Composer, artist and sensory percussionist currently based in London. Commissions include the Guggenheim Museum,  IRCAM, Mozarteum Orchestra Salzburg, Brussels Philharmonic and Schallfeld Ensemble Graz. Recent and upcoming work commissioned by Somerset House, London Symphony Orchestra, BEK Bergen and ZhdK Zurich. My works sit between concert and electronic music, intermedia, hybrid performance, interaction design and installation. I am interested in histories and ecologies of sonic culture, entertainment, psychoacoustics, automation and simulation. 

camerongraham1 (@) gmail.com
instagram.com/poet_mechanic/
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WorklistMUSIC

Concert Music
Electronic Music
PERFORMANCEFake and Extinct
Admiror
J’ai Attrappé un Éclair
Abstracts, With Love
INSTALLATIONContact Results in Contagion
Your Body is a Colony
Zenith / Bernaskoni
Encounters
MOVING IMAGEMetamers
Rhadinace
Sound Design
RESEARCH/WORLDS Writing
Simulation


→ Your Body is a Colony


First commissioned: Music Space Architecture Festival
Revised version performance 2025 UK Venue TBC

Concept, sound, live electronics, scenography: Cameron Graham
Performer: Anastasia Tolchneva

At what stage does sound breach the physical body? Where is the line between sound as phenomenon, and sound as catalyst? 

A performance installation for solo performer, infrasound, stethoscope microphones and controlled feedback, YBiAC explores the virtual yet violent tensions between sound as pleasurable and enriching, and sound as exploitable, ruinous, erasing.

The installative performance first poetically attunes a large speaker array  to the resonant frequencies of bodily organs to create an active feedback loop that ‘sonifies’ the performer’s body , transforming the assemblage of skin, bone and organs into a generator of feedback. A redesigned stethoscope microphone is live-controlled to sidechain the speaker outputs, subsuming the performance space in the pulsic rhythms of the performer’s heartbeat. Later, a stack of redesigned sub-bass speakers propel infrasound waves towards the performer over 45 minutes, nodding to histories of American warfare research into the weaponising potential of low frequency. 

Finally, a glass soviet chandelier laying on a speaker suddenly shatters