- Hidden Encounters – 24/25 July – Nicosia, Cyprus
- VCCA 2017
- Experimental Music & D’Arcy Thompson’s On Growth and Form
- Amplified Silence @ Ithaca Porchfest
- Beautiful Sounds . . .
- Spaces of Animal Voices
- “My God! What has sound got to do with music?”
- Humpback Whales: Composers of the Sea
- Patrick Wood
- Erasing the Glitch
- Listeners are Observers and Musicians
- Animal Transcriptions
- Dawn’s Chorus
- Chambers – for Alvin Lucier
As a composer, sound artist, and researcher, I’m interested in sounds we perceive as “inside” or “outside” performance, and in the ambiguities that may arise at boundaries between them. I’m exploring this idea in a set of pieces for solo performers and webs of animal voices (and their surrounding environments), called Doubtful Sound. Begun during recent residencies at the Virginia Center for the Contemporary Arts, these compositions reference my earlier interactive work with catastrophe theory through their use of time-based network structures as sources of emergent processes. This summer I aim to investigate animal sounds as emergent processes in themselves, through a set of sound installations for the EUC Interfaces project in Cyprus.
Last year at the VCCA, along with field recording in the Blue Mountains, an overnight autonomous recording (through an open window) unexpectedly captured coyote voices. And during preparation for a performance, just-audible links appeared between John Cage’s Sonatas 14 & 15 and the sounds of metal that might be heard by gently strumming Richard Lippold’s Gemini sculpture.
On Growth and Form 100
Dundee and St. Andrews, Scotland
This conference celebrated the centennial of the publication of D’Arcy Thompson’s seminal book On Growth and Form. Its focus on formal similarities across biological and geological phenomena has had a profound impact not only on biological research but also on artists, including architects and musicians. Composer and theorist James Tenney begins two of the chapters of his MetaHodos with quotes from Thompson’s text. My presentation investigates connections between Thompson’s ideas and Tenney’s text, which he used as a basis for early experimental computer-generated pieces realized at Bell Labs in the 1960s. => Read more
in Ithaca NY at the 2016 Porchfest
. . . John Cage’s Sonatas and Interludes, for prepared piano, composed in 1948, create unexpectedly inviting, gentle buzzes, bells, resonant gongs, and extended piano sonorities. In-between the piano’s strings are pieces of rubber and plastic, small, medium, large bolts, furniture bolts, screws, hardware nuts, an eraser . . . . . . and out of the piano come . . . delicate bells . . . expansive gongs . . . hi-hat cymbals . . . drums . . .
as if suspended in t i m e & s p a c e
In 2015-16 I worked at the Contemporary Music Research Centre, at the University of York (in the UK), investigating ways to listen to spatial interactions among animal sounds, and to how sound changes as it travels through air and water. How might music composition facilitate an exploration of our perception of animal voices and our connections to them? Starting from the composition Dawn’s Chorus we made Imagined Environments.
Gesture and relationship as compositional materials
in two pieces by Christian Wolff
Christian Wolff Study Days
Orpheus Institute, Ghent, Belgium
This event explored Wolff’s music via paper presentations, performances of solo and chamber works, and an interview with the composer. My paper explores and compares his use of musical structure in Dark as a Dungeon and Edges.
=> Read more