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March 2014
Devising, design
Ableton, QLab
Personal project x Barbican OpenLAB, Rose Bruford
Audience members are invited into a space and given wireless headphones.

We then turn out the lights, allowing their non-visual senses to become heightened, and their concerns about ‘who’s watching?’ to gently dissipate.

We live in a world in which, although our minds are able to travel virtually great distances daily, our bodies can often fall into a routine of the same movements of waking, dressing, commuting to work, sitting in front of a computer – all day, every day.

This is in parallel with an increase in visual stimulation – brightly coloured billboards, TV, magazines, fashion – whereas our other senses, touch, smell, and most importantly hearing (with the exception of music, which we use to shut out the world), often get left behind.

Our work plays with both of these ideas, creating an environment where the audience is able to relax in their own space, and concentrate on different sensory experiences.

To enjoy freedom of movement both through direct instruction and abstract inspiration.

Like no-one’s watching.


Owen Hindley, Ragnar Hrafnkelsson, Nanna Gunnars & Brynja Herbertsdóttir
This was a piece created in three short days in conjunction the Barbican’s OpenLAB programme.

Taking place in the black box theatre, deep in the base of the sprawling Barbican estate, we wanted to take advantage of the near-complete darkness we could achieve, coupled with access to the technical equipment on-site, and the theatrical experience of Brynja & Nanna.

What emerged out of the three days was a prototype-form show, lasting around twenty minutes, involving multi-channel audio playback to individual’s headphones (which we used to create magic moments like ‘touch based hearing’), playing with clashing and coherent smells / sounds, polyrhythmic clapping exercises, and finally a session in led movement resulting in wild abandon!

We were able to spy the performance (which took place in pitch darkness) via a series of infra-red cameras and illuminators feeding to backstage, in order to properly time auditory cues and effects.

Project website : Like No-one’s Watching

Owen Hindley 2016