electric gtr / electric gtr /baritone gtr /drms / vox in latent lines). rehearsal room digital stereo recording: cable street studios.
demo for as yet untitled project
with Sar Friedman (concept, voice, harmonies & arrangement)
Olivia Chaney, Harmonium, Voice, http://www.myspace.com/oliviachaney/music
Serafina Steer: Harp, Voice www.serafinasteer.com
Joe: Guitar
Cecil Cuthbertson: Oboe
J Milo Taylor: baritone guitar, treatments, engineer, co-producer
Tracks Recorded, Engineered and Produced in Hackney. (Elderfield Studios)
Released as a full-length bonus CD with “The Rough Guide To The Music Of Afghanistan” by The World Music Network: Get it here
Ahmad Sham Sufi Group: Zekra to Che Sheven Ast
Year: 2008-2010
Location: London, Vienna, Edinburgh
Worktype: Improvisation Duo
Info: Collaboration with William Huckerby
http://www.myspace.com/notanum6er
A version of this article appears in Playing with words: The Spoken Word in Artistic Practice Edited by Cathy Lane
A collection of responses from over 40 leading contemporary composers and artists who were invited to represent aspects of their creative practice with words, and in particular, the spoken word, for the printed page.
The book concentrates on the kinds of creative play to be found in different sound based genres such as electroacoustic music composition, text sound composition, and sound poetry while reflecting artistic practices in disciplines of such as digital arts, electronic, concrete and experimental poetry, performance art and fine art.
The contributors have chosen to represent their work in a variety of different ways which include writing, graphics, poetry, photographs and through interview.
Playing with Words is designed by Colin Sackett and published by CRiSAP in collaboration with RGAP.
Year: 2007-2009
Location: England
Worktype: Grimprovisation Duo
Materials: noise, distortion, loops, voice, self devised instruments, radio, electric guitars, fx
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7000dhs (2006) Step 1 Export
7000dhs (2006) Flute ou Chien
7000dhs (2006) Le vegetable le moins cher
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
7000dhs (2006) Ritual
7000dhs (2006) Le vrai gnaui blues
7000dhs (2006) Taforalght 1
7000dhs (2006) Taforalght 2
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) Marrakash
7000dhs (2006) D’hadra
7000dhs (2006) Tous les Portes sont fermees
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
