WW20-Heartswin-Project-Page

http://woodandwire.com.au/project/ww20-heartswin-tammuz/

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 McKee: Guitar
Cecil Cuthbertson: Oboe
J Milo Taylor: baritone guitar, treatments, engineer, co-producer
Cover Still – Penny Vozniak
Artist Photograph – Bianca Markwell

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

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

‘congratulations, a very necessary job’ 5***** stars, The Scotsman

‘the Afghanistan you rarely get to hear about’ 3*** stars, Songlines

‘a truly valuable collection… unmissable bonus volume’, fRoots

Ahmad Sham Sufi Group: Zekra to Che Sheven Ast

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Year: 2008-2010
Location: London, Vienna, Edinburgh
Worktype: Improvisation Duo
Info: Collaboration with William Huckerby

http://www.myspace.com/notanum6er

Year:  2007-2009
Location: England
Worktype: Grimprovisation Duo
Materials:  noise, distortion, loops, voice, self devised instruments, radio, electric guitars, fx

Belmont Cinema bar, Aberdeen

Male voice,”I gave all that up”.

“Crap money”

The conference ended. People went off to get their flights. As an aside, a screening of the HERNoise film was announced. Few of the conference people made it down to the Belmont cinema.

playback > > Gentle exploratory sax improvisations.

Young men who were assisting in the conference, as technicians, welcoming participants etc are hanging out and chatting. A duo plays, reverbed out guitars with analog synth textures; a ten minute improvisation.

Male voice,” I wrote a song last week. From start to finish”.

playback > > Atonal punk guitars.

Male voice, “…Transylvania conquerors…”

“…live…” (Scottish accent).

This is not sound art. An independent cinema bar room. I go outside to smoke and chat to a fireman. Some talk about a collaboration with a member of the Canadian collective ‘Godspeed, You Black Emperor’.

Before coming here to the Belmont, I has an extended conversation with Jonty Harrison, which meant I missed the film screening. He feels ostracised by music, in the academic sense, and as if acousmatic music is being misappropriated by new media, pushing it into places he does not want it to go.

Male voice,”Do you know Angels of Light?”

After talking to Harrison, a short conversation with Dugal McKinnon who gave the presentation on vinyl. He does not own any, nor has he ever listened to music on vinyl. He comes from a background in ‘ants on a page’ composition.

Here, now, a single bearded, intense young man, on his knees, upon the floor, is creating a low distorted drone, somehow with a harmonica. The same model of Behringer desks that were present in the ‘academy’ during the conference are being used her, but attached to a string of guitar pedals. Delay, reverb, distortion. No granular synthesis here. A beautiful listening experience, a long way from the completed objects of Stollery, Harrison et al. Yet…

With a mouth harp, the tones pulse and build.

I think of tall trees, or a view over water. Breath as source, non-linguistics modulated by circuitry. The audience sits close – to performer, to each other. Active, eyes open. A small JVC camera records the action. There are framed pictures on the wall. A mono line of kazoo maintains spaced out beauty.

Neither high art or low.

But in-between. Less a blurring, more a contingent demarcation of personal experience.

Buzzzzz. Ice machine turns itself on.

The performer riffs against this. He is active in his spatial listening.

The magic has been broken.

I consider the body as the site of both oppression and agency. I feel totally alone in this town, yet sound has continued to connect me to a rich experiential sequence of intersecting aesthetic moments, punctuated by long periods of utter banality.

The acoustic, unamplified voice of the performer, a few moments ago an awkward disruption of the circuit-based abstracted beauty, now takes on its own meaning.

The entire audience is male.

“Walking through the sights” (sung)

In fact there are two women, both with partners.

“Walking through the skies on my bike”. (sung)

“Cheers. Thanks”.
Applause.

“Sigh”. From behind me.

The people here are active listeners. Well lit. Serious. Joking. Present. Young and old.

This is not academic music, is it? Is this then low? Fuck you.

Active state, undissipated. For this instant.
I feel no pain. For this instant.

Beating tones eternal. Electricity. Shifting slabs and delicate colours. I sense 600 years of change from summer to autumn, winter to spring.

In its way, this performance modifies what might be possible to hear, and see, in such a place as this. It sounds like part of here. It does not sound like apart from here. It does not sound like apart from hear.
The manager is counting coins from behind the bar.

Low grade Celestion speakers with appropriate sound streaming through them in situ.

Still the bar manager, oblivious, continues to count the silver.

Electricity from the performer, studied engagement. My view of him is blocked by a pillar, which in some ways, I am grateful for.

Just sound, no gesture, no source, no human, just sound.






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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KVO





Year: 2005
Location: Shoeneweider, Berlin, Germany
Worktype: Electronic Improvisation / Sound Installation
Info: Collaboration with kawaii, Julian Ronsfeldt and Leo Konigsberg.
KVO – Ascent to Pi

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KVO – As Industrial Cold is Distant Female

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KVO – House Becomes Island

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KVO – Sticking Plastic to Finger

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