Owen Lloyd

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<channel>
	<title>Owen Lloyd</title>
	<link>https://owenlloyd.net</link>
	<description>Owen Lloyd</description>
	<pubDate>Tue, 11 Nov 2025 15:51:50 +0000</pubDate>
	<generator>https://owenlloyd.net</generator>
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	<item>
		<title>accidental</title>
				
		<link>http://owenlloyd.net/accidental</link>

		<comments></comments>

		<pubDate>Tue, 11 Nov 2025 15:51:50 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
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		<description>


Accidental Paradise
A second collaboration with&#38;nbsp;Young In Hong, Accidental Paradise is my answer to her question, “can you make me speak with the voice of a red crowned crane?”Using SP Tools (now Data Knot) in Max – a machine learning audio analysis tool kit – I created a collection of tiny crane sounds grouped together by their audio chracteristics. These sounds were then played by a system that analysed a recording of Young In speaking her text Durumi and I, and matched the sound of her voice to a corresponding snippet of crane recording in real time. The result was Young In’s text ‘spoken’ by a chorus of the birds. This was then set within a 4 channel surround audio environment made up of field recordings from the demilitarised zone between South and North Korea.The resulting audio work was commissioned by and first shown at&#38;nbsp;Art Sonje Center in Seoul from May - July 2025, Bangkok Art and Culture Centre as part of Undo Planet Part 1 (October to November 2025), The North/South Korean Demilitarised Zone as part of Undo DMZ (August to November 2025, more info here), and&#38;nbsp;Jeju Museum of Art as part of&#38;nbsp;Women on the Boundary, opening on 6 April 2026.Below is a short film of the Seoul install as well as a couple of photos, the first is from Seoul and the second from Bangkok. The Bankok photo is credited to BACC and the Seoul shot is by Young In. The final image is a representation of the corpus of crane sounds within an XY grid.


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		<excerpt>   Accidental Paradise A second collaboration with&#38;nbsp;Young In Hong, Accidental Paradise is my answer to her question, “can you make me speak with the voice...</excerpt>

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	<item>
		<title>seeds</title>
				
		<link>http://owenlloyd.net/seeds</link>

		<comments></comments>

		<pubDate>Thu, 14 Mar 2024 08:40:03 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

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		<description>


When Seeds Speak
When Seeds Speak is a collaborative project with artist Miranda Whall that explores creative potentials within a dataset derived from the metabolic fingerprint analysis of six black oat seeds. The project seeks to uncover the processes and history around farming the black oat, as well as visualise and sonify the data from the analysis.


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I developed an application, using the Max programming environment, to create a generative processes that run using the dataset gathered from the metabolic fingerprint analysis of the black oat seed. This uses the data to create music structures through synthesis techniques as well as timing control. Field recordings of processes within the lifecycle of the grain– sowing, harvesting, consumption – as well as sound generated by the analysis process itself are also used in the composition. 

The final result, then, is composition governed by the dataset, that uses as its instrumentation sound recordings from the life of the seed as well as synthesised sound generated by the data themselves.&#38;nbsp;
The work exists as an album, available on bandcamp below, and as an extended performance work. 

When Seeds Speak by Owen Lloyd
The first performance was at Chapter Arts Centre in Cardiff in September 2024. The work was performed by Miranda and myelf as well as Angharad Davies, Yumino Seki and Neil Luck. A recording and some images of the performance are below.

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Some early test compositions can be heard below and there are some images of the data, and the process of gathering it.


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</description>
		
		<excerpt>   When Seeds Speak When Seeds Speak is a collaborative project with artist Miranda Whall that explores creative potentials within a dataset derived from the...</excerpt>

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	<item>
		<title>wittaverse</title>
				
		<link>http://owenlloyd.net/wittaverse</link>

		<comments></comments>

		<pubDate>Tue, 18 Jul 2023 09:25:37 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

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		<description>
Wittaverse&#60;img width="4032" height="3024" width_o="4032" height_o="3024" src_o="https://cortex.persona.co/t/original/i/e4e97a6774abb6e90f78f71be5f34b3519f0121ce54c0da908276001fece3b24/IMG_0483.JPG" data-mid="1301943" border="0" /&#62;
I was very kindly invited to be a part of week long research residency, Wittaverse, at UWE Fine Art, Spike Island, in July 2023. Born of the research group WITTA, the week was spent exploring the written and spoken word in art and sound, as well as prototyping a model for running longer form exploratory group collaborative workshops.&#38;nbsp;

It was an intense week, spent with Lizzie Lloyd, Kit Poulson, Esther Hesketh, Lily Frances, Bryony Gillard and Harriet Bowman, alongside a bunch of committed current and ex students from the UWE Fine Art BA. Ending in a mini show of work produced over the week, one of the main conclusions was that it shouldn’t have ended with a show. This is a super valuable realisation which shifts the focus from outcome to process, allowing works to be conversational, ideas proposed, rather than conclusions.

Below is a series of images, videos, words and sounds from the week, featuring work from all the above as well as Lolly, Simone, Beth, Hannah and Mirabelle.

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</description>
		
		<excerpt> Wittaverse I was very kindly invited to be a part of week long research residency, Wittaverse, at UWE Fine Art, Spike Island, in July 2023. Born of the research...</excerpt>

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	<item>
		<title>a grounding</title>
				
		<link>http://owenlloyd.net/a-grounding</link>

		<comments></comments>

		<pubDate>Thu, 22 Jun 2023 15:38:44 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

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		<description>
A Grounding
Made in collaboration with Eleanor Duffin, A Grounding (2023) is a speculative immersion in narrative substrate and sound. Approached by Eleanor to extend her lovely spoken word piece, I worked mainly with field recordings and plundered dialogue, alongside a smattering of synthesis. 
In May 2023 we got the opportunity to present the work at the Od Arts festival in East Coker. Along with a live reading by Eleanor on the opening night, the audio work ran throughout the weekend. It was also presented at Fiction Machines at Bath Spa University in July 2023.

Below is the work to listen to and a video snippet of it in situ in East Coker as well as some images. The photo in the middle is by Katy Docking.


A Grounding by Owen Lloyd and Eleanor Duffin


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		<excerpt> A Grounding Made in collaboration with Eleanor Duffin, A Grounding (2023) is a speculative immersion in narrative substrate and sound. Approached by Eleanor to...</excerpt>

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	<item>
		<title>re:publica</title>
				
		<link>http://owenlloyd.net/re-publica</link>

		<comments></comments>

		<pubDate>Thu, 22 Jun 2023 15:38:25 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">444803</guid>

		<description>
re:publica
I’ve been working on audio branding for Berlin’s re:publica conference for about 6 years now. Alongside habitual collaborators Jutojo and Fertig Design, we’ve explored a number of different themes and approaches for each iteration of the conference. The first was about Love, then Pop, then tl:dr, then ‘any way the wind blows’ and most recently in 2023, Cash.&#38;nbsp;

After so many diverse briefs, I thought it best to bring them together here, as the iterative process over the years has been really instructive in terms of hitting new targets with invention and style, but also sort of hitting the same target every time, with quality and consistency. It has also just been lots of fun working with Toby, Norman, Julie and Johannes, lovely people the lot of them.

Below is the intro to the 2019 conference, tl:dr, and you can find more detailed case studies on the Fertig and Jutojo sites.

</description>
		
		<excerpt> re:publica I’ve been working on audio branding for Berlin’s re:publica conference for about 6 years now. Alongside habitual collaborators Jutojo and Fertig...</excerpt>

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	<item>
		<title>ring of animals</title>
				
		<link>http://owenlloyd.net/ring-of-animals</link>

		<comments></comments>

		<pubDate>Tue, 28 Mar 2023 16:26:41 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">440508</guid>

		<description>
Ring of Animals
I was asked by Young In Hong to collaborate on this work by developing a sound accompaniment for her installed work, Ring of Animals (2023). The sound was developed as a generative piece that interspersed sounds based in synthesis and field recording with long sections of silence. The onsets and decays of each sound were varied, with some sneaking up on the listener, and some starting much more abruptly and drifting off.

This is the first time I’ve worked alongside a static, non time-based, medium and I found it fascinating to see the change in the room when sounds arrived and left. There seemed to be a genuine conversation between my sound and Young In’s beautiful and enigmatic work. Below is a short extract from the 2023 show in Antwerp, filmed by Young In, and below that are images and another film by myself from the 2024 show at Spike Island gallery in Bristol.The Bristol iteration expanded the scope of Ring of Animals’ sound. The original version was relatively compact, so stereo was appropriate, whereas the Spike Island version spanned quite a bit of gallery space, which led to an 8 channel version. Not all speakers were active at once. The sound moved around the space in 4 stereo pairs, shifting the conversation between sculpture and sound to a new area in the gallery with each new section of audio.

A further, 6 channel, iteration was shown at CHAT in Hong Kong in 2024, there are photos and a short video at the bottom. All credits CHAT.

Ring of Animals: Young In Hong
Kunsthal Extra City, Antwerp
18 Feb - 21 May 2023
Video © Young In Hong
 

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</description>
		
		<excerpt> Ring of Animals I was asked by Young In Hong to collaborate on this work by developing a sound accompaniment for her installed work, Ring of Animals (2023). The...</excerpt>

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	<item>
		<title>hyper-empathy</title>
				
		<link>http://owenlloyd.net/hyper-empathy</link>

		<comments></comments>

		<pubDate>Fri, 20 Jan 2023 09:19:34 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

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		<description>
Hyper-Empathy Machines
A collaborative research project with Charlie Tweed, Hyper-Empathy Machines uses speculative fiction and sci-arts practice to propose methods of communion between human and non-human life.

A project in its early stages, we hosted a workshop in 2022 to flesh out initial ideas around empathy with fungi and bacteria. Along with our amazing participants – Merate Barakat, Lynne Boddy, Bryony Gillard, James Saunders, Jennet Thomas and Tom Williams – we spent the day learning about Mycology and Microbiology, and imagining ways of bridging perceptual divides between them and ourselves.

The project is now at the stage of a funding bid to flesh things out further, working towards a larger AHRC bid in the medium term.

&#60;img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/47f72c39516efc783e8e1577d928ad31634d274da6c8b9ca9688d30dad2a385d/DSCF4911.JPG" data-mid="1296747" border="0" /&#62;
&#60;img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/f2094f43bc362d88effac4dfe5a544a2f58aaa59d7d511b27dfefb65937d309f/DSCF4907.JPG" data-mid="1296750" border="0" /&#62;
&#60;img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/ecf8f91c549062a7b0a85d32d203f7d998da188dc5f00a99ff9727fb3045525a/DSCF4868.JPG" data-mid="1296749" border="0" /&#62;&#60;img width="4288" height="2848" width_o="4288" height_o="2848" src_o="https://cortex.persona.co/t/original/i/4d352d1cabb2c0a172ca17a4f549c2350eab0b5f0f58f3219c246e04d116ebe5/DSCF4892.JPG" data-mid="1296748" border="0" /&#62;
</description>
		
		<excerpt> Hyper-Empathy Machines A collaborative research project with Charlie Tweed, Hyper-Empathy Machines uses speculative fiction and sci-arts practice to propose...</excerpt>

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	<item>
		<title>leeching</title>
				
		<link>http://owenlloyd.net/leeching</link>

		<comments></comments>

		<pubDate>Thu, 24 Jun 2021 13:44:12 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">407919</guid>

		<description>
Leeching
This collaboration with writer&#38;nbsp;Lizzie Lloyd explored the parasitic opportunities available when hijacking a Zoom feed. Part of the On Edge symposium in October 2020, organised by Young In Hong, Leeching drew materials from the artworks and discussions of other practitioners, rendering them anew as improvised text and reconfigured sound.


Built in Max, Leeching firstly presented live text input – a live, improvised, response to the material and ideas presented in the symposium. It also took live audio from the Zoom meeting and granulated it. Each grain was then used to excite its own Karplus Strong synthesis engine, to greater or lesser effect depending on the speaker. The sound processing also took cues from the live typing. Whenever Lizzie used particular characters, they would generate changes in the granulator or the Karplus Strong resonators.

For me, this piece further explores my interest in a kind of parasitic composition. It could be called sonification, but the focus is not on an increased understanding of any extra-audio phenomenon. It is instead on the continuing question of how I can get other things – people, objects, situations, phenomena – to make my music for me.

For Lizzie it’s probably more like a bunch of annoying noises.</description>
		
		<excerpt> Leeching This collaboration with writer&#38;nbsp;Lizzie Lloyd explored the parasitic opportunities available when hijacking a Zoom feed. Part of the On Edge...</excerpt>

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	<item>
		<title>teaching</title>
				
		<link>http://owenlloyd.net/teaching</link>

		<comments></comments>

		<pubDate>Tue, 23 Oct 2018 20:26:26 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">294667</guid>

		<description>


Teaching

University of the West of EnglandSenior Lecturer in Creative Technology : focus on music composition and audio technologies.
Visiting Lecturer in Fine Art : focus on sound art contexts and practice.

Royal Welsh College of Music and Drama2012-onwards Lecturer in Composition : emphasising non-standard compositional methodologies with a focus on technology. In 2018 I was made a Research Fellow.&#38;nbsp;

Bath Spa UniversityVisiting Lecturer in Creative Music technology 
Presentation and Q&#38;amp;A : Building Materials PhD research

The Bartlett School of ArchitectureTalk and Q&#38;amp;A : Building Materials; storytelling with sonification

Ty Cerdd - Music Centre WalesCoDI Hack Day workshops. Building an interactive electronic instrument with Max and Arduino.

Welsh School of ArchitectureWorkshops : River Sonics, a sonic exploration of the River Taff. A&#38;nbsp;collaboration between composition and architecture students.

Oxford Brookes&#38;nbsp;Sonic Arts Research UnitPresentation and Q&#38;amp;A : Building Materials&#38;nbsp;PhD research

Cardiff Metropolitan UniversityTalk and Q&#38;amp;A : Sound design as a careerTalk and Q&#38;amp;A : Collaboration as inspiration

Exeter Phoenix
Talk and Q&#38;amp;A : Building Materials; storytelling with sonification

Future of Sound at GoldsmithsPresentation : Drop Spin Fade, an interactive 3Dsound and composition environment; part of the series of events organised by Martyn Ware

Royal College of ArtTalk : Ruckbau, a generative film


</description>
		
		<excerpt>   Teaching  University of the West of EnglandSenior Lecturer in Creative Technology : focus on music composition and audio technologies. Visiting Lecturer in...</excerpt>

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		<title>Old RTF</title>
				
		<link>http://owenlloyd.net/Old-RTF</link>

		<comments></comments>

		<pubDate>Tue, 23 Oct 2018 13:08:15 +0000</pubDate>

		<dc:creator>Owen Lloyd</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">294599</guid>

		<description>


Old RTF
&#60;img width="523" height="538" width_o="523" height_o="538" src_o="https://cortex.persona.co/t/original/i/12c34ad99f2f7787e14937576c02415e85b294d3c216af863e3fd218467bb1b5/rtf2.jpg" data-mid="562129" border="0" /&#62;
From 2002, the first iteration of my commercial website, Repeat-to-fade.net can be found here if you have an old flash plugin that works (not advised, get rid of it) otherwise it’s dead now (sobs). It contained an archive of pretty much everything I’ve done but more importantly, in this context, it was a pretty good illustration of how my web based ideas around sound developed after the MTV2 project. Being my own client meant that I could simply indulge my curiosity.

Working with the same developer who had programmed the MTV2 site, Thomas Poeser, I decided to make its model for internet sound the focal point of my own site.

&#60;img width="523" height="538" width_o="523" height_o="538" src_o="https://cortex.persona.co/t/original/i/7ec1c70533fbb08b56de9fb9b03fa3eea8ec1a22afef5539c742c0feeb84748e/rtf1.jpg" data-mid="562128" border="0" /&#62;
I knew I wanted sonification to be at the heart of the user experience so with Thomas’ help I designed the navigation around the sound. One of the reasons for the success of the MTV2 site was its engaging interface, its core simplicity was masked by a design that invited interaction. As the sound for repeat-to-fade was also to be built on user interaction, it was key that this interface should also be playful. But in addition the interface should enable a more detailed ruleset with which I could compose. File sizes were a restriction so I designed a sound engine based around multiple, asynchronously looping files, some were very short, creating longer single tones and textures when looped, others were much longer, crossfading in and out of each other to make a constantly shifting audio environment.

The sounds themselves were taken from pieces of music I had made, I wanted to hear how the site could be used to reconstruct these pieces, either deliberately, or inadvertently, as a by-product of finding information.

&#60;img width="523" height="538" width_o="523" height_o="538" src_o="https://cortex.persona.co/t/original/i/81a9b707bb0b4a5457c72c6cc9f55a9f369363e5a3ff65cb4b98ae7224b49e91/rtf3.jpg" data-mid="562130" border="0" /&#62;</description>
		
		<excerpt>   Old RTF  From 2002, the first iteration of my commercial website, Repeat-to-fade.net can be found here if you have an old flash plugin that works (not...</excerpt>

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