Vauxhall Pleasure was something of an unknown quantity: it was hard to tell from the Corsham Festival programme exactly what might happen – except that film and music were involved.

Regular festival goers would not be overly surprised by this, of course. The programme often challenges its audience to take a chance, extend their boundaries and experience something new or unexpected.

Stepping into the Pound’s auditorium, into darkness, the raked seating removed, audience members confronted two large screens and an array of musicians. Seats were taken (at café style tables or on the floor) and the experience began.

Vauxhall Pleasure proved to be a collage of sound, film and information conjuring up what creator Anna Best called the sonic archaeology of Vauxhall Cross, a central London road interchange heaving with traffic and once the site of a beautiful pleasure garden. The present day noise of traffic was interspersed with pastoral songs from the 18th century. Film of cars and lorries alternated with information about high levels of pollution and notes on the groups campaigning against the tyranny of the car.

It was a hypnotic and strangely beautiful event, despite the gravity of the subject and the sometimes hellish recreation of the noisy, ugly traffic pouring along the roads in a ceaseless stream.