jackson’s interactive sound installation; Debbie Sharp’s use of baloons in an installation; discussion with Emily Phillips about Joseph Cornell; and many other interactions, discussions and meetings too numerous to mention.