"I chose to work with a recording made at the Barbican centre in London. This complex has fascinated me for many years, and I have always been curious to seek out new nooks and crannies there. I took my curiosity about the place into how I approached the work. "The rhythmic footsteps are the core motif of the piece, even though they are not the most dominant sonic aspect, they are the anchor point from which to depart and return to. "The footsteps are sometimes regular and at other times at odd with themselves when I have looped and doubled up aspects of the field recording. Both this tension in the footstep rhythm and my choice and creation of sounds and shape were guided with the controversy around the Barbican itself. Some people have a lot of love for the place, and others call it the ugliest building in London, and this is interesting to me, from an anthroplogical point of view. "What makes us fond of, or repelled by a place, a building, an area? What resonates or repels us? I have tried to find some sonic treasures and occasionally taken something to the edge of discomfort, as a reference to this sense of conflicting tastes, subjectivity and beauty in the eye of the beholder." Corridors at the Barbican Centre, London reimagined by Suzi Lamb.

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“What did the council decide on item 42?” — answered with the speaker and the moment.

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