Below you will find videos, links, etc. related to my instrumental research. It’s a practice-based, creative research, having to do with transducers and speaker technology (‘Speaking Metals,’ ‘Speaking Skins,’ etc).
Plans are in the works for a first conference (mid-2017) around the subject of re-embodied sound. I began using this term to highlight the extent to which an object-oriented approach to speakers might inhabit an instrumental space. In such a situation, embodied musical gestures found during the performance of an instrument (i.e. sound-producing actions), may be mixed with the real-time electronic/computer music processes taking place behind the scenes. Matthew Goodheart, another active musician and composer in this domain, speaks of recursion in this sense. Lately, I have presented at conferences about these realities of my creative research, imagining sonic grotesques and thinking about the role of interfaces in the most disembodied of all tools: the internet.
To gain a better sense of this field of research, the following links below might supplement an overall familiarization of artistic works dating back even before David Tudor’s Rainforest IV to the work by the group ‘Composers inside electronics’ (and members subsequent work). Many composers in the San Francisco Bay Area as of late (and for others, quite some time- such as James Fei) have been drawing rich inspiration from this imagined lineage. Personally, I believe that what binds all of this research together is a conviction that sound-producing objects, in dialogue with the physical presence of a musician, together create compelling music– music that speaks oftentimes more directly, because it heightens the physicality of sound.
https://voicerepublic.com/embed/ii-the-concert-of-the-future-is-online (22’40” is the beginning of my presentation ‘Seeing Screens and Hearing Speakers’)
Interview clip from the ‘New Music Gathering‘ (2015) at the San Francisco Conservatory of Music (with Vanessa Langer, soprano)
Initial documentation of creative research under a larger umbrella, titled ‘Portable Mise-En-Scene’
Projection Mapping studies (2016, Bergen, Norway Artist in Residency at the USF Verftet). Software used includes Max, VPT7, AtemOSC, Illustrator, and Syphon.