This piece is the result of a week long residency in the Klangendum Studios at the Worm Gallery, Rotterdam.
Layered acoustic guitar with minimal processing.
Remnants from a failed hard-drive based community
Duet with Jen Boyd - for Estuary Ltd.'s limited-edition acetate release A Simple Procedure.
Excerpt from a live broadcast of the premiere REDUX's performance of “Song for Søren Larsen,“ developed as part of an artist residency at the Wave Farm in Acra. This piece takes advantage of various aspects of radio and other broadcast media to create a generative audio space enabled by the electromagnetic broadcast spectrum and the bodies of the performers. A network of three recursive audio feedback sub-systems was used to construct the performance. These systems include short wave loop antenna hardware, low power AM transmission, and the unique opportunity afforded by the Wave Farm residency, access to the full-power signal of WGXC’s FM transmitter.
Crash is a piece in three parts that uses stock market data to manipulate a sample set of crash cymbal sounds. The piece is in three sections. In the first section, yearly data from Bear-Stearns, AIG and other collapsed corporate giants manipulates sample position of soundfile buffers. Part two applies pitch tracking to video documentation of news pundits discussing the stock market crash. This data is then mapped onto a spectral filter applied to the sample set. In part three, a musical score is created from the ticker symbols of companies consisting entirely of the letters a - g, which is played by pitch classes made from the cymbal recordings. The score is read from the end to the beginning. Single notes may be doubled and note groupings may be played simultaneously, but no repetition is allowed.
This piece was based on sample set of found orchestral recordings and an autoharp.
This piece uses Olivier Messian’s modes of limited transposition as a point of entry to examine how traditional piano sonorities can be successfully combined with digital signal processing. Messian's modes of limited transposition are a series of scales that have only 2-3 transpositions possible for each scale before returning the same note series. In this piece one mode is used for each hand in the piano, and an additional mode is mapped on to a spectral filter allowing for the computer to 'intrude' upon the piano part with a different limited transpositional mode. It does this by applying a spectral filter tuned to one of the modes onto the recorded or live piano performance. The piece was performed at a composition seminar at UC SantaCruz in December of 2010.
This piece explores opera’s archetypal hysterical woman and the genre’s culture of perpetuating the representation as beautiful madness. Ottavia’s Lament, “Disprezzata Regina” from L’incoronazione di Poppea by Claudio Monteverdi is stripped down to its basic phonemes, building sound worlds around them and pairing them with footage of operatic postures/gestures that have come to convey “hysteria” or “desperation” in female characters.
Micki Davis, video artist
Joe Cantrell, sound design
Leslie Leytham, mezzo-soprano