We present a study of seismic noise, using an array of seismic sensors, at the Australian International Gravitational Observatory. We show that despite excellent attenuation of 2–20 Hz seismic waves from the soil properties of the site, which is confirmed by a specific experiment, there are important technical issues associated with local sources of vibration originating from within the laboratory buildings. In particular, we identify vibrations from air-filtration equipment propagating throughout the site. We find significant building resonances in the 2–13 Hz band and identify seismic noise originating from regional mine blasts hundreds of kilometers distant. All these noise sources increase the performance requirements on vibration isolation in the 2–20 Hz frequency band.

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This article analyses the composition and experience of Proto-type’s The Good, the God and the Guillotine (2014) from three critical positions central to the making process: Andrew Westerside, from the position of director and performer-singer; Martin Blain, from the position of composer-performer; and Jane Turner, from the position of dramaturge. It addresses an emergent connection between the sharawadji effect and the techno-sublime, made possible in this performance through the disturbances of technology and the ‘technologically uncanny’. The objective of\ud the article is twofold. Firstly, it demonstrates how both internally (to the performer) and externally (to the spectator) experiences of sharawadji and the sublime might emerge. Secondly, it proposes these experiences – notably sharawadji – as a product of the interdisciplinary process, and suggests in doing so a productive relationship between the often conflicting or unresolved dramaturgies that are created across performance disciplines