demo for as yet untitled project
Sound Culture Module
Sound, Writing and Critical Thinking
a view of the water’s surface as the membrane of a primitive conciousness
the body of water begins with relative stillness
organic materials decomposing
the sound of rain from high above
wind creating ripples and waves
the seasonal freezing and melting of the water – transformations from liquid to solid and back again
life, as yet is unknown in this environment
the volume of water increases and decreases related to icemelt, daily evaporation, and flow into and out of the pond
a primitive lifeform struggles into exisitence, spasms into beingness, twitches, pulsates in irregular, unregulated beingness
it begins to increase in complexity,though remaining highly simplified. neural links connect matter, and unanimated matter, becomes imbued with life. a cellular lifeform comes into being.
on the other side of the pond, a similar process occurs, but an all together different life form is generated. it slowly becomes self-aware
lifeform 1 in coming into existence, betrays its location to lifeform 2. how does it react? does it attempt to conceal itself? does it attempt to communicate? does it attempt a violent confrontation? which is hunter. which is prey? lifeform 2 must also react? co-modulation of behaviours. co-evolution. in this way a neural connection between seemingly distinct entities contribute to the emergent conciousness of the pond as a whole.
following the resolution of the issues outlined in narrative three, a further life-form comes into being. more complex. the next generation of life in the pond. how does its apperance affect lifeforms 1 and 2? how does it change their relationship?
a contextual cataclysm – a flood / a drought. all life comes to an end.
Inspired and dedicated to David Dunn.
Member of Adachi’s Group at “Speaking Out” Symposium. Tate Modern, South Bank, London
This symposium focused on the use of the spoken word in artistic practice and its manifestations in sonic and audiovisual art works. Taking the lead from the recently published anthology of works Playing with Words: The Spoken Word in Artistic Practice, this event encompasses performances, talks and conversations by artists and researchers who employ spoken words as their material and inspiration.
Contributors included Adachi, Caroline Bergvall, Dani Gal, Brandon LaBelle, Cathy Lane, Oswaldo Macià, Nye Parry, Inua ‘Phaze’ Ellams, Imogen Stidworthy, David Toop and Trevor Wishart.
Organised by CRiSAP
Sound, light and movement performance with Mariella Greil and Werner Moebius.
Audrey Chen (cello/voice/electronics)
Werner Moebius (electronics)
J Milo Taylor (electronics/electric baritone guitar)
Audrey Chen is a Chinese-American musician and performance artist born outside of Chicago in 1976. Using the cello, voice and analog electronics, Chen’s work focuses on the combination and layering of traditional and extended techniques. A large component of her music is improvised and her approach to this is often extremely personal and visceral. Her performance work incorporates sound, movement and visual/sculptural concepts. Chen performs solo and in collaboration with a wide number of musicians and dancers. Among musicians, she has worked with many great artists, including Phil Minton, Tetuzi Akiyama, Toshimaru Nakamura, Ko Ishikawa, Elliott Sharp, Aki Onda, Phill Niblock, Frederic Blondy, Jim Pugliese, Alessandro Bosetti, Mike Cooper, Mats Gustafsson, Mazen Kerbaj, Michael Zerang, Tatsuya Nakatani, Le Quan Ninh, Joe Mcphee, Susan Alcorn, Michele Doneda, Paolo Angeli, and Gianni Gebbia. Some current projects include: duos with Phil Minton, Frederic Blondy, Robert van Heumen, Katt Hernandez, Nate Wooley, a new trio project with Nate Wooley and C. Spencer Yeh, 3AandE: with Seamus Cater, Robert van Heumen and Nate Wooley and Trockeneis: with Andy Hayleck, Dan Breen, Catherine Pancake and Paul Neidhardt. Chen has performed in Europe, Russia, Australia, New Zealand, China, Japan, Taiwan and the USA. She is currently based in Baltimore, MD USA where she is member of the Red room and High Zero Collective, an on-going series and international festival devoted to experimental improvised music.
Werner Moebius works with sounds, beats and files in the context of audio culture, sonic and intermedia art in between conceptualisms,contemporary music, electroacoustic improvisation and electronica. He uses the plasticity of sound to set up dialogues with other media and music methodologies. From abstract sound material he creates a unique mix of styles ranging from minimalistic soundscapes to weird instrumental poppy tunes. Generating sounds is taken as a basis to develop complex compositions as well as audiovisual and transitive concepts in collaborations with artists of differing media.
Works, performances and collaborations with many artists including Fennesz, Christoph Kurzmann, Gelatin, F.M.Einheit, David Moss, Jason Khan, N.U.Unruh, Hans Joachim Roedelius, Billy Roisz, Cornelie Müller, Alexeij Sagerer, Hanno Leichtmann, Johannes Strobl, Stephan Mathieu, Rudi Mahall, Didi Bruckmayer, Alexander de Goederen, Oliver Hangl, Ulli Koscher, Heidrun Holzfeind, Paul Divjak, Georg Wagenhuber, Christoph Hinterhuber, Machfeld, Gernot W. Koza, Frenk Lebel, Hans Falb, Stefan Parnreiter, Renèe Stieger, Phillip Quehenberger, Marco Eneidi, Hermann Stangassinger, Hannes Schweiger, Wilbert de Joode, DD Kern, Lee Patterson, Gene Coleman, Todd Carter , Mariella Greil.