Here you can view the feature on my work in/with the Amazon rainforest:
Poetic Cartography: Rainforest just got accepted into the Stony Brook Philosophy and Arts Conference in NYC. I will perform the piece, give a presentation, and install it as part of a gallery show.
My Poetic Cartography piece, developed as part of Francisco López’ Mamori ArtLab residency in the Brazilian state of Amazonas, has been accepted to the Athens Slingshot festival in Athens, Georgia. It will be presented as a quadraphonic installed audio-only work.
Poetic Cartography: Rainforest, developed with assistance from Slavek Kwi and Francisco López in the Brazilian Amazon, has been accepted for inclusion in the latest issue of LandEscape Now!
Alongside the sound work, there will be a feature on the composition, and a 2-page interview.
Here are some very short samples from my most recent recital (November 6, 2012). I am currently organising to tour this program around Australia between June and September 2013.
Live recording of improv set for clarinet, cello, and viola, recorded on the 29th August, 2012. Golden Fur are: Samuel Dunscombe, Judith Hamann, James Rushford.
I’m very excited to be accompanying the great Pablo Gomez at the Festival Hispanoamericano de Guitarra in Tijuana, on November 10.
More info here.
So, thanks for the RSVPs everyone. There are no more spaces left. There is a chance that I will stage a third performance on the day, at 5:30. If you are still interested, but did not make the list, please get in touch.
Featuring works by: Helmut Lachenmann, Alvin Lucier, Luigi Nono (TBC – feat. fellow doctoral researchers: Rachael Beetz flute, Greg Surges electronics), and Samuel Dunscombe.
There will be a limited number of seats, and two performances on the night. Further details to come soon…
Playing with the UCSD Grad Improvisors Orchestra, alongside the great Karl Berger.
Read about this gig here.
Today I leave for a 5 day trip to Lake Mungo, where I will be taking as many recordings as possible. I’m hoping to add to my (now extensive) collection of wind recordings. There will be no internet where I’m going, so if you are looking to get in touch, please know that I will not be able to answer any correspondence until Saturday 25th August.
On Friday 10th August, at 7:30pm, I will play in the third installation of Francis Plagne and Collaborators’ residency at West Space (Melbourne).
I will perform Alvin Lucier’s Still and Moving Lines of Silence in Families of Hyperbolas, and give a first airing of my new work for clarinet mouthpieces and rainforest (developed as part of Francisco López’s Mamori ArtLab workshop/residency).
Also playing on the night: Arek Gulbenkoglu/ Rosalind Hall + Alex Gardsen (John Fahey set) + Potato Room (Sean McMorrow, Francis Plagne, Joe Talia).
West Space: Level 1, 225 Bourke Street, Melbourne
As promised, here are some pictures and recordings from my recent excursion to Utah/Arizona.
And now the recordings. These recordings have a wide frequency range, with a lot of subtle detail. If you do not listen on headphones or good quality speakers, a large amount of this will be lost. Detailed descriptions of each recording can be found below.
1. Glen Canyon Dam
This is a contact mic recording of the iron bridge over Glen Canyon Dam (see picture above). This giant structure sounded incredible when vehicles drove past, but my favourite sound of all was created by gusts of wind that would activate the entire structure. This track contains only the wind sounds. Microphone used was a C-Series contact mic by Jez Riley French, together with a 10MΩ impedance transformer (an absolutely necessity to get optimum bass response, I used a cheap active DI). THIS RECORDING IS VERY BASS-HEAVY!!
2. Dixie National Forest
Recorded from my campsite about 3/4s of the way up a mountain at approximately 3am. This is the sound of wind blowing through the valley below, activating the conifers. It was recorded with a pair of Joly-modded Oktava MK012 mics with omnidirectional capsules, in A-B formation, spaced approx. 35cm apart.
3. Cedar Breaks National Monument MONO
The sound of a large douglas fir tree creaking in the wind. Recorded with a single Joly-modded Oktava MK012 with hypercardiod capsule, on a ~3m boom pole.
4. Bryce Canyon – Rainbow Point
Birds and gusts of wind, recorded in thick vegetation near Rainbow Point. I have not yet been able to identify the birds singing in this recording. Recorded with DPA 4060s in A-B positioning, approx. 60cm apart.
5. Bryce Canyon – Inspiration Point
Wind and ponderosa pines, distant birds. Recorded with DPA 4060s in A-B configuration, approx. 45cm apart.
6. Panguitch Rodeo
The grandstand for the race-track/rodeo in Panguitch, Utah, stands all but abandoned. It is a creaky old structure with a corrugated iron roof that is coming loose, situated on a wide plain where it is constantly exposed to high winds. Birds have taken over all the structures in this complex. This recording was made by clipping DPA 4060s to loose material hanging underneath the bleachers.
And finally, for those interested, here’s the map of my journey again:
Towards the end of June this year (2012), I spent a long week traveling around southern Utah and Northern Arizona, making a number of field recordings along the way. Almost everywhere I went was sonically defined by the same key force: the wind. Highlights included hiking and camping atop a mountain in the Dixie National Forest, recording Steller’s Jays at Bryce Canyon, and contact mic recordings of the wind activating an iron bridge over Glen Canyon Dam. Recordings and photos to come soon. For those interested, the route I followed was below. It was a gruelling week, particularly driving from Flagstaff to San Diego in one day, via the Sunset Crater, Wupatke Ruins, and of course the Grand Canyon (points N through R).
This summer/winter I will be headed back to Melbourne to play a few shows, record some new music with Golden Fur Trio, and do as much field recording as possible. I will be playing at Westspace on August 10, and taking the show “Magics at the Crossroads of Your Sense” down under as well (date to be confirmed), not to mention a number of smaller improvised and electronic shows (and probably the obligatory MIUC appearance). In the coming weeks a more concrete set of dates will be coming out, so stay tuned.
In October I will be curating the UCSD component of the 2012 Ear to the Earth music festival. The theme of this year’s festival is “The North American Soundscape.” More details to come.
This week (spring break in the US) I will be traveling to Slab City in the Colorado Desert (California) to undertake a field recording project. I aim to live in Slab City, a commune started by libertarian christian survivalists in the late 1960s, for 4-5 days. Whilst there I will document the soundscape of Slab City, and use this to develop the second of my “mediated-acoustemological” works for instrument-and-environment.
Internet access may be sporadic.
Here is a 7 minute excerpt from my first mouthpiece study. It draws heavily on the field recording work I’ve been doing this year—perhaps you can hear influences from desert wildlife, North American waterfowl, and the general Southern California landscape… This work is part of a series of instrument-specific studies, drawing heavy influence from discrete geographical locations, that I will hopefully be able to collect onto a CD.
In honour of Martin Luther King Jr Day, here is our performance of Luciano Berio’s “O King” (dedicated to MLKJ himself). Performed somewhere around the 30th of November…
Our performance starts around 43:45. But be warned, it’s Vimeo, so currently you can’t skip ahead past the buffer!!
(disclaimer: not the best performance)
So here is a link to the sketchy-sketch I did based on Brazil sounds about 2 months ago…
The idea is that it will get turned into a more serious and complete for clarinet and field recordings.
The final version, which will be significantly different to this, will be premiered at the show I am curating for the UCSD Spring Music Festival, also featuring works by Wojtek Blechartz, Thembi Soddell, Ori Talmon, and others…
Featuring performances by:
Oren Ambarchi and Joe Talia
Poletopra (Anthony Pateras and Marco Fusinato)
Golden Fur featuring Cat Hope and Kim Tan
8pm, Thursday 25th August
KIPL. 136 Roden st. West Melbourne
$12 Full/$8 Concession
After having received a few scholarships from private donors and public bodies, the costs of my doctoral studies at UCSD are now almost completely covered (thank you to the Australia Council for the Arts, the Keith and Elizabeth Murdoch Travelling Fellowship, and the Barbara Bishop Hewitt Scholarship). Now I have only a small shortfall left to make up to cover relocation costs, and I will be good to go!
All proceeds from this concert will go towards covering these costs. My deepest thanks to all my dear and wonderful friends who are donating their time and talent!
This is the “beta” version of my West Park piece, to be performed by Decibel in September.
“Beta” means that the general structure and source material of the piece is set, but that there is still room for improvement/development. Any comments appreciated!
1) NOTATION is sloppy all around! It’s particularly hard to really comment on this when you don’t have a key to the symbols too. I’m working on that, and will upload soon.
2) BASS CLARINET notation is currently in C, and one octave higher than it should be. In the finished version the bass clarinet will sound a minor 7th lower than what is currently written.
3) LEVELS are not yet 100% correct, some things poke out more than I’d like them to.
4) PROCESSING is a little clumsy, pokes out a bit too much, and is a bit “samey.” There will be greater variation of the processed sounds in the finished version.
STILL TO ADD:
1) Each time the piece is performed/rehearsed, the live sound is recorded. Artifacts and fragments of this will then be inserted throughout the piece (sparingly). This will be particularly evident around the end, where the held notes should hopefully take on a fuller “chordal” aspect.
This blog will chart my musical life from 2011 on, from my relocation to UC San Diego to undertake doctoral studies, to my attendance at Francisco López’s composition workshop at Mamori Lake (Brazil), the numerous performances I will give, etc.