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PULSE/VOID — Signals After Dark
Sound becomes space.Light becomes time.
PULSE/VOID is built on a single instruction to every artist on the programme: make the room audible and make the hour visible. Nothing on this site is decorative. A tube brightens because a frequency rose. A corridor darkens because the people inside it went quiet. A rotation completes because eleven and a half minutes passed.
The building does the rest. Kilnbank moved water for sixty-one years and was drained in 2019. Its chambers are long, hard and cold, and they answer sound in ways a purpose-built venue never will — the Spine holds a note for four seconds, the Outfall for nine. We programme to that, not against it.
A signal you can stand inside.
Installations
Five commissioned works, running from doors to close. All five are included with any ticket. All five change over the night — none of them is the same work at 19:00 and at 04:00.
Carrier Tone
Twelve neon carriers strung the length of the tunnel, each tuned to a partial of a 40 Hz drone. The tubes do not pulse to a pattern; they brighten with the partial they carry.
Null Meter
A nine-metre wall of salvaged fluorescent tubes driven entirely by the electrical noise of the building itself. The wall is silent. Everything you hear is the room being measured.
Dead Air (140 m)
A hundred and forty metres of corridor lit in inverse proportion to its own volume. Talk and it dims. The far end has only ever been reached in silence.
Wet Signal
Two centimetres of standing water and one laser sheet held a hand above it. The chamber has a nine-second tail, so the light you see has already been sound for most of its life.
Low Orbit
One rotating array in a room with nothing else in it. A full revolution takes eleven minutes and thirty seconds. Sixty revolutions is the night.
18:00 → 05:30
One night, four zones, no clashes worth agonising over — the walk between the furthest two rooms is ninety seconds. Levels shown are programmed intensity, not volume.
Void ChoirSignal Loss (v.3)
Void Choir works with one voice and a room full of speakers that are slowly, deliberately failing. Over fifty-five minutes the array drops channels one at a time until a single cabinet is left carrying the whole piece, and the lasers thin with it.
Version three was rebuilt for the Pump Hall — twenty-two metres to the ceiling, four seconds of decay, and a floor that transmits everything below 60 Hz straight into the soles of your feet. It has not been performed in this configuration before and will not be again.
Artists & works
Twelve names on the 2026 programme. Where an artist appears twice, the installation runs all night and the live set does not.
- Roza Kestrel
- Adaeze Okonkwo
- Ivar Sandström
- Mira Halloway
- Tomás Ferreiro
- Void Choir
- Half-Life Orchestra
- Neve Ostrander
- Substrate / K.O.T.
- Nadja Voss
- Plastic Weather
- Field Unit 9
Kilnbank Pumping Station
Kilnbank moved water for sixty-one years and was drained in 2019. It has four usable chambers, one entrance and no windows. Everything below is site grid — an internal reference for the building, not a geographic coordinate.
Ear protection is free at the west gate and we would rather you took some. The Pump Hall runs sustained low frequency; the Cold Store never exceeds 82 dB. Slow strobe is used in two works and is signed at the door of each.
Three ways in
One night, one release, no tiered pricing that changes while you look at it. Every ticket includes all five installations.
Allocations are held for ten minutes at the gate. Nothing is charged and nothing is stored until you complete the hold in person.
05:30