Floodtide Conversations

Floodtide Navigate Summary

So, Floodtide Navigate is over! We sailed over 4000 miles, stopped at 47 ports with 28 visiting artists and made 16 Floodtide performances. Here is a basic log of each leg. 

date destination distance artists in residence crew
14/3/2015 Dintelsas 6   John, Lena
16/3/2015 Wemeldinge 25   John, Lena
17/3/2015 Antwerp 30   John, Lena
22/3/2015 Breskens 40 Gill Schuer, Andre Schmidt John, Lena
23/3/2015 Ostende 30 Gill Schuer, Andre Schmidt John, Lena
24/3/2015 Calais 60 Gill Schuer, Andre Schmidt John, Lena
27/3/2015 Boulogne 30 Gill Schuer, Andre Schmidt John, Lena
4/4/2015 Fecamp 90   John, Lena
5/4/2015 Cherbourg 90   John, Lena
6/4/2015 L'Aber Wrac'h 170   John, Lena
8/4/2015 Brest 55   John, Lena
15/4/2015 Pornichet 180   John, Lena
17/4/2015 Saint Nazaire 25   John, Lena
20/4/2015 Bilbao 280   John, Lena
3/5/2015 Bilbao 15 Peter Fudakowski, Henrietta Fudakowski, Anna Karin Andersson John, Lena
5/5/2015 Getaria 60 Peter Fudakowski, Anna Karin Andersson, Henrietta Fudakowski* John, Lena
6/5/2015 Pasajes 20 Peter Fudakowski, Anna Karin Andersson, Henrietta Fudakowski* John, Lena
11/5/2015 Lekeitio 35 Peter Kavanagh John, Lena
12/5/2015 Gijon 170 Peter Kavanagh John, Lena
17/5/2015 Ribadeo 75   John, Lena
22/5/2015 Ribadeo 15 Luke Kelly-Grainger, Jonathan Payne, Lonneke Broadrib John, Lena
24/5/2015 Ribadeo (aborted Biscay crossing) 45 Luke Kelly-Grainger, Jonathan Payne, Lonneke Broadrib John, Lena
25/5/2015 Newlyn 500 Luke Kelly-Grainger John, Lena
30/5/2015 Padstow 65 Luke Kelly-Grainger, Amy Munroe John, Lena
3/6/2015 Bideford 60 Brita Augustinson, Anna-Lena Ekenryd John, Lena
4/6/2015 Cardiff 70 Brita Augustinson, Anna-Lena Ekenryd John, Lena
8/6/2015 Cardiff 10 Ellie Shipman John, Lena
10/6/2015 Cardiff 15 Ellie Shipman, Emma Critchley John, Lena
11/6/2015 Bristol 30 Ellie Shipman, Emma Critchley John, Lena
22/6/2015 Cardiff 30 Emma Critchley, Germander Speedwell, Nathan Hughes, Abi Sidebotham John
23/6/2015 Swansea 50 Emma Critchley, Germander Speedwell, Nathan Hughes, Abi Sidebotham John
24/6/2015 Tenby 50 Emma Critchley, Nathan Hughes, Abi Sidebotham John
25/6/2015 Milford Haven 35 Emma Critchley, Nathan Hughes, Abi Sidebotham John
28/6/2015 Milford Haven 15 Borge Astervall, John Astervall John, Lena
30/6/2015 Newport Bay 45 Borge Astervall, John Astervall John, Lena
1/7/2015 Arklow 75 Borge Astervall, John Astervall John, Lena
2/7/2015 Dublin 55 Borge Astervall, John Astervall John, Lena
5/7/2015 Howth 20 Rebecca McLynn, Shane O'Neil John, Lena
7/7/2015 Carlingford Lough 50 Rebecca McLynn John, Lena
9/7/2015 Strangford Lough - Portaferry 45 Rebecca McLynn John, Lena
10/7/2015 Strangford Lough - Whiterock 10 Rebecca McLynn John, Lena
11/7/2015 Strangford Lough - Whiterock 5 Rebecca McLynn, Diyanne Ross John, Lena
13/7/2015 Peel Isle of Man 50 Diyanne Ross John, Lena
18/7/2015 Barrow in Furness 90 Diyanne Ross John, Lena
3/8/2015 Fleetwood 20   John, Lena
6/8/2015 Salcome 450   John, Lena
10/8/2015 Poole 95   John, Lena
11/8/2015 Brighton 95 Natasha Bird, Alex Tuckwood John, Lena
15/8/2015 Dover 75 Rachel Lichtenstein, James Price ,Simon Fowler John
16/8/2015 Harwich 80 Rachel Lichtenstein, James Price ,Simon Fowler John
17/8/2015 Swale - Harty Ferry 55 Rachel Lichtenstein, James Price ,Simon Fowler John
18/8/2015 Chatham 40 Rachel Lichtenstein, James Price ,Simon Fowler John
28/8/2015 Lymington 200 Tim Platt John


Floodtide Navigate - Bristol to Cardiff Leg : Ellie Shipman, Artist in Residence


Poem by Cumbria poet Kate Davis becomes lyric for two Floodtide performances Barrow-in-Furness

Poet Kate Davis and composer John Eacott meet and workshoped the poem (ii) A view of the bridge from the island to use as lyrics for the two performances at the Full of Noises festival in Barrow-in-Furness on the 31st July and 2 August 2015. Floodtide is very grateful for Kate's generous contribution

Floodtide Navigate - the Film Leg : Abigail Sidebotham, Emma Critchley & Nathan Hues, Bristol to Milford Haven


Floodtide Navigate : BBC Cumbria radio interview on Jacomina 21 July

Jenny Dennett from BBC Radio Cumbria interviewed John Eacott, Andrew Deakin and Lena Augustinson onboard Jacomina Tuesday 21 July by Barrow Town Quay. The interview was rounded up with a Floodtide 'sound bite' performance with Andrew Deakin from the Full of Noises Festival kindly volunteering as a human music stand. This broadcast is scheduled for Friday 24 July at 7.23am on BBC Radio CumbriaOn Sunday 2nd August 2015 there will be the first ever 12 hour performance of live tide in the Barrow Park Bandstand in Barrow-in-Furness performed by local musicians and non-musicians. click here if you want to take part


Floodtide Navigate : excerpt from plastic percussion session Dublin, Saturday 4 July 2015


Floodtide Navigate - Leg fifteen : Börje Astervall and John Astervall. From Milford Haven, Wales to Dublin, Ireland


Floodtide Navigate : excerpt from performance Saturday 27 June Milford Haven


A short excerpt from Milford Haven, Wales 27 June 2015. This performance at Milford Fish Festival was live-streamed to National Maritime Museum in London, England,UK where musicians were playing alongside the musicians in Milford Haven. Many thanks to the Milford Haven musicians in this short film; Jo Jenkins, Holly Robinson, Gareth Trott, Harry Turner, Jessie-May Turner and Tom Turner.

Floodtide Navigate : excerpt from performance Saturday 23 May 15.00 in Ribadeo, Spain


Floodtide Navigate - Leg eleven : Anna-Lena Ekenryd (hands) and Brita Augustinson (face) , From Padstow Cornwall, UK to Cardiff, Wales


Floodtide Navigate - Leg ten : Amy Munro (UK only) and Luke Kelly-Granger, From Ribadeo Northern Spain to Padstow Cornwall,UK


Floodtide Navigate - Leg seven : Anna-Karin Andersson, Peter & Minette Fudakowski, from Bilbao to Pasajes, Northern Spain


Floodtide Navigate - Leg eight : Peter Kavanagh, Passages to Gijon, Northern Spain


In conversation: Jerome Joy and John Eacott, Saint Nazaire, April 2015


This informal conversation between the musicians and composers Jerome Joy and John Eacott took place in Jerome Joy's garden in Saint Nazaire, France in April 2015. 

Information about Jerome Joy http://joy.nujus.net





Anna- Karin Andersson interviews John Eacott about Floodtide in Pasajes, Basque country, Northern Spain, 8 May 2015





Floodtide Navigate : Gbop plays live tidal flow 2 May 2015, Copenhagen Denmark


Floodtide Navigate Haikus : Friday 3 April - Thursday 9 April 2015, Boulogne - Brest, France


Friday 3 April Boulogne France
Preparing to cross
and a long voyage ahead
Fixing and doing

Saturday 4 April  Boulogne - Fecamp France
Up to a seven
Full sails on Jacomina
We are very tired

Sunday 5 April Fecamp - Cherbourg , France
A warm friendly sail
make a bright and happy trip
to umbrella town

Monday 6 April Cherbourg - L’Aber Wrac’h France
Twenty-four hours
Followed by the sun and moon
Blessed by a porpoise

Tuesday 7 April Cherbourg -L’aber Wrac’h France
No spa treatment in
the world can beat the hot shower
at L’Aber Wrac’h in France

Wednesday 8 April L’Aber Wrac’h - Brest France
We are getting good
and getting it good as well
on the big blue swell

Thursday 9 April Brest France
The heating is on
and the sun is so welcomed
What else do you need?

Leeward, bow, windward, stern | the sound of water and wind on the bay of Biscay


This audio is about the sound of the sea when sailing on Jacomina, the Floodtide sailing yacht, between Saint Nazaire, France and Bilbao, Spain. Recordings of the sea and wind; leeward, on the bow, windward and from the stern

Floodtide navigate : the journey between Brest and Saint Nazaire 15-16 April


Floodtide Navigate : excerpt from performance Saturday 18 April 15.00 in St Nazaire, Brittany

Many thanks to the performers:  Anaïs Marchand, Antoine Bèguère,  Arnoud Marchand, Benjamin Vincelot, Christopher Havard, Corentin Marchand, Clara Bodet, Claude Bulourde, Meas Yunsan and Yann Bouvais.

And a very special thank you to  Jérôme Joy and Régine Fertillet for their invaluable help, support and enthusiasm.

17 April St Nazaire | Short Floodtide fanfare to celebrate the arrival (finally) of the banner!

Floodtide Navigate : excerpt from performance Saturday 11 April 15.00 in Brest, Brittany


Excerpt from live streamed solo performance by John Eacott using Floodtide jazz notation, Saturday 11 April 2015 at 15.00 in Brest Brittany

Floodtide Navigate - Leg one : Gill Scheuer and André Schmidt, Antwerp to Boulogne

...on the subject of boats



L.A: "How do you feel about the Floodtide Navigate project from a sailing perspective?"

J.E: "Well... (thinks) It is lovely to have Jacomina which is a Swan 46. It’s quite a subtle difference in the sailing experience and hard to describe. I trust it to look after everyone on board and that is a really important thing. I’ve been scared on sailing boats enough times to know that I don’t want to be in a position where I feel that the boat is not going to look after me. So…  it’s so exciting to have an opportunity to sail a good sailing boat; that is good for the Floodtide project but also other further possible projects. And also if Floodtide phase two could possibly happen, then a boat that has excellent sailing capability would be good.

Floodtide is an usual project from a sailing point of view. The idea that we will decide to go places that we think we can do an interesting Floodtide performance; it might have good performers, a good place to perform and those things put a demand on the navigation. It’s different to going on a sailing holiday where you choose to hop one nice marina or anchorage to another. In this case, you might have to go somewhere like, for example, Barrow in Furness. That’s perfectly fine place to navigate to, but it’s not a common place, as far I know, for holiday makers to sail to. There is nothing particularly difficult about it but it illustrates that we have to sail places that are slightly challenging from a navigation point of view. And again having a rugged boat might mean we have to anchor or be on a mooring in an uncomfortable place for a while and need to be resourceful and self sufficient, those kind of things; not be too dependant on stepping ashore to a cosy marina all the time.  It’s nice to have a decent dinghy that we can explore creeks and be able to row ashore to a venue and that kind of thing if we can’t step ashore. So it’s all to do with ruggedness in a way...and resources."

Floodtide notation version 2.0


I've finally posted the new Floodtide notation version 2.0. It has proper note durations (rather than just quavers) and handles sharps and flats (fairly) sensibly. It might not look so different but is the result of about 5 months of re-writing. Am hoping it opens up lots of new opportunities for Floodtide and leads to even nicer performances!

If you are a jazz musician you might want to try the Harmony > Jazz Chord Scales option which can be a little scary. 

Needles to say I am still working at finding better ways of turning tide into music. 

Please have a play and let me know how it goes for you. 



Joining Floodtide Navigate

FLOODTIDE NAVIGATE: an exploration of music, tide and people on a 46ft sailing yacht Jacomina

We are looking for collaborators to join this musical tide expedition. Whether you are a performer, artist, writer, scientist, academic or can contribute with skills such as sailing, IT, media, social media, cooking, engineering, fishing, admin or other, we would love to hear from you.

Jacomina, the Floodtide Navigate boat, a classic 46ft Swan  

Our route is divided into weekly legs. Collaborators join on a Sunday in one place and depart the following Saturday at a different place. As a participant you will become the crew for that leg of the journey. We will sail during the week and stop for the weekend to rehearse and perform Floodtide with local musicians. You will get involved in sailing, navigating and running the boat, taking part in Floodtide events as well as doing your own work if you wish to while relaxing and having fun. When deciding which leg to join you may wish to consider the category of sailing, the leg distance, how you will travel to and from, as well as the places that may be visited.

Character of the leg; 

Inshore; inland waterways which are sheltered with no significant wave height. Relatively easy access to places to moor. Inshore passages are suitable for people with little or no sailing experience.

Coastal; coastal passages up to 20 miles from a safe haven in open water. Wave heights may be significant but it is normally possible to find shelter in a few hours. Coastal passages can be more demanding than inshore passages and are suitable for people that have some sailing experience.

Offshore; offshore passages may be over 60 miles from a safe haven at times. Wave heights may be significant and in some cases it may take a day or more to find shelter. Offshore passages are suitable for people with sailing experience that fancy a challenge!


You register to join Floodtide Navigate by emailing your name, contact details, the leg you wish to join, and which skill/knowledge/interest you will bring to  info@floodtide.eu . There is no deadline. If there is a place on the leg you wish to join, you will receive a confirmation with all necessary details [PDF]. We aim to inform you within two weeks of receiving your email whether there is a place available.  


Floodtide Navigate is organised by the non-profit arts group Informal. There is no charge for taking part but you will be invited to make a voluntary contribution towards mooring, diesel and running cost of the boat and it will not affect your registration or your stay onboard if you are not able to pay this.  We shop and eat together; a cost for basic food supplies of up to ten euros per day will cover all meals on board - breakfast, lunch, dinner, drinks and snacks.


we are looking for contributors at each location. Every weekend there will be a Floodtide workshop, performance and occasionally other events such as talks or demonstrations. Please email info@floodtide.eu  if you or your group/organisation would like to be involved.

Itinerary (link to map)


[Leg 1] Antwerp to Dieppe
20th to 28th March 2015
Coastal 185 miles


[Leg 2] Dieppe to Paimpol
29th March to 4th April 2015
Coastal 202 miles

[Leg 3] Paimpol to Brest
5th to 11th April 2015
Coastal 160 miles

[Leg 4] Brest to St. Nazaire
Tuesday 14th to Sat 18th April 2015 - shorter!
Coastal 147 miles

[Leg 5] St Nazaire to La Rochelle
19th to 25th April 2015
Coastal 95 miles

[Leg 6] La Rochelle to Bilbao
26th April to 2nd May 2015
Offshore 185 miles


[Leg 7] Bilbao to Gijon
3rd to 9th May 2015
Coastal 115 miles

[Leg 8] Gijon to Ribadeo
10th to 16th May 2015
Coastal 65 miles

[Leg 9] Ribadeo to La Coruna
17th to 23rd May 2015
Coastal 79 miles

[Leg 10] La Coruna to Padstow
24th to 30th May 2015
Offshore 500 miles


[Leg 11] Padstow to Cardiff
31st May to 6th June 2015
Coastal 97 miles

[Leg 12] Cardiff to Bristol
7th to 13th June 2015
Inshore 28 miles

[Leg 13] Bristol Big Green Week 
14th to 20th June 2015
In harbour

[Leg 14] Bristol to Milford Haven
21st to 27th June 2015
Coastal 107 miles

[Leg 15] Milford Haven to Dublin
28th June to 4th July 2015
Offshore 120 miles


[Leg 16] Dublin to Belfast
5th to 11th July 2015
Coastal 110 miles

[Leg 17] Belfast to Barrow in Furness
12th to 18th July 2015
Coastal / Offshore 110 miles


[Leg 18] Barrow in Furness to St Katherine Dock, London
2nd to 16th August
Offshore 650 miles

Special Project with Estuary Group

[Leg 19] St Katherine’s Dock to St Katherines’s Dock
17th to 21st August
[Leg 20] St Katherine’s Dock to St Katherines’s Dock
24th to 28st August

Help us create a musical archive of tidal flow

Calling all musicians. Grab your smartphone, tablet or laptop and help us sonify the Thames by playing music generated live by tidal data. Simply click on the PLAY link, select your instrument, and play the tide. (If you want to tailor the music generated then there are many further options you can choose from). Once you have got the hang of the live notation, help us to build our archive by filming, photographing, or audio recording yourself, then send them to us with the time, date and location of where you are playing to info@floodtide.eu.  We want to see you playing the tide from your living room, from the banks of the Thames, from your garden! And please let us know if you have any comments on the notation so we can adapt it further!

Jazz notation

The Floodtide live notation now offers an option for chord symbols which relate to the pitches generated. The chord symbols are the kinds used by jazz musicians although you don't have to be a jazz musician to use it. To try it go to www.floodtide.eu/play and choose Harmonic Scheme >  Jazz Chord Scales. If this looks too complex you can choose > Diatonic C or Diatonic all keys..

There are some other options that you might like to try such as choosing a tempo or selecting 'Live' which means that the tidal flow makes the tempo. Similarly with Meter (time signature).

Please let us know if you have tried it and how it works for you. We would also be very happy to receive a short video of you playing it!


Effra sensor installed at Vauxhall

Today we installed the new sensor in the Thames at Vauxhall ready for Floodtide on the Effra.  The underground river Effra joins the Thames from a storm drain near Vauxhall Bridge, and this 'acoustic doppler transmitter' is submerged in water nearby.  The sensor will read the speed of water flow, as well as other information, and this is what generates and affects the music that the performers on Sunday will be playing.  


John Eacott, composer of Floodtide, has written computer software that generates musical notation dependent on what information is received by the sensor. A set of rules determines the music that audiences will hear.  

On Sunday, samba drummers, singers, wind and brass players, and beatboxers will all play notation generated live by the flow of water. As they play along the route of the Effra they will connect us with the river as it merges with the Thames.  For performance details please click here.  A huge thanks to oceanography suppliers Nortek for their support.

Vocal workshop

Our vocal workshop led by Lea Cornthwaite of Mind and Soul Choir was fantastic, with participants experimenting with different ways to sing Floodtide.  Singing music determined by the flow of water, participants were preparing for the performance on May 18th, which will take place at various locations between Belair and Dulwich Park.  If you would like to take part in the performance (which will see singers perform in the stunning Dulwich Picture Gallery and beautiful Dulwich Park), you still can! Lea is holding a run-through of how to sing the river on May 18th at 12.30pm, at the Francis Peek Centre, Dulwich before the performance begins at 2pm.  For more details please email natasha@informal.org.



Our next sonification - the Effra


Floodtide are thrilled to be part of the Dulwich Festival next month with our sonification of the underground River Effra.  The Effra is a fascinating waterway, and perhaps South London's most significant underground river.  John (Eacott, composer of Floodtide) lives in Brixton, on a road that the Effra flows beneath, and so when we heard of the opportunity to stage a performance in Dulwich, we immediately knew what form this should take!

The Effra is a largely underground river that flows in several tributaries beneath South East London.  In the mid-19th century much of the river was incorporated into the Victorian sewage system.  Tributaries rise in Gipsy Hill and Upper Norwood, flowing beneath West Dulwich, where they join at Herne Hill. The Effra then flows beneath Brixton towards the Thames where it emerges from a storm channel by the M16 building at Vauxhall.  

Floodtide on the Effra is a musical performance by Southwark musicians along the route of the Effra.  A water flow sensor at the point where the Effra meets the Thames at Vauxhall produces data that is transformed into musical notation played live by musicians.  This music is a sonification of the hidden natural force that flows beneath the ground of South Southwark.  We were keen to mark the route above ground, whilst showing the unexpected connection that that Dulwich area has with the river Thames - joined by an underground channel of water!!

Image of Effra joining Thames at Vauxhall taken from www.londonslostrivers.com/river-effra  - a fantastic website (and book) by Paul Talling for anyone interested in finding out about the Effra or any of London's other lost rivers.

Our performance of Floodtide on the Effra is made possible by Southwark Events.

Sing the Effra! Call for singers

On 18th May, a promenade performance of  Floodtide takes place at locations along the route of the underground river Effra.  Musicians will play music determined by the flow of water where the Effra meets the Thames.
We are looking for singers for the vocal section, which will take place at Dulwich Picture Gallery, before joining with all groups for the finale in Dulwich Park.
Vocal workshop:
Francis Peek Centre, Dulwich Park 
Sunday 4th May - 11am - 1pm
During this workshop composer of Floodtide, John Eacott, will work with singers to explore ways of singing the Effra. Please note to take part in this workshop you must also be available for the performance on 18th May, details here.
Please email natasha@informal.org to confirm your place or with any queries.

Vocal experimentation workshop with Tobias Hug

Calling all vocalists
Work with renowned vocalist Tobias Hug - an award winning beatboxer and singer who has worked with the Swingle Singers, to experiment with making sounds for a performance at Dulwich Festival.
Floodtide is a performance that makes music determined by the flow of water. For Dulwich Festival, musicians varying from percussionists, to brass, to choirs, will make music affected by the flow of the underground river Effra.
Your workshop with Tobias will explore various vocal methods for use in the performance. To attend this workshop you must also be available for the performance in Dulwich Park on 18th May.
Vocal experimentation workshop, Wednesday 14th May, 6.30 - 9pm, Husky Studios, Elephant and Castle.
There is more information on the performance here
Please email natasha@informal.org for more information or to reserve your free place.

Floodtide the next 5 years.


John Eacott and Natasha Bird in conversation.

24/5/2013. Southbank, London.

JE. Floodtide has now existed publicly for 5 years. During that time quite a lot has been achieved and much has been learned. When the project began sonification was quite a new field. There is now a much larger groundswell of artists who use data mapping across a wide range of work. Almost as a by-product of Floodtide the notion of generating music notation in real time which we call LiveNotation has grown. There have been 13 performances of Floodtide using live tide flow data. There have been several other performances using calculated data in which the principles and technology of LiveNotation have been developed including the use of portable and hand held devices like iPads and smart phones. We have worked with many different ensembles, something well in excess of 100 musicians have taken part in performances. Most, if not all events have attracted large audiences. There has been enthusiastic feedback from audiences and participants. The aim of the new proposal is to take Floodtide to a new level and reach wider audiences. This will be achieved with the installation of a permanent sensor generating notation constantly which will make it easier to organize formal performances and also permit 'viral' performances and participation, with events organized by individuals and groups autonomously.

NB. That's what I mean about this proposal. Although the project does have this rich history and we should talk about our track record is is important we go straight in with the headline of what we are doing now. And that everything up to now has led to this point where members of the public can play the tide whenever they like. This will also give a freedom to us and to anyone else to experiment and change the project into what they want it to be - such as playing the tide remotely, playing the tide at the same time every day for a week, incorporating it into their daily routine. Drawing on the strengths of Floodtide as we've been doing, so that the notation can be adapted and suit a variety of players, any number, any ability, any kind of group. I think it's unusual that you could have a brass band playing along with a choir or a busker on a guitar and it handles all of these different levels of complexity. So it will be something that we can play with, but also something that people can branch off with. At the heart of the project will be a sensor that is providing notation all the time.

JE. So it's magnifying the project, magnifying its reach, aiming for a global audience and also making it much easier to make performances. We would hope that there will be a significant increase in the rate at which performances develop.

NB. Going back to some of the initial ideas we discussed when you introduced me to the project, the beauty of the piece is that the tide continues beyond the performance. That is because the data and notation will be accessible, it's not only conceptual. This will add another dimension to the performances that we do because we will be able to say to people the music is still there, have a go.. the tide and data are continuing, it is just being played at the points people choose. We talk about LiveNotation, why is it different? Because when the project started this was quite an original idea in terms of sonification and mapping and representation of data. It is still unique in that respect but there is more. Why is it a valuable thing for people to play the tide?

JE. Addressing the question of LiveNotation, I feel we are at the tip of the tip of the iceberg here and that it is an exciting new field. And that makes it important now to crank up the intensity, to take it more seriously and allow the project to reach much further. LiveNotation is an interesting concept in itself. Our way of using LiveNotation is in Floodtide which is a good way of promoting LiveNotation.

NB. So the aim of the proposal is to have a structure through which we can develop and disseminate Floodtide and make it the best it can be. The resources that requires are actually fairly minimal. This is to do with the reach and the participation but all depends of having the resource there that is reliable.

JE. Yes, it's clear to me now that the focus of this phase of development is the permanent sensor and the things that can derive from that. In order for that to work we need to take the sensor installation seriously. This includes a robust and problem free physical mounting and all the connecting technologies like wireless internet and web server application need to be well thought out. That will provide the basis from which good things can grow.

NB. Yes, that is the thing, and with that many good things will come and secure the future of the project. here are other aspects of the project that are important too. It would be good to include a traveling setup that could be used in Barrow-in-Furness for example, because it shows that there still is a place for satellite or region specific events. The listening post is a valuable idea too because it will bring people to the place where the music is generated and it will give people a connection to the project. Everybody that plays or hears about Floodtide finds it an intriguing idea but I don't feel yet that we have really grabbed the public's attention and I think the permanent sensor, the listening post and the chance to go online and play your own tide will grab people. It is like a viral effect and a publicity thing, but it is also just taking the concept to levels that we have always spoken about. And now we are learning that it wouldn't be difficult or expensive but we need to make the most of it.

JE. To use a gardening analogy, it feels like the sensor is becoming the main stem of the object and there are other shoots that we need to nurture too. The sensor provides a bedrock for the project.

NB. It is important that the proposal makes the impact about how ground-breaking this is. It's quite detailed, and that is ok because we are asking for quite a lot of money, but the focus should be clear and the thing that is different about this proposal is that it is self sustaining and the focus is a resource and the good things that can come from that. So it's not only for people at the Southbank on a certain weekend, not only for people that buy tickets for an event or make it over to Trinity Buoy Wharf. It's something that will be far-reaching and we are going to try our best to ensure that it reaches every direction that it can. It is artistically drawn, it allows anybody to play the tide and connect to the tide. It allows everybody to perform a piece of ground-breaking contemporary composition as it is being created and it gives people the resource to create their own visions of what it could be.

JE. That's a powerful notion. It allows the possibility for people to create their own visions.

NB. It also breaks away from hierarchies in music between performer and audience. You can play, you can't play, you're professional.. This is something we have always talked about and this is the step which will allow this. The performance begins when you begin to play. And that is the thing that is ground-breaking about it - it is turning the volume up on something that.. [is silent..]

JE. That reminds me of Christopher Small's book 'Musiking', he uses the verb 'to musik' which challenges the divisions between artist and audience. I feel that we are implementing that.

NB. With regard to this proposal which is to Arts Council England, while it is ok to talk about the world-wide reach of the project we need to refer to how that reach is of benefit in England. And the benefit is that you become known world wide. Britain is an island and we are affected by tide. Most cities in the UK have rivers which flow through them, but even more fundamentally it is about time - the seasons and different measures of time. Previous proposals have been about specific events and even though we have put videos online the truth is that if you were not there you are not going to be so engaged with it. Wheras the new proposal concerns something that can be rolled out across many different groups.

JE. We are already beginning to see some viral performances, like Greta's friend presenting it at her composition class (at Leeds Uni)

NB. And Emmet Glynn mentioning it at his presentation at LCC. The Wolf Pack event happened because they found us on the internet.

JE. Lets reiterate the central components of the proposal. The thrust now is to develop the sensor robustly and permanently with a method of maintaining it too. Things that follow from that are the listening post at TBW and LiveNotation permanently accessible on the web. We will need to decide on the choices of ensembles that we support, or it could be much more flexible than that, a menu of instruments. We can invite users to engage with us and request a new instrument to be included. The other stem is some specific performances, like Barrow in Furness, NMM plus contacts with regional groups and others around the world.

NB. In terms of this proposal it's important to focus on the benefits generated in England, although that doesn't preclude good things happening elsewhere.

JE. Of course Lena and I may go off around the world and perform Floodtide where we stop over.

NB. That could be a strong aspect of the project, that it is self funded to some extent and a contribution from Informal to make performances around the world which will add value and feed into the interest in the UK. There is also some general development of the project, to promote the resource in different ways, and providing examples of ways that people can use Floodtide such as forming links between different groups, countries, people of different musical abilities etc.

JE. That is something to flag in the proposal. That Floodtide does not have to be performed by professionals, it can also be done with youth and amateur musicians. And we are looking into ways of involving people with disabilities, applying the idea of Floodtide to people across any level of ability and looking for the challenges that presents.