News 2019

N E W S : R E P O R T S : 2 0 1 9
Illustrious 3D soundscape features in restahging of 2004 exhibition in NYC
posted 28/7/2019

Location: Harvestworks 596 Broadway Suite 602 and Building 10a, Nolan Park, Governors Island.

Open to the public from 1 pm to 7 pm @ Harvestworks and 11 am – 5 pm @ Building 10a, Nolan Park, Govenors Island.

Artist talk with Charlie Morrow, Stephen Vitiello and Miya Masoaka on Thursday August 1, 2019 @ Harvestworks, 695 Broadway Suite 602.

A 2019 New York Art Festival Event

In 2004, for the 25thAnniversary of the New Music New York festival, The Kitchen presented an installation of sound art pioneer Charlie Morrow’s Sound Cube, a multi-channel playback environment providing a 3D audio experience. The installation featured world premieres of approximately a dozen commissioned works, including pieces by Phill Niblock, Scanner, Stephen Vitiello and Pamela Z.

This year at the 2019 New York Electronic Art Festival, Harvestworks will celebrate our multi-channel systems with a presentation of the original MorrowSound Cube, the state of the art technological prototype designed to spatialize the experience of sound into geometric terrain. Going beyond the 5.1 surround sound configuration, The MorrowSound Cube, which comes in a variety of sizes, here avails itself of 8.1 channels of sound including one low frequency subwoofer. In addition to sound being emitted from many more places, the installation utilizes the MorrowSound and ambisonic spatial processing systems which allows sound to possess height and depth and thus to travel as a mobile media. The selection of artists spans a diverse group from pioneers in electronic music and multidisciplinary sound composition—some from the original New Music New York (1979)—to a younger generation of practitioners whose reputations have been established in the last decade. Bringing formal invention, cultural richness and a greater sense of place to the technology of the MorrowSound Cube, this body of work charts a rich territory of possibilities in three-dimensional listening.
Christina Yang with Charlie Morrow and Stephen Vitiello – 2003

2019 –  Morrow’s method for immersive sound received two patents. It is installed around the world in hospitals, museums, planetariums, workplaces and public spaces in association Park-Boulevard Productions. 

Produced by Charles Morrow Productions PBP, Harvestworks Digital Media Arts Center,and The Kitchen.

Curators: Charlie Morrow, Stephen Vitiello, Christina Yang

Coordinator: Michael Schumacher

Programing:  Jeff Aaron Bryant

Artists

Illustrious Company (Martyn Ware/Vincent Clarke)

Martyn Ware (b.1956, Sheffield, UK) founded Illustrious Co. Ltd. with Vince Clarke in 2001 to exploit the creative and commercial possibilities of their unique “Heightened Reality” 3D sound technology.

In 1978, Martyn signed as a founding member of seminal electronic group The Human League to Virgin Records. He formed the production compa- ny/label British Electric Foundation in 1980 and formed Heaven 17 the same year. He has produced and been featured as performer on records during a 25 year career, working with many recording artists, including Tina Turner, Terence Trent D’Arby, Chaka Khan, Erasure, Marc Almond and Mavis Staples.

Vince Clarke is best known for his work as a member of Erasure, Yazoo and Depeche Mode and as an influential and highly regarded pioneer in the field of electronic music. He has also worked extensively providing musical scores for film, theatre, television and radio.

 

Olivia Block

HEAVING TO

Produced and arranged as part of a 2003 Harvestworks A.I.R .

Stormy layers consisting of processed recordings of wind, falling rocks, electronic sounds and cello passages come in and out of focus in different parts of the space, creating complex textures and movement and activating the unique dimensions of the cube. Running time: 5:00

Olivia Block (b. 1970, Dallas, TX) is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instru- ments, and electronically generated sound. Her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. Olivia has several CD releases, creates sound installations for galleries and public urban spaces, and consistently performs in tours and festivals all over the world.

Shelley Hirsch

PLEASE STOP SCRATCHING THAT GASH!

Produced and arranged as part of a 2003 Harvestworks A.I.R .

Voices, text, arrangement: Shelley Hirsch. Sound excerpted from Simon Ho’s piece “Dust. Instrumental music excerpted from “A Rupture in the order of Reality” performed by Simon Ho. Running time: 5:53

Born and raised in East New York Brooklyn, Vocal Artist, Performer, Composer, Storyteller, Interdisciplinary Artist Shelley Hirsch has been pushing boundaries with her unique vocal art and performance work, drawing on her life experiences, her memory, her vivid imagination for decades.

The New York Times called her “A woman of a thousand voices… She offered an enthralling demonstration of the way songs, vocal styles and language might have evolved out of more primal musical impulses”.

Hirsch’s multimedia performances, compositions, improvisations, electronic music pieces, sound installations, collaborations and radio plays have been presented at concert halls, museums, theaters, galleries, clubs, radio, worldwide in venues including Alice Tully Hall, Roulette, Experimental Intermedia Foundation and CBGB’s in NYC; Experimenta Festival in Buenos Aires, What is Music? Festival Melbourne Australia; Beyond Innocence Festival in Kobe Japan; City of Women Festival Llubliana Slovenia; Dom Cultural Center Moscow; Akademie Der Künste Berlin; Next Festival Bratislava Slovakia; Time Festival Ghent, Belgium; Angelica Festival Bologna Italy, All Ears Festival Oslo Norway; Red House Sofia Bulgaria; Taktlos Festival Bern Switzerland; New Music America Festival Helena Montana, TBA Festival Portland Oregon, and hundreds more..

In 2018 decades of her work were acquired for the archive at The Fales Library part of NYU, for their Downtown Collection.
Other prestigious honors include The John Simon Memorial Guggenheim Fellowship in Music Composition 2017; The Foundation for Contemporary Arts Grants for Artists 2017; The Creative Capital Grant 2002; New York Foundation of the Arts in Music/Sound 2010, Multidisciplinary/ Performance 2003, Music Composition1996 and the New Forms Category 1987; Two NYSCA Grants in Vocal Music 2016 and Electronic Music in 2007; The DAAD Residency Grant in Berlin 1992 and a record six Artist in Residency Grants at Harvestworks Digital Media Center in NYC from 1985-2016.
In 2019, Hirsch was Artist in Residence at Queenslab in Queens New York. 
A collection of the writing and images she produced during her Residency will be published in Summer 2019

Hirsch can be heard on over 70 recordings with several on the Tzadik, FMP, InTakt, and on Nonesuch, Sound Aspects, Tellus, Apollo, Innocent Records, Don Giovanni and many more.. 

Special thanks to sound engineer Paul Geluso and to Carol Parkinson and Hans Tammen.

Steve McCaffrey

CAPPUCINO

Cappucino was spatialized and layed by Charlie Morrow and Peter Bowers.

Cappucino is a sound text comprising words and part words taken from the index of a mathematics text-book and grafted onto Italian suffixes. It is dedicated to the French mathematician Henri Pointcaré who claimed him- self to be the last mathematician capable of knowing all mathematics.Running time: 3:36

Steve McCaffery (b. 1947, Sheffield, UK) is author of 15 books of poetry and one novel, Panopticon. He received the Gertrude Stein Award for Innovative American Poetry in 1993-94 and 1994-95. Theory of Sediment was nominated for the Governor General’s Award (1992) and The Black Debt was short-listed for the 1990 Before Columbus Award. He is co-editor with Jed Rasula of Imagining Language (MIT Press, 1998) an anthology that gathers two millennia of conjecture on the written and spoken sign. His next collection of critical writings, Prior to Meaning: The Protosemantic and Poetics, is forthcoming. He is currently at work on three other books: Slightly Left of Thinking which will gather poems, interviews and critical essays, Seven Pages Missing (new and selected poems), and an annotated edition of his two decades of correspondence with Fluxus artist Dick Higgins. He has performed his poetry world-wide and his work has been translated into French, Spanish, Chinese, and Hungarian.

Miya Masaoka  

INNER KOTO

Produced and arranged as part of a 2003 Harvestworks A.I.R .

This piece, constructed of koto plucks, strums, knocks , twangs, and pro- cessing, was built to replicate an enormous koto the size of a room, creating a hollow-bodied, resonating koto sound -box for the listener. This work was recorded with placing eight microphones over and under the koto to pre- serve the three dimensional quality that is re-created in the SoundCube.Running time: 5:19

Miya Masaoka lives in New York City and is a classically trained composer and sound artist.  Bang On a Can, ICE (International Contemporary Ensemble) The Jack Quartet, So Percussion, the BBC Scottish Symphony Orchestra and the Glasgow Chamber Choir, The La Jolla Symphony, Either/Or Ensemble, Volti, Del Sol, Momenta, SEM Ensemble have commissioned and performed her work.  She is the 2019 Park Avenue Armory Studio Artist and has created “Listen Ahead” and the “Ear Hut” for an outdoor structure at the Caramoor, NY, commissioned by Sonic Innovations.    

Her works have been presented internationally; the Venice Biennale, MoMA PS1, KunstmuseumBonn, Germany, Ircam, Paris, France, Siggraph, ICA Pennsylvania, Museum of Contemporary Art, Chicago. She is invited to the Toronto Bienale 2019.

Charlie Morrow

ALIVE I WAS SILENT AND IN DEATH I DO SING (WOOD, VIOLA, VIOLIN)

“alive I was silent and in death I do sing” (old harpsichord motto)

This is the first in a series of 3D sound works placing the listener in a dia- logue between raw materials and musical instruments made from them. Using microphones and disc transducers, we recorded in the workshop of David Segal, master violin maker, a vocabulary of inside and outside the instrument sounds: knocking raw wood and dropping bridges on a surface for quality of sound shaving, filing, planing and sawing wood. These mak- ing sounds are placed at the heart of the Sound Cube. Running time: 4:05

A strolling performance by Yaniv Segal passing a row of microphones on viola and violin creates an orbiting musical ring around the crown of Cube. Both instruments were made by his grandfather, Mendel Segal.

Low frequency waves pass across the Sound Cube base.

Team: David Segal, workshop sounds; Yaniv Segal, viola, violin, assistant engineer; Peter Bowers, digital engineer; Matt Stine, assistant engineer; Doug Henderson, mastering engineer; Recorded on location and in the CMA Studios, NYC; Mixed and mastered in CMA Studios; Charlie Morrow, composer, producer.

Program notes and sound work © 2004 Other Media (ASCAP) New York, NY

Charlie Morrow (b 1942 Newark, NJ), is a conceptualist whose music work covers many styles and forms, and ranges from events for media and public spaces to commercial soundtracks, new media productions, museum instal- lations and programming for broadcast and festivals. He is president and creative director of Charles Morrow Associates Inc., founded in 1967 as a music and sound design firm, along with its not-for-profit affiliate, New Wilderness Foundation (NWF), a workshop for experimentation time-based arts. Morrow’s museum sound installations include the exhibition ‘The Vikings Saga’ at the Smithsonian’s Museum of Natural History, a Knoll Furniture Retrospective at the Louvre, the Whitney Museum’s 2nd Acustica International, “Arctic Sounds” at K A H in Bonn, the Chicago Museum of Science and Industry’s “General Gas Exhibit,” The Hall of Planet Earth at New York’s American Museum of Natural History, and others. Winner of the 1996 MILIA D’OR Award at Cannes, The CD-ROM, Scrutiny in the Great Round combines Morrow’s music and sound design with visual art of Tennessee Rice Dixon and interactive design of Jim Gasperini. http://www.cmorrow.com

Phill Niblock

SETHWORK

Seth Josel, unamplified guitars played with e-bow, recorded samples (2003).

Running time: 5:03

Phill Niblock (b. 1933, Indiana) makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60’s he has been making music and intermedia per- formances which have been shown at numerous venues around the world among which: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Brussels; Institute of Contemporary Art, London; and many more. Phill Niblock’s music is available on the XI, Moikai and Touch labels. A DVD of films and music is available on the Extreme label.

Scanner (Robin Rimbaud)

A NATURAL LOVE

Spatialized by The Illustrious Company (Martyn Ware/Vince Clarke)

This work explores the astonishing sounds of seduction and passion in the natural world, using wildlife recordings of mating calls and sexual activity in such creatures as bats, albatrosses, tungler frogs, Asian lions, billy goats mute swans, elephants, Puerto Rican tree frogs, peacocks, swallows, beluga whales, capuchin birds, blue tits, cats, bees, gray lions, toads, satin bower- birds, gray seals, hammer headed fruit bats, swallow gulls and elephant seals. You are caught inside a world of the extraordinary sounds of love.Running time: 5:45

Digital artist, broadcaster and pirate of the airwaves, Scanner (b. 1964, London, UK) has been presenting works since the early 1990s. As well as producing compositions and audio CDs, his diverse body of work includes soundtracks for films, performances, radio, and site-specific intermedia installations. He has performed and created works in many of the world’s most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Corcoran Gallery DC, Tate Modern London and the Royal Opera House London. http://www.scannerdot.com

Michael J. Schumacher

STILL

“Still” projects 31 sounds into 3 virtual rooms, one near, one distant, one in-between. Though the sounds themselves are active, the structure is sedate. The listener is encouraged to take a moment-to-moment approach, allowing the ears to be carried along by each new gesture. The inspiration comes from the paintings of Jackson Pollack and the large-scale works of John Cage, such as “Roaratorio”. Running time: 3:10

Michael J. Schumacher (b.1961, Washington D.C) is a composer/per- former, concert producer and curator, studio engineer and computer music programmer, and has received degrees in music from Juillard School of Music and Indiana University. Director of the sound and intermedia gal- leries, Studio Five Beekman and Diapason, he has produced exhibitions by David Behrman, Alvin Lucier, Stephen Vitiello, La Monte Young and other pioneer sound experimenters. He composes electronic sound installations using 2–16 speakers, computer-controlled random structures, taped and live music and acoustic works for piano, chamber ensemble, voice, and orches- tra, and has presented his sound installations at major art institutions in the United States and Europe. His discography includes five solo CDs, includ- ing a double CD set on the XI label Room Pieces (2002).

Stephen Vitiello

CINEMATIC, WITH CRASHING ROOF

Spatial processing, Peter Bowers; Technical assistance and conceptual support, Michael J. Schumacher

This multi-channel sound work combines two principal elements: an excerpt from a recent concert recorded at the San Francisco Electronic Music Festival and a short field recording from the Brazilian Amazon. The field recording is of a small outpost shack with a tin roof that is being pulled at the seams by a strong wind. To create the sounds from the concert recording, a small photocell was used to translate light frequencies into an audio signal. These sounds were then fed into various analog audio proces- sors and mixed live on-stage. For the Sound Cube, tracks were further processed via Doppler-effects, plotting out various swirling patterns and mixed in a mock-up of the Cube. The field recording is used as a sporadic interruption, somewhat like a memory flash-frame from an un-specified film. Running time: 4:23

Stephen Vitiello (b.1964, New York City) is an electronic musician and media artist. Recent exhibitions include the 2002 Whitney Biennial, Ce qui arrive at the Cartier Foundation, Paris, curated by Paul Virilio, Yanomami: Spirit of the Forest, also at The Cartier Foundation and solo exhibitions at The Project, NY and The Project, Los Angeles. His sound work, World Trade Center Recordings: Winds After Hurricane Floyd has been presented at museums and on public radio internationally. CD releases include Scanner/Vitiello (Audiosphere/Sub Rosa), Bright and Dusty Things (New Albion Records) and Scratch Monsters, Laughing Ghosts (New Albion Records) a collaboration with David Tronzo and featuring Michael J. Schumacher, scheduled for May 2004 release. Since 1988 he has collabo- rated with musicians, visual artists and choreographers, including Pauline Oliveros, Tetsu Inoue, John Jasperse/White Oak Dance Project, Rebecca Moore, Tony Oursler, Nam June Paik, Scanner, Yasunao Tone, Frances- Marie Uitti.
 

Pamela Z.

SYRINXPRODUCED AND ARRANGED AS PART OF A 2003 HARVESTWORKS A.I.R .

Syrinx is a sound work for human and bird voices. To create this piece, I worked mainly with the songs of two birds: a wren and a finch. I time and pitch-expanded the very quick bird sounds enabling me to hear their sur- prisingly complex melodic material and learn to sing it. I then worked with combinations of various contracted and expanded samples of the bird songs and my own voice to created this layered work. For the spatialization, I have most of the bird sounds originating from the top four channels of the Cube and my sounds from the bottom four. I play with blurring the boundary between the two so that the bird voices and my voice intermix and are at times difficult to distinguish. The term “syrinx” refers to the vocal organ of a bird. Running time: 6:11

(B. 1956. Buffalo, New York) I live in an artist building in an industrial neighborhood in San Francisco. My daily sound environment includes the idling engines, turn signals and reverse signals of large trucks, the sounds of large items rolling along a conveyer belt, and forklifts loading and unload- ing cargo. And, thanks to one of my neighbors who has built a garden complete with bird feeders on our fire escape, the soundscape is also laced with a cacophony of the calls of finches and other chirping birds. I not only welcome this daily concert, but it has inspired me to think about and closely examine the songs of birds. www.pamelaz.com

Extended Bios:

Steve McCaffery is the author and/or of more than 40 books of poetry and criticism. Among these are “ ‘Tatterdemalion’ (Veer Books, 2014); ‘Alice in Plunderland’ (Book Thug, 2015), and ‘Revanches’, a collection of visual and concrete poetry (Xexoxial, 2015). A collection of his sound poems “Patafonix” will be appearing later this year.

His transatlantic collaborations include ‘Paradigm of the Tinctures’ with Alan Halsey (Granary Books, 2007) and ‘Twitters for a Lark, with Robert Sheppard (Shearsman) 2017.

English born and a long-time resident of Toronto, he was a co-founder of the Toronto Research Group (TRG), the sound poetry ensemble Four Horsemen, and the College of Canadian Pataphysics. Since 2004 he has been the David Gray Professor of Poetry and Letters at the University at Buffalo. He launched in Glasgow ‘Certain Words’ (Ground Press) 2018.

Miya Masaoka lives in New York City and is a classically trained composer and sound artist.  Bang On a Can, ICE (International Contemporary Ensemble) The Jack Quartet, So Percussion, the BBC Scottish Symphony Orchestra and the Glasgow Chamber Choir, The La Jolla Symphony, Either/Or Ensemble, Volti, Del Sol, Momenta, SEM Ensemble have commissioned and performed her work.  She is the 2019 Park Avenue Armory Studio Artist and has created “Listen Ahead” and the “Ear Hut” for an outdoor structure at the Caramoor, NY, commissioned by Sonic Innovations.    

Her works have been presented internationally; the Venice Biennale, MoMA PS1, KunstmuseumBonn, Germany, Ircam, Paris, France, Siggraph, ICA Pennsylvania, Museum of Contemporary Art, Chicago. She is invited to the Toronto Bienale 2019.

She has received the Doris Duke Award, the Alpert Award, the MAP Fund, The Fulbright, the Montalvo and The Centre for Contemporary Art at Ujazdowski Castle, Issue Project Room (silo location).

As an improviser, she has collaborated and worked with Pharoah Sanders, Pauline Oliveros, Toshiko Akiyoshi (Both Oliveros and Akiyoshi have written pieces for her), Joelle Leandre, Steve Coleman, Christian Wolff, Cecil Taylor, Fred Frith, Henry Brandt, Andrew Cyrille, Reggie Workman, Vijay Iyer, Reggie Workman, Robert Black, Myra Melford, Zeena Parkins and Anthony Braxton.

She is an Associate Professor and director of the Sound Art program at Columbia University.

Charlie Morrow (b. 1942 in Newark, NJ) is a composer, sound artist, performer, and innovator whose goal over the past four decades has been to bring experimental sound and music to a wider audience. And, through avenues including concert performances and ad jingles, city-wide events and film soundtracks, museum sound installations and hospital sound environments, his work has in fact been experienced by a wider audience than most creative artists can claim.A composer who studied with Stefan Wolpe and worked with avant-garde Fluxus artists in New York in the 1960s, Morrow has written works that range from a sound portrait titled Marilyn Monroe Collage to Toot ‘N Blink, an orchestrated chorus of boat horns with blinking lights, as well as the soundtrack to the acclaimed 1970 documentary Moonwalk One and innumerable ad jingles, including those for Hefty trash bags (“Hefty, Hefty, Hefty! Wimpy, wimpy, wimpy!”) and Diet Coke. In 2010, he was honored in New York with Little Charlie Fest, a five-day celebration of his work presented and organized by Michael Schumacher/Diapason Sound Art Gallery, John Doswell Productions and WFMU FM in association with Steelcase.A trailblazer in staging large-scale festival events—at which he was always recognizable in his signature bowler hat—Morrow created city-wide summer solstice celebrations in New York City from 1973 to 1989 through the New Wilderness Foundation, an arts organization he founded in 1974 with poet Jerome Rothenberg that promoted cross-cultural and cross-disciplinary art and performance, while exploring relationships between current developments and cultures of the distant past.And in 1979 he founded Charles Morrow Productions and built a global network for sound explorations. In the 21st century, he created MorrowSound® state-of-the-art technologies—including True3D sound and 360° VR sound (see below)—at the forefront of the rapidly-expanding field of immersive sound. His work in the creation of sound environments is currently showcased in venues worldwide, including the Magic Forest & Aviary at Nationwide Children’s Hospital in Columbus, Ohio; Marimekko’s New York flagship store on Fifth Avenue; SC Johnson’s corporate headquarters in Racine, Wisconsin; and the Hall of Planet Earth in the Rose Center for Earth and Space at New York’s American Museum of Natural History.As a 2013 KALW radio documentary put it, “How did the son of two New Jersey psychiatrists come to be known as ‘the man in the bowler hat’—sound artist, impresario, and catalyst for creativity for so many others?”Charlie Morrow calls himself a “framemaker”—a creator and producer of context.  His life’s work – 50 years as a hybrid, with one foot each in the classical and commercial music worlds – has been devoted to, in his words, “moving out of the concert hall.  The future lies in composing environments as well as music as we know it:  bringing the skills of composition to where we live work and circulate, as in a city.”  Born to a family of doctors and inventors, Morrow uses his creativity to make tools to share with others—not only musicians and sound artists, but teachers, architects, and engineers –  “so that they might create positive spaces for work, education, and healing.”The Charlie Morrow Archive in Barton, Vermont, now houses Morrow’s  scores, writings, designs, correspondence, media, publications and artifacts

Jeff Aaron Bryant (b.1983, Oklahoma City, OK) is a composer/performer, sound designer, and multimedia programmer based in Brooklyn, NY. His work includes chamber pieces for percussion ensembles, interactive pieces for theater and dance, and algorithmic compositions for player pianos and mixed media. He plays in the band Pollens.

COLLABORATORS

Alban Bassuet, Michael Schumacher, Steven Vitiello, Jeff Aaron Bryant, Maija-Leena Remes, Marc Nasdor, Neill Woodger, Ilpo Martikainen, William Fastenow, Bob Freedman

Contact: Sean McCann, Recital Program,  http://www.recitalprogram.com,  seantristanmccann@gmail.com

www.morrowsound.com

www.charliemorrow.com

 INTERVIEWS AND PRESS COVERAGE

PC MGAZINE – This ‘Puppeteer of Sound’ Is Helping People Escape, Relax in Unexpected Places

SEVEN DAYS – – Charlie Morrow creates soundscapes that mimic how we hear.

NYTimes – The Morrow Sound Cube, an invention of the sound-art pioneer Charlie Morrow, is capable of giving participants a wild ride.

John Cage – “I prefer the blinks.” when asked whether he preferred the toots or blinks in Charlie’s TootN Blink

 
Illustrious 3D soundscape merging the thoughts and feelings of old and young people
posted 25/4/2019

As part of Illustrious's annual participation in Bath's Forest Of Imagination Festival in June, Illustrious will create a soundscape merging the thoughts, ambitions, reminiscences and dreams of generations young and old. The 3D soundscape will feature a transposition of old and young, reading each other's writings, supported and enhanced by a world-premiere comosition by Gabriel Ware

Illustrious 3D soundscape reanimating Hogarth's famous allegorical painting 'The March To Finchley
posted 25/4/2019

Very proud to announce this major new 3D soundscape for the Foundling Museum in London - reanimating the characters and sounds of this amazing Hogarth painting ‘The March Of The Guards To Finchley’ using Illustrious’s immersive sound compositional techniques - don’t miss this...

We have a number of projects in the pipeline for 2019, please watch this space.