Even before this time of Covid, I was researching games and how I can bring the idea of game playing into my work.
But first: why games for me?
It started by my feeling increasingly that my day-to-day life is taken up with my accepting a task and then trying to reach the goal; some people’s definition of a game. I know there will be some sort of reward if I am able to complete it in the given time, but this completion is not a straight-forward certainty. The task is often simple: going to the shops, having a passport photo taken, catching a train. There are things thrown at you by others: either problems or nice distractions, which somehow have to be overcome, transforming what would otherwise be a simple mechanical exercise into something of interesting complexity.
So, of course, I think of RuPaul and his famous statement that “We’re all born naked and the rest is drag” which I think is the same thing as my saying everything is a game (his is more pithy though, no?). He came out of the Ball Culture where people walk (i.e., compete for trophies or accolades) in categories such as “Realness with a Twist”. Academic and ballroom regular Madison Moore says that Ball Culture is “about becoming something, asking who you want to be right now. It’s realizing identity is always flexible and you can shape it.”
Of late, I’ve often found myself writing a quote by the controversial Scottish psychologist R. D. Laing into my scores: “They are playing a game. They are playing at not playing a game”. [but to put it in context:] “If I show them I see they are, I shall break the rules and they will punish me. I must play their game, of not seeing I see the game.”
I am obsessed with creating the physical objects from which musicians will play, and I use the word ‘play’ deliberately to mean making music and being playful.
The Dutch historian Johan Huizinga, in his cultural studies from many places in the world “noted that in some languages the manipulation of musical instruments is called 'playing'. We have to assume some deep-rooted psychological reason for so remarkable a symbol of the affinity between music and play.”
Ideally, I am focussed on inclusivity, which I hope flourishes because of my open-form scores, where I exploit materiality to reflect spaces and to give performers a physical object with which, through their playful yet committed performance, their own work can emerge.
Check back soon to see what I've done with this.

Sound-artist James Creed and I have started a project for these Covid-rich times. It was inspired by the video score I made for members of the Contemporary Music Ensemble at Goldsmiths; that one was made by taking students' musings on a huge sheet of paper and through cutting and layering, I created a moving score for those same students to inspire some improvisation.

James and I are sending out copies of the new piece, This Copy Must Tour the World, for contributions towards a future performance once this pandemic is over.

In February 2013 I was given a wonderful working space--overlooking the Baltic--in which to work on a big project about a temple in Hampi, (a UNESCO World Heritage Site located in south India). In Visby, I was able to put down the foundations of this large-scale work which will incorporate dancers and musicians from both the U.K. and India, culminating in a performance in Hampi. Now, my task is to find funding, which will allow for everyone to be able to experience the sonic world of the place.