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Journal of Captured subject, designated 'CAG-MES 2021' The first official example of a human specimen infected by CAG-2020, Subject 1 appeared obsessed with depicting CAG-2020, reporting that they were directly communicating with the being. This is the only concrete evidence that CAG-2020 exists outside of the minds of 'Messengers'. The circumstances of their eventual escape required significant intervention from an unknown third party and information unavailable to subject 1. In the leadup to their escape, they were provided with pens and paper by an unidentified orderly. Below are the notes and markings from subject 1 in the 24 hour period between receiving the materials and the subject's escape from captivity. subject 01 Our first attempt to study those exposed to CAG-2020. The following documents a highly escalated infection of 'Cagnification', paired with notes from the facility psychiatrist. Session 1 Asked to depict simple personal emotions, Subject 01 begins with a series of simple but ambiguous expressions. Despite being asked to center the drawings on their own feelings, the images are rapidly completed with features reminiscent of CAG-2020 Item 01 As a final resort I advised that the room of Subject 01 was searched for any other signs of expression linked to our work together. This appears to be a key for a written form of communication centred around features typical to depictions of CAG-2020, discovered in the cell of Subject 01. Are these drawings (most notably session 14) a form of written communication? subject 01 Our first attempt to study those exposed to CAG-2020. The following documents a highly escalated infection of 'Cagnification', paired with notes from the facility psychiatrist. 1/10 Entry 2: Infected subject surveillance Soon after escaping the facility, Subject 1, despite facing considerable risk of exposure and re-capture, released footage documenting their improbable escape. The video appears to be their attempt to explain the nature of CAG-2020. The video appears to degenerate to a stream of consciousness from a variety of sources. It is implied that this is how 'Cagney' uses messengers to communicate and adopt new personas.

Dark Matter Visuals by Gisela Mulindwa, Dark Matter has been performed at The Roundhouse, Theatre Peckham and the Vault Festival On the show: Early versions of this work started in 2017, resurrected and remade around three or so times, with our collaboration continuing in other projects taken on by director/performer/writer Tatenda Matsvai that often followed similar themes, but crossed into film and live music. From so many opportunities to explore having been taken, the stakes felt high here. The goal of the sound of this show was to try and balance a sense of huge scale (in terms of time and space), while also creating a sense of intimacy and internal dialogue with the performer and audience. We wanted to try and break down this binary. This led to the manipulation of recordings from Nasa’s Mars Rover and other deep space recordings to present a ‘dark matter’ liminal space. In the 360 degree speaker set up in our tunnel venue, combining these sounds and presenting them with no explanation felt eerie, and blended well with the vibrations of trains passing overhead. Alongside sounds of space, material from Tatenda’s family was recorded, alongside traditional Shona instruments such as the Hosho and Mbira played by Tatenda. We also looked for intimacy in the inclusion of club music, taking inspiration from playlists created by Pussy Palace, the setting of key scenes. With the access to surround sound and an audience sat either side of our performer, we were finally able to nail this idea we’d had years ago, of immersing the audience in darkness, using sound as a set. This left room to experiment with immersive sound: How to create biblically accurate rain: imagine a tunnel with a row of five speakers either side across the length of an audience sat either side. Using 3-6 recordings of rain, place the closest/most immediate sounding recording in the center row of speakers, and the more distant sounds further away from the center. The slightly damp smell of the tunnel left this effect with audience members looking around, wondering if they could complain about the weather. Notes from process Let’s Work Together Get in touch so we can start working together. First Name Last Name Email Message Send Thanks for submitting!