Extraction fans – low level cyclical whirrr.

playback > > Musak – AOR style audio backdrop centred upon coffee bar.

Coffee machine and clatter of cups, saucers, glassware. People are working here. Polish girls and Asian boys.
dOk / tink / Kling
Most people are silent.

Mother with small child,
“He’ll not be a moment…”

Male voice, “Freaks me out that…(Yorkshire accent)

Mother, “…certainly do…“,

Male voice, “Watching telly…and call Ian. This was the last time. I was in bed. Fucking hell. Then the next day…”

Fruit machines are silent from here, but their lights are flashing.

Distinctive click of a metal Zippo lighter from behind me.

Unidentified electronic pulse. 2 second duration.
Continued whirrr of extractors and coffee bar in background.

General atmosphere is quiet, calm, pensive, synthetic. Colour – light grey.

Mobile phone incoming message tone from woman at table 2 meters away.

Male voice, “It’s not worth it”. The Yorkies continue their chat.

Subsonics from engines outside the large rectangular windows penetrate the interior. Felt rather than heard.

Female flight announcer on public address system. A flight to Glasgow.

“…All other passengers remain seated. BMI wishes you a pleasant journey”.

Reasonable audio fidelity and diffusion. Clear, good frequency response.

Moog sound in musak track suggests possible merging with electronic tones of mobile phone tones.

From behind, new female voice, “…basically, she’s still waiting.”

Male voice, “She’s paranoid.”

Same female voice, “…you can still plough on. I hope it all works out.”

Same male voice, “It’ll never change.”

I am asked for a light.

Outside of the smokers’ area, a silenced TV gives news of Iraq violence, Lebanon Funerals and the Russian spy is dying.

playback > > Female flight announcer. Flight to Manchester.

“Business class passengers can board at their leisure”.

Her voice, too close to the mic pops and distorts on the ‘B’, ‘c’, ‘p’, and ‘b’. Pop shield required.

playback > > “Since you been gone…”

Swooshhhhhh swell of air conditioning.

(breath, sigh, and coffee machine).

sploosh,

pockle

playback > > Female flight announcer,”Thankyou for waiting.”

Through the large windows an aeroplane pulls in. No sound can be heard. Strangely dislocating.

Passengers have boarded the flights to Glasgow and Manchester. Ambient sound levels have fallen. The TV is now audible. I can hear the weather report from the widescreen display (BBC 24).

The blandly carpeted floor silences footsteps. I decide to leave the smokers’ area, and go towards the waiting area by the departure gate.

The Blurred Compilation Album: Through Coffee Machines, Applause and Near Silence to Just Sound.

A Sonic Journey from Hackney to Aberdeen. 23-26 November 2006

Blurring of the Boundaries Conference. Music Department. University of Aberdeen

A series of writings on sound.

To be read in indeterminate order.

SIDE A

track 1)
| 23.11.06.| 15.00hrs | Smokers’ area. Heathrow Airport. Terminal 1 Departures. Gate 8

track 2)
| 15.30hrs | On aircraft. Flight BD676

track 3)
| 15.45hrs | Reception Area / Café, MacRobert Building. Uni. of Aberdeen

track 4)
| 18.00hrs | Lecture Theatre, MacRobert Building. Uni. of Aberdeen

track 5)
| 18.45hrs | Christina Kubisch “A Personal History of Sound Art 1976-2006″

track 6)
| 20.00hrs | Jerome Hansen, “Mapping the Studio (Fat Chance Matmos): Sonic and visual arts connected through the artist’s workspace.”

track 7)
| 20.30hrs | Joyce Shintani ‘Working the In-Between.’ A ‘Feminine Reading’ of Maryanne Amacher’s Sound Art

track 8 )
| 21.00hrs | David Prior |Soundwalking as a Research Tool:
Some thoughts on the use of Soundwalking in the Warwick Bar development project

SIDE B

track 9)
| 25.11.06 10.00hrs | Lecture Theatre, MacRobert Building. University of Aberdeen | Chris Byrne “Streaming Media and Networked Radio”

track 10)
| 10.45hrs | Keynote Address | Rajesh Mehta “Sounding Buildings: New Music and New Architecture”

track 11)
| 16.15hrs | Concert Hall | Nouritza Mattosian and Rohan de Saram “The World of Xenakis”

track 12)
| 20.00hrs | Concert Hall | Keith Rowe, Rajesh Mehta, and Rohan de Saram Improvised Performance

track 13)
| 21.00hrs | Bill Thompson and Patrick Keenan – Improvised Performance

track 14)
| 26.11.06 | 09.45hrs | Lecture Theatre, MacRoberts Building, Uni.of Aberdeen | Owen Green “More Than ‘Just a Hammer': Critical Techniques in Electroacoustic Practice”

track 15)
| 10.00hrs | Dugal McKinnon, Spectral Memories. The Aesthetics of the Record

track 16)
| 10.45hrs | Jana Phillips, “Sonic Postcards: A consideration of the interdisciplinary and artistic possibilities of a school-based sound education project” & Adam Proctor “See Hear Inverurie”

track 17)
| 11.30hrs | Keynote Address |Jonty Harrison “Dilemmas, Dichotomies and Definitions: acousmatic music and its precarious situation in the arts”

track 18)
| 13.30hrs | Concert Hall. Acousmatic Concert Over a multi-channel loudspeaker diffusion system

1. Pete Stollery | ‘scenes /rendez-vous’
2. James Wyness | “Metallurgy”
3. Jonty Harrison – Unsound Objects

track 19)
| 15.30hrs  | Plenary Session

(bonus hidden track)
| 21.43hrs | Belmont Cinema bar, Aberdeen

BBC Radio 4 Drama. Directed by John Dryden.






Year: 2005-2006
Location : Morocco
Worktype : Laptop Improvisation Group
Materials: Tape Machine, PureData, Electric Guitar, MaxMSP, Ableton, FX, Field Recordings
Info : Laptop Performances, Tour of Morocco

Work Details
For the summer months of 2005 and 2006 I took part in a number of interdisciplinary art festivals in Morocco. These recordings, made in Marrakech, are examples of context-responsive electro-acoustic improvisations made by an ensemble of 4 players assembled for the project. A strategy based upon genetic algorithms, that is to say, a collaborative process of selection and modification of sounds was developed, prior to performance, in order to create cohesion and a group identity in, at times, quite difficult circumstances.

7000dhs (2006) Step 1 Export

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7000dhs (2006) Flute ou Chien

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7000dhs (2006) Le vegetable le moins cher

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7000dhs (2006) Ritual

7000dhs (2006) Le vrai gnaui blues

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7000dhs (2006) Taforalght 1

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7000dhs (2006) Taforalght 2

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7000dhs (2006) Marrakash

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7000dhs (2006) Tous les Portes sont fermees

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Genetic Algorithms: Rules of Evolution

1 each directory represents the gene pool for that 15 min section of performance. contribute as many specimens as you see fit (15 max?) =a lot of genetic material to become familiar with

naming conventions: ritual001-01.wav

means ritual sound file 001 – first generation

after a generation of evolution it would become
ritual001-02.wav

a further evolutionary step would result in
ritual001-03.wav

and so on
ritual001-04.wav
ritual001-05.wav
….

3 it would be interesting for each dna strand (sound file) to go thru a minimum of 4 steps

i.e to pass thru each of the ‘fitness selectors’ following the original entry into the gene pool.

adam
cate
ed
joel
milo

4 process
once you have downloaded the all the material, have a listen and assess the sample’s fitness for selection or rejection.

material selected is to be subjected to one of two processess

genetic splicing – dna from two selected samples is exchanged
mutation – dna is subjected to audio processing, and mutated into the next generation

nb/ neither of these processes should be applied to the entire strand, only sections of the strand may be processed, leaving some of the previous generation’s dna intact.

upload the next generation, with their new tag – e.g ritual001-01.wav, after modification, will be renamed, ritual001-02.wav

kill the parents (we should leave the originals online, but they are now unfit, and should be rejected)

by the end of this first stage of the process we should end up with a number of files:

ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav

these will serve as our genetic base for the improvisations in marrakesh

http://www.myspace.com/7000dirhams

Year : 2006
Location : England
Worktype : Contemporary Improvising Trio
Info : with Adam Asnan, Ed Kelly

Data Membrane

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German Bight

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Polaris Redux

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Year: 2006
Location: Coldstorage Exhibition, Kühlhaus am Gleisdreieck, Luckenwalderstr. 3, Kreuzberg, Berlin, Germany
Worktype: Soundwork
Materials: ice, vinyl test tones, baritone guitar, misery box, granulation, voice

Material Investigation 7 – Part 1

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Material Investigation 7 – Part 2

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Material Investigation 7 – Part 3

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Material Investigation 7 – Part 4

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Material Investigation 7 – Part 5

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Locations: Node.london Festival, E:vent Gallery. Shoreditch, Ev*a Fringe Festival, Limerick
Worktype: Circuit-bent puppetry performance
Info: with theatre designer/puppeteer Barbara Fuchs and artist/circuit bender Spax (Joel Cahen).

Year: March 2006 – November 2006
Location: Whitechapel Gallery, London.
Worktype: 4-channel indeterminate electro-acoustic composition

3 versions iteratively produced over 2006.