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Drever's expansive practice represents a cathexis into: human utterance; the minutiae of everyday soundscapes; residual noise; the intersection of acoustic horizon and acoustic arena; the genealogy of phonographic atmos and SFX; (un)natural histories; the gap between documentary and the field; the built environment, prevailing ambiance and pedestrian deportment; intuitions of silence and noise; overhearings, mishearings and acoustic perturbations, etc. – such engagement naturally leads into creating work for specific sites such as the Tower of Winds (an eighteen century octagonal… read more

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