“I’m Bill Thompson, we’re going to start”.

Owww. Sine tone

Like vinyl noise.

Sinetone.
Like vinyl noise.

Sinetone.
High sine tone.

Like vinyl tone. Higher in the mix. More defined.

Source = water? Fire?
Pop.         Pop       Pop…       crackle

Pop

Shuffle.
The footsteps of latecomers.

Skrayp of chair.

1  2  3, 1  2  3, 1  2, 1  2, 1  2  3, 1  2  3  4

Mid-low percussion kicks.

I close my eyes and wait for something to write.

Any number of images come into my mind.

The first being a view of the ocean today during a soundwalk.

Cold wind, ocean surf, ships in the middle distance. What does this have to do with these sounds?

Hi hi static sine tones, with slight beating.

Low register bass tones. Beating more noticeable.

Thompson pulls out a contact mic and battery powered fan. It makes a sound.

Beating pulse tones continue.

Cough from two seats to my left.

I look at the clock.

A lo to mid bass texture comes into the mix.

I am experiencing some in ear soundings.

A deeper bass texture increases its presence. Pulsing, pulsating.

Hi frequencies are now clearly sounding in my ears.

Not unpleasant. Not pleasant. What then?

A bass texture, pulsating comes into the foreground.

In ear tones continue. Maybe one of the extractor fans from the Heathrow smokers’ area have spawned a cartoon monster offspring that has tracked me here?

The sound of oars? Running stream water.

I am now inside the sound. Or rather, it is now inside of me.

Everything disappears other than pulsing pure tones.

As I move my head, so the effect changes. Hmmm…

The same tone that began the piece is still there.

I am sitting much closer to the left speaker than to the right. Am I missing something?

People seem much more comfortable and attentive to this than the last performance. Is this due to Thompson turning on a toy disco light? There is something strangely focusing about the banal play of light from yellow, to green to orange, to red to yellow to…

The threshold has fallen.

Low bass hum. Gentle.

In ear tones continue at a much more comfortable level.

Mid tone.

Click,                     glitch.

Glitch. Click.

Click, click, clik-clik, click, click, clik- clik.

Male voice (whispered) “This is shite.” (Scottish accent)
Near silence.

Applause.

Lights up.

“Lots more tomorrow.”

| Concert Hall |

Keith Rowe, Rajesh Mehta, and Rohan de Saram Improvised Performance

Cello Sound Check.

Trumpet Sound Check.

Rowe sitting behind his table of objects.

Web Streaming team are set up in the corner.

“…there was one time when someone turned up at the end of the night, and at the end of the concert, just helped us pack up…”

“…here…”

“…one or two really belligerent people… I don’t need that anymore.”

“We’d like to welcome Keith Rowe, Rajesh Mehta, and Rohand de Saran…”
Applause.

Lights are switched off.

Near silence. Some air conditioning.

The performance begins.
Cello harmonics.

Rowe emits whooshy electromagnetic washes.
Breath

Psst. Pssssst

Bwwoooow

Muted trumpet. Closed to open.

The sound is a mixture of acoustic sounds and amplified sounds from two huge Genelec monitor speakers.

Crack, snickle, from Rowe. Joggle pickup up.

K – K DOnk. Fiddle Fiffle Ckik.

Trumpet slide – the trompet? Muted like wah-wah.

Crackle – crackle…glitch

Cello – lo lo drone
Bzzt

A sound like wind from Rowe. A battery powered fan like a mini distorted helicopter.

Bzzt
Hybrid trumpet – opening frequencies.

Volume threshold increase.

Funereal cello.

There is some slight interest in the contrast between Rowe’s knob twiddling and consumer noiseplay with the meditative cello and the experimentally tubed bugle boy.
Bab bab bab. Trumpet as Drumpet.

Crackle creatures from the guitar neck. A slight pumping of a volume pedal.

Trumpet like passing propeller.

Cello pushing quavers, suggesting a chase sequence?

Rowe tunes into the communication ether. Radio static between the units in pursuit.

An insect buzzes against the hot-hot windscreen.

The trumpet helicopter passes overhead.

Disembodied voices demand guidance.

“Where is Bernhard?”

Fade to Super-8 noize of a summer field.

Flicker, flicker, white out of summer sun.

The bleeding body lies under summer heat.
Exposed nerve endings twitching in white more heat.

So cold.

Subject through teared up eyes.

Brain stem exposed to gentle breeze.

Where is he? What happened?

Fizz. Fizz. Distant sirens / sirens close.

I don’t know.

Twitch. Twitch. Raw electricity

Emergency.

Mayday.

M’aidez.

Help me.

Christ, please help me. I think I’m dying.

Ga goo – goo. I’m becoming a baby.

Snatches of piano lessons in the drawing room.

Comical toy trumpets.

Fratured melodies. I’m sure I know this song.
Materd Frelod. I’m sure I’m now this song.
Actref olemsidi. I’m ss.s I.s .sss.ss.s.ss

Gentle warm.
Am I being moved?
Something is moving against my skin.

Near silence.

A pop.
A click.
A buzz.

A laugh from the audience.
A snigger.

A continued buzz in the Genelecs.

Pockle. Pockle.

High Harmonic. A call for attention.

A squiggle of new life.
Is this the sound of life?

A background pulse of theme begins.

BzzzzzzZZZzzzzZzzzzzzzzZZZZZZZZzzzzZzzzzzzzzZZZZZZZzzZz
mmmm.mmmm.mmmmmm.mmmMMMM.mMMMm.MMM.MMMMMMmmMMMMM.

The universe opens out to me.

High harmonic. A call to life.

Quick cut back into the darkened and quietened theatre space.

A trumpet with tubing and a lighting frame attached is sounding a high harmonic.

The cello responds.
Rowe – alone with his broken noises bzzzzzzzzz.

The battery powered fan brushes against pickups or strings.
Increase in volume threshold, from what was approaching near silence.

Strange subtones and solar winds.

Ba – da  da   dah  dab a dah – cello

Scrunch – scrunh

Buzzbell overtone from Rowe.

Hysterical cello fingers.

Now a calm drone.

Glitch   glitch.

I am reminded of nothing.

Trumpet swell and cello insects.

Cello glissando.

Small sine type wave.

Squiggly glic glic from Rowe.

Small sine wave meets bass tubed trumpet.

Buzzbell undertone.

Harmonic overtone series from cello.

Wahh whaa. Baby cry from trumpet.

Cello bass drone.

Rowe turns something on.

He picks something up. Skrayp.

I wonder when he’ll use his electric toothbrush.

Tap tap.

Cello low harmonics.

Muted trumpet suggests a higher place.

Crackle crackle schwa schwa.

Bik-bik  bik.

The trumpet is sad.

Ooo-ooo- wh. So is the cello.

“Hello”, it says, “Can you make me laugh?”
The musicians stand defeated.

Rowe’s machines continue to sound.

The cello adds a comment, “but…but…but, I am too”.

Rowe’s toy helicopters are ready to napalm the guitar fields.

The cello plays a death song.

A trumpet spatial sweep marks bass feedback swells.

Rowe: scribble scribble scratch. He appears to be fixing an old timepiece, being cooled in his garden shed by a 99p battery powered fan. Oblivious to all around him.

The cello plays a death song.

Many in the audience have their eyes closed. Beautific. Some look incredulous. Others look around as I do.

The artists continue to fumble around, in search of what, I neither know nor care.

An attractive space though, and some pretty comfy chairs.

Apart from air conditioning; silence.

A cough.

Some shuffling.

Rowe looks up.

The artists smile.
The audience applauds.
The artists stand awkward.
The applause ends.

Thompson : “That’s fine”.






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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Year: 2003
Location: Germany
Worktype: Sound Installation / Performance
Materials: Mobile Webcam, space, location, found objects and people
Info: Factory Berlin

Between 2002-2004 I made a series of visits to an artist-run space in the old industrial area of Schöneweide, East Berlin where I presented a number of sound installations and performances. This short film documents some of the activity from that time.

Tief und weit / dunkel / kuehl / klar / heel und unbegrenzt / ist der indusrielle raum.

One of the largest areas of now abandoned industrial production and around Berlin can be found in Berlin-Schoneweide. It forms part of the European industrial cultural heritage. Beautiful monuments create the atmosphere of this part of Berlin. They bear witness to the former industries and determine to this day the lives of those who live there. Most of the warehouses and factories gleaming in yellow brick are situated alongside The River Spree. A road runs through their middle. The workers’ living quarters were erected on one side of this road, the sites for production in the other. When AEG/TRO and KWO closed down in 1996, about 25,000 men and women lost their jobs.”

Deep and wide / dark / cool / clear / bright and endless / is the industrial space.

Factory- Berlin

This local area and its current state
Vacant industrial sites
Position and articulate
Within the chosen concept
Recognised / realised / ignored / overcome / resolved
Diversity of the location
Immmerse
Paths of exploration
The enviroment that helped shape those works
He’s doing artificial things