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Listening to the Stones

Listening to the Stones is an interactive installation evoking untold, fragmented, and speculative narratives through stones collected by mudlarks on the Thames foreshore. Using custom trained computer vision model and generative sound systems, it reorients machine perception and human attention toward stones whose presence is constant yet culturally overlooked.

SEEING STONES

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a two-year-old finds in every stone a world worth examining. Image courtesy the artist (2023)

The project began with two disparate ways of engaging with stones. The first was through my young child. At the age of two, she was taken to the Thames foreshore near where we live for the first time, and ended up spending hours picking up, observing, and playing with stones. Indeed, aren't stones interesting? 

No two stones are ever the same - their sizes, shapes, colours, materials, textures suggest their different origins and journeys. There are endless details to look at, and when one is placed next to another, they form relations and dialogues. 

While a two-year-old finds in every stone a world worth examining, in the common datasets that train our most powerful computer vision systems, stones are rarely represented. This constitutes another way of dealing with stones, which could be seen as a form of selected neglect: in the Microsoft COCO dataset (Lin et al., 2015) - one of the most influential training and benchmarking datasets - 80 object categories are defined, and stone is not among them. COCO-stuff (Caesar et al. 2018), an extension of COCO that adds pixel-wise annotations for amorphous, background materials and regions, does include stone as a category, but only as a leaf-level class under the super-category "solid" and again a material within "wall-stone".

Computer vision models are typically trained on large image collections that prioritise people, products, vehicles, and recognisable landmarks. Materials such as stones rarely appear as subjects in their own right and are most often treated as undifferentiated background. This omission reflects cultural and institutional assumptions about what is useful, actionable, or valuable for machines to recognise. By constructing a small, situated dataset focused on stones, the project repositions overlooked materials as worthy of sustained attention, drawing an analogy between dominant technological practices and how histories and memories are commonly approached. 

SHOWCASE at London Museum Docklands 2025

>> PLAY WITH SOUND ON

ZINES AND PRINTS SERIES: "DATASETS" (prototype)

 

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Screenshot of the labour intensive processes of building a custom dataset

Plans for zines (2 types)
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COMING UP NEXT: EVA London Conference 2026, 13-17 July

 

The Electronic Visualisation in the Arts (EVA) conferences have always created a space for people using, or interested in, the new digital technologies in the arts to share their experiences and network in a friendly, collaborative atmosphere.

EVA London’s focus is on the development and application of visualisation technologies to various domains, including art, music, dance, theatre and heritage.

For 2026, our 36th year, the annual conference will again be held in mid-July. Conference participation can be online or in-person as all scheduled presentations are in hybrid mode to broaden our worldwide involvement among artists, academics and researchers.

EVA London 2026 will feature some 80 presentations and demos and workshops from this wider community of international authors. There will also be some prestigious Keynote Speakers and exciting free evening events. Our Research Workshop encourages early career artists and academics from around the world to write a paper and present their ideas.

Delivered in hybrid mode, with the BCS’ cutting edge technology, we will stream live and mix in-person and online speakers, sharing similar contacts and interests. Those unable to come to London themselves, will be able to interact, question and discuss ideas with other attendees, both in London and around the World.

Book on Eventbrite before 10 July to attend. 

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