Count To Zero

Counting to Zero: Artist’s StatementMark Jones a.k.a. Counting to Zero is a sound artist currently residing in Hull, East Yorkshire.C2Z studied art in secondary school and even as early as then, wished to put sound ‘in the picture’.In 2000, C2Z decided to undertake a BA (hons) course in Phonic Art (sound art) and under the tutelage of George Saxon, Rob Gawthrop of Automated Noise Ensemble and the legendary Helmut Lemke, among others, C2Z developed his practice as experimental musician, performance artist and installation executor; in tandem with his theoretical work researching the origins of the creative impulse and human consciousness.C2Z has released numerous collections of recordings of compositions, improvisations and field recordings; executed numerous sound installations around the Yorkshire area of the North of England, as well as collaborating with various artists and acts to produce recordings and live performances.C2Z is currently writing short stories for an anthology of cyberpunk beat-prose entitled ‘Bandwidth’, recording improvised industrial pop with his act ‘Negative Brine’; writing industrial disco-pop compositions with the duo ‘Candungo Burro’ (est.d 1999); writing straightforward acid rock with an art sensibility in the more conventional ‘These Clocks Have Faces…’ trio; alongside composing, fine tuning and seeking funding for various installation and improvised performance pieces, release of previous anthologies of work and other collaborative projects such as remixes and recordings with the free-impro-collective ‘Monochrome Dwarf’, set up by C2Z in 2001 when the BA course in sound art ceased to exist at the University of Lincoln (then University of Humberside and Lincolnshire). ------------------------------------------------------------ --------------------------------Profile - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Counting to Zero began focusing on sonic art in 1997. Using analogue 4-tracks and tape manipulation, C2Z began by creating electro/psych/pop and intricate soundscapes in various genres, some of which yet to be named. In 2000, C2Z began studying sonic art in Hull, alongside such luminaries as Chris Gladwin , Espen Jensen, Kate Donovan and Bob Levine (the latter forming one half of Automated Noise Ensemble with then head of fine art, Rob Gawthrop) under the tutelage of said Gawthrop and Helmut Lemke; performing live and recording with these and other peers alongside personal practice which later included extensive mixing desk manipulation, use of found object/homemade instruments/household objects to create and inspire sound installations, both durational and otherwise; and a steady stream of improvisations, compositions, collaborations, numerous intricate soundscapes and sublime pop. C2Z is the founding member of several groups and organizations such as free impro collective Monochrome Dwarf, electrodisco drum & bass pop group Candungo Burro, the now defunct artpop performance and installation duo ‘Shmellowkettle and record label Monochrome Dwarf Records among other ongoing and newly incepted recording and performing groups. C2Z graduated with first class honours from the University of Lincoln in 2006 and in 2007 begins an MA at Sheffield Hallam University whilst seeking enough funding for the label to initiate a comprehensive sonic art specific web forum. C2Z also writes a bizarre combination of beat poetry and cyberpunk, makes physical, social and sonic sculptures, creates animations and short films and also works in photography and painting. 2001’s ‘Installed on this Machine’ comprised a series of short field recordings and sound works specifically created for the project (homemade/broken instruments, found object and ambient field recordings) all adding a similar synaesthetic ‘shade’ to the overall 'colour' of the project, whereby powered speakers were added to each computer workstation in the University of Lincoln library, the Hooper Building. CDRs of the aforementioned recordings were played back simultaneously and at random, until all CDRs had run their course, creating a vast green and golden garden of sound; showing that public spaces, particularly those usually considered to be ‘silent’ could form the backbone for beautiful works of the sublime; and that with the right discussion and delegation with those responsible for the building and facilities required, art can spring up in the least expected of places; and the results, as ever, transcend the boundaries of the mundane and the dimensional plane, beyond sight and sound to that place where dreams are made. This project was repeated in 2006 for the University of Lincoln Degree Show at both the Hooper Building again and the Helpzone in the Civic Quarter of the Leeds Metropolitan University; on both subsequent occasions, these permutations included further works in collaboration with Katie Young (BA (hons) Leeds Met) under the collaborative moniker of ‘Installed on This Edge’ II and III respectively. 2006’s ‘Breaking down a Groove’ has become as much an exercise in patience as anything else. The initial plan was to define boundaries and allow a selected group of sound artists to form abstractions around the freedom of the stark, minimal limitations of the theme – a single sonic device, playing permutations of the same sound for the duration of half an hour, to be paired up with a pre-chosen second artist, both of which being oblivious to the nature of the work of the ‘companion’; random factors once again. Each completed pair was lathed onto a single vinyl phonograph record, with the final mix of all ten selected artists to be burned to the last of six sides of vinyl. Unfortunately, when expecting the submissions of work from outside sources (other artists), it can be difficult to complete a planned work without all works being submitted at the same time. At the time of press, while there is one submission outstanding, though one remains hopeful for the future of this project, initially incepted as the third part of ‘Cosmos of Consciousness’, the first class awarded degree show project. ------------------------------------------------------------ ------------------------------------------------------------ -----------------------“As a sound artist, it is often difficult to discuss my work without first having to explain what sound art itself is. I have always been interested in the human condition and the origin of human consciousness and in tandem with my sonic practices, I intend to continue studies into the origins of human consciousness and collate such data – working from Palaeolithic cultures to shamanic trance and rituals and beyond – to seek peership with others wishing to expand and share their understanding of sound art and human consciousness, wherever the boundaries overlap or nay. Use of my relaxed and creative writing style and extensive research practices would allow my studies a far greater reach than the many dust covered tomes I collect and adore, allowing all walks of life affected by my work to see the true importance and value of the arts, from education to everyday life, in the socio-political and economic structure of the world we inhabit and strive to gain insight into.”

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