Year : 2008
Location : Germany
Worktype : Sound Installation
Materials : appropriated sculpture, digital recording, mp3 player, male to female conversation (failed)
Year : 2008
Location : Bad Ems, Germany
Worktype : Sculpture.
Materials: industrial glue, solar cell, sugar, instant coffee, canvas, string, antique book excepts, steel sieve, cake tin, black spray paint, harmonica parts, mp3 player.
Location: Bargehouse Gallery, Oxo Tower, South Bank, London,England
Worktype: Puppet Performance / Immersive Environment
Materials: trumpet, loops, electric guitar, puppets, lights, candles, bare feet, voice, chocolate, oranges, slide projection, multichannel audio.
Info: with Barbara Fuchs
A sound composition created for a multi-channel performance/installation which took place over three weeks in the Bargehouse Gallery. Visitors were asked to remove their shoes, and led into a darkened environment by candle light. The single female performer guided visitors through a multisensory immersive environment.
A micro-theatrical performance / installation that combines elements of puppetry, sound art, theatre and music. The artists create an intimate environment stimulating the audiences’ senses of smell, taste, touch, sound and sight. Leading the attention of the spectator towards small details. Talking suitcases, taste tests, feeling between your toes,
Taking a small audience through an experience and back to its beginning. The fragmented story conjures dreamlike images and situations that enthrall and the audience is magically drawn into the scene.
The piece deals with the themes of refinding childhood, and asking basic questions, inspiring the imagination of the audience. Taking them through a close, intimate, almost personal experience. Coming close, leading the audience around not just by touch, but also sound, smell and taste. A gentle path where they can focus on small things, and perhaps refind a long-forgotten part of themselves.
Being small in a big world. Being safe. Being able to be like a child, just to look and feel and letting experiences occur close to you, not having to act from your own account, just letting things happen.The small details and magical things.
The audience feels their bodies, their ears, their skin, all of their senses again. The piece aims to draw attention to all of their senses. To challenge their imaginations, they are given something to taste and they imagine something, they can smell something and imagine something. It makes them go inward somehow. Finding your senses again. A safe, womb-space. Warm and quiet and dark.
Very personal experience, everyone in the audience will have a personal experience. Leaving the performance with something in their mouth, each one different. A taste with a lable attached to it – and orange with ‘what does this sound like’. Noise and heat and power, an force and fire, the sun, heat again, running, fighting, shouting, strength. (B.Fuchs)
Performance time: 20min show. Audience of 2- 10.
I had arrived a day early for the Art of Immersive Soundscapes Forum. 8 hours by Greyhound from Winnipeg airport across flat rolling endless prairie. The Empire Hotel. The cheapest place in town. Next door to the liquor store. The room was $25 a night. It hadn’t been changed in 25 years. Everything run down, and battered. A Friday night. Alone in the prairies. I locked myself into my room. I scanned the FM radio frequency to search for company.
Location : Morocco
Worktype : Laptop Improvisation Group
Materials: Tape Machine, PureData, Electric Guitar, MaxMSP, Ableton, FX, Field Recordings
Info : Laptop Performances, Tour of Morocco
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
7000dhs (2006) Flute ou Chien
7000dhs (2006) Le vegetable le moins cher
7000dhs (2006) Ritual
7000dhs (2006) Le vrai gnaui blues
7000dhs (2006) Taforalght 1
7000dhs (2006) Taforalght 2
7000dhs (2006) Marrakash
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
a further evolutionary step would result in
and so on
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.
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:
these will serve as our genetic base for the improvisations in marrakesh
Year: March 2006 – November 2006
Location: Whitechapel Gallery, London.
Worktype: 4-channel indeterminate electro-acoustic composition
3 versions iteratively produced over 2006.