Audio-Visual Installation / Live A-V Performance
Built with vvvv
12th September 2012: Scheune Schall, Stommeln (performance)
11th September 2012: Die Alter Feurwache, Cologne (performance)
12th-15th July 2012: Rundgang , KHM Cologne (installation and performance)
28th June 2012: Metasonic@ IPA, Lisbon, Portugal (performance)
Trio with Wajid Yaseen and John Hegre, Metasonic Festival, Lisbon, Portugal
with David Behrman (composer / laptop),
Okkyung Lee (cello) and William Forman (trumpet).
Curated by Hans W. Koch.
A bricolage of shellac records found in Cologne in early 2012 forms the basis for a sonic ethnography of geographically bound historicised listening. There is an accompanying article published in Off-Topic #4 written in collaboration with George Brock-Nannestad and Dirk Specht. This work was undertaken during a research fellowship at the Kunsthochschule für Medien Köln. Many thanks to Anthony Moore, Cathy Lane and Martin Rumori for making this work possible.
1.) Karl Reich: Volkslieder. (Dreistimmung, harmonisch umsungen von Nachtigall-Edelkanarien der Zucht)
ELECTROLA E.G. 855 8-49269. Germany.
2.) Adalbert Lutter mit seinen Tanzorchester: Rhythmus der Freunde (There’s a New World).
Telefunken Bestell.Nr 6359 22016. Brown shellac. 1937. Germany.
3.) Die Goldene Sieben und ihr Orchester: Gefährliches Spiel (Tonfilm).
ELECTROLA E.G. 3923 ORA 1923 / ORA 1924. 1937. Germany.
4.) Grosses Tanzorchester: Für ein paar Stunden hast du mich glücklich gemacht.
TELEFUNKEN A 2190 21968. Germany.
5.) Zarah Leander & Werner Müller mit dem RIAS Tanzorchester, Berlin: Eine Frau in meinen Jahren.
POLYDOR. 48871 B. Germany.
6.) Harry Roy & his Orchestra: The Merry-Go-Round Broke Down.
ODEON. 0-31198b. 1937. England.
7.) Eugen Wolff v. Hotel Eden, Berlin: Es geht ein Singen.
ODEON. 0-31154b Be. 11654. 1937. Germany.
8.) Cyrus Bassiak (Serge Rezvani) et Jeanne Moreau: Le Tourbillon.
DISQUES PYRAL. 1962. France.
9.) Orchester Ludwig Ruth (Refrain gesang: Elena Lauri): Ach, Ich Hab Soviel Rhythmus.
ELECTROLA. E.G.3807. ORA 1596. 1937. Germany.
10.) De Groot und Edward O’Henry: Ave Maria.
ELECTROLA. E.G. 2012 30-3824. Germany.
11.) Jaqueline François mit Joe Boyer u.s. Orchestor: Mélancolie.
BRUNSWICK. 82451 A. 1956. France.
12.) Dizzy Gillespie & his Orchestra: Cubana Bop.
ELECTROLA. EG 7779 D7 VB 2934. Germany.
13.) Willy Breuser und die Kölsche Rabaue: Och wat wor dat fröher schön doch en Colonia.
KRISTALL. Bestell.Nr 9113 C 9718,1. Germany.
14.) Staats and Dom Chor (unter Lietung von Professor Hugo Rüdel): Licht von Herrn.
ELECTROLA. E.G. 223. 8-44750. Germany.
15.) Harry Roy & his Orchestra: I’m gonna kiss myself Goodbye.
ODEON. 0-31198a. 1937. England.
16.) Bassiak et Jeanne Moreau: Le Tourbillon.
Dialogue overdub. DISQUES PYRAL. France.
4-channel spectral improvisation with Joel Cahen and Wajid Yaseen
CHIESA DI SANTA EULALIA (Istituto Cervantes), Via Argenteria Nuova 33, Palermo
These images document an emerging methodology for working with situated sound recordings (a term I prefer to field or environmental recording – perhaps phonograph is preferable). I do not consider these digital files to point backwards in time towards some imagined documentation of a contingency typified by excess. They do present some trace of dynamical spectral activity. Such activity I understand to occur both in the frequency domain and also a mythical, haunted domain of lack, loss and absence.
The spectrograms, while found useful when dealing with many recordings of various duration, are of course an abstraction of the sound itself – they do however present, by this very abstraction, a playful means of re-rendering the recorded sound into something other.
This performance, as part of the Opensound project also suggested to me to explore a means of realtime 4 channel spatialisation using FLOSS tools. This performance was my first live experiment using a mashup of TouchOSC/PD/Ableton to move though an recombinatory 4 channel matrix of the spectral abstractions
WFAE 2011: Crossing Listening Paths
R. Murray Schafer, Katharine Norman, Allen S. Weiss.
‘Crossing listening paths’ is the main theme of the Conference of the World Forum for Acoustic Ecology, which took place at the Department of Music of the Ionian University in Corfu, Greece from 3-7 of October 2011.
The conference was endorsed by the World Forum for Acoustic Ecology and the Hellenic Society for Acoustic Ecology, was organized and co-sponsored by the Department of Music of the Ionian University and the Electroacoustic Music Research and Applications Laboratory (EPHMEE) of the Ionian University, and was supported by the Computer Music Laboratory of the Department of Music Technology and Acoustics of the Technological and Educational Institute of Crete.