creative agenda
Deconstructing Etudes as residual
Recorded Practice, electronic effects. [ 5:58]
Track thinking of sound as residual, like the 1000s of years built up on the walls of Lascaux, deconstructing practice as linear and imagining it as a permanent marker on a surface, writing over and over again.
Enhance: Live Recorded Improv with Alex Lough
Recorded Live Performance, electronic effects. [ 9:36]
This was a recorded live performance with Alex Lough at Atlantic Center for the Arts from a graphic score I wrote inspired by the shape of the Saw Palmetto. The score suggested points in time based on the rise and fall of the jagged edges of a Saw Palmetto Frond. The direction was lifted from Pauline Oliveros to "Enhance".
Excerpt from Live Performance with Harrison Farina.
Recorded Live Performance, live sampled field recordings from Greece, electronic effects, piano improvisation, and spoken text. [ 24:12]
This was a recorded live performance with Harrison Farina, a philosopher, who read selected passages from the Hyperion. I would create sound in reaction to the words selected through live sampling of prerecorded field sounds, affected contact mic recordings of acoustical instruments, aeolian harps, and a live improvisation on piano. Audience members were also sampled as they reacted to the performance while making cupels in rocks.
This sound work was an exercise in improvisation on bassoon after a meditation on a drawing. During the recording you can hear multiphonics and an attempt to acoustically stretch the sound by purposefully bending notes out of tune.
Recorded Live Improv on bassoon with effects [4:52]
Reverb Meditation
Whitepipe Texture
Recorded Sound with effects [3:16]
This sound work was an exercise in describing an object, a pipe, by using its aural qualities, rather than drawing contour lines. In essence it is an observational drawing, but done through sound rather than line and paper.
Baseball 60bpm
Recorded Sound, Electro-acoustic work with field collected sounds [3:45]
This sound work was created using the data from an old baseball card. The pure frequencies were created based on numerical statistics on the back of the card. Durations were also influenced by the numerical data on the card. A process work to allow for chance sounds to emerge.
Sax Red
Recorded Sound, electronic composition with effects 2:22]
This sound work was an exercise in synesthesia to create a work that was an improv based on imagining the color red while playing the saxophone.
Recorded Sound, electronic composition with effects [ 4:05]
Sythaesthe
An excerpt from a longer work that brings together various sound textures and a slow unfolding pace.
Ribs Etc. (Inferior nasal concha, Lacrimal bones, Mandible, Maxilla, Nasal bones, Palatine bones) (2008)
Recorded Sound, Electro-acoustic work with field collected sounds [8:03]
This sound work was developed as a response to the idea of internal vibrations of the human body. I wondered if the sound could be an auditory interpretation of imagining the sounds inside the bones of the face and ribs while breathing.