this work marks the second in a series of experiments exploring the nature of physical sound. that is to say, sound perceived physically and returned to a semi-aural format.

using a fine microphone with a calibrated amplifier, i have been listening to the sound that structures make when they perceive our daily contiunuum. this is a kind of surveillance: as if the walls have ears.

however, there is no paranoia here. the low rumble of cars on the street, toilets flushing, planes overhead, etc, shadow the movement people so that they are but pixels of hot sound, high-pitched and far away.

this documentation represents snapshots taken from the work as it was installed in The Performance Space in Sydney, Australia as part of Code Red, curated by Julianne Pierce.

a desk, in a hall like space, held a computer receiving the rumble from a microphone placed on the window of a next door room. the computer was connected in turn to the internet and encoded the feed as a three day broadcast over real audio. 'radio walltalk'. viewers were invited to listen either in their intimate home space or through a pair of ear phones placed on the table. a dead moth lay on the modem which flashed away, betraying it's machinations. the window faced out onto a satellite dish: part of a work by Marko Pelihan in which he was intercepting Inmartsat communications and inviting viewers to deal with the legal implications of the act of listening.

in this context, the psychic rumble is about listening to viewers listening to something naughty. broadcasting an interception of a broadcast. and the sound shakes you quite literally.