Iain Mott is a sound artist and a lecturer (professor adjunto) in the area of voice and performance in the Departamento de Artes Cênicas (theatre arts), Universidade de Brasilia. His sound installations are characterised by high levels of audience participation and novel approaches to interactivity. He has exhibited widely in Australia and at shows including the Ars Electronica Festival in Linz, Emoção Art.ficial in São Paulo and the Dashanzi International Art Festival and Multimedia Art Asia Pacific (MAAP) in Beijing. His most recent installation with Simone Reis O Espelho was exhibited at the Centro Cultural Banco do Brasil (CCBB) in Brasilia in the second half of 2012. Iain has received numerous awards and grants and has successfully managed innovative projects for almost 20 years. His GPS-based project Sound Mapping was awarded an Honorary Mention in the 1998 Prix Ars Electronica. In 2005 he was awarded an Australia China Council Arts Fellowship to work with the Beijing arts company the Long March Project. His work Zhong Shuo was created as part of the fellowship in collaboration with Chinese artists and was given 3rd prize in the UNESCO Digital Art Awards. The project has in addition been selected by MAAP for two further installations in Shanghai and Brisbane in 2006. Iain was artist in residence at the CSIRO Mathematical and Information Sciences in Canberra for 12 months in 1999/2000. The notion of collaboration between artist and audience has ongoing importance in Iain's work. His PhD from the University of Wollongong was supervised by Greg Schiemer and is entitled Sound Installation and Self-listening.
The composition Pope's Eye by Iain Mott was an outcome of a two week artist residency undertaken by Ros Bandt and Iain Mott in 2004 at the Melbourne Aquarium. Bandt and Mott made hydrophone recordings at the aquarium as well as recordings at Pope's Eye in Port Phillip Bay, Victoria. The aquarium recordings were subject to high levels of noise from the filtration equipment and noise reduction software was used to isolate the marine sounds. The sounds that can be heard in this composition include feeding sounds of marine life (fish and crustaceans), the sounds of fish calls, the sounds of staff divers at the aquarium, a motor boat on the bay and gannets at Pope's Eye. Other than the noise reduction, very little audio processing was applied to the recorded sound. The sounds were simply edited into a narrative form.