Drones

Drones is the next piece in the Strands series. These audiovisual compositions illustrate the interpretation of animated, generative, graphic scores written in JavaScript. Drones is made up of animated Bezier curves. Interpretation of this piece is more abstract than the others. I interpret the motion of the curves as layered, morphing drones. This piece might elicit entirely different results from one performance to the next.

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Strands

Strands is the working title for a series of audiovisual compositions based on the idea of animated, generative, graphic scores. Last year I composed six of these scores written in Javascript for Parking Ramp Project, a performance installation in a seven-level parking ramp with a large cast reflecting on transience, migration, and stability commissioned by Guggenheim fellow, Pramila Vasudevan. While Parking Ramp Project was composed for a trio, Strands is specifically composed for a soloist.

Rain is a new movement in the series and the first that I have produced with video of the animated score. Currently there are five movements in the piece. I performed the first four recently at the ISSTA conference in Cork, Ireland. The visual part of the piece is meant to be read like music but without the use of key or time signatures. Each time the piece is played the visuals are regenerated, so it is never performed the same way twice.

The musician may interpret the visuals in many ways. For example, in Rain lines are animated from the top of the screen to the bottom. Where the line appears horizontally is roughly regarded as pitch and as the line animates the sound is modulated. The lines also vary in weight. Heavier lines are louder and lower in pitch while thinner lines are quieter, generally higher, and sometimes altered with a high-pass filter.

I performed Rain using the Novation Bass Station II, which has a feature (AFX mode overlays) that allows for each note to have entirely different parameters. With this technique I was able to map different timbres to the keybed and use this variety in texture as another way to interpret the score. Keep an eye out for more of these. It is my intent to make videos for all five of the movements and perhaps add one or two more to the series.

ISSTA 2019 Presentation and Performance

Currently I’m in Cork, Ireland to present and perform at the International Sound in Science Technology and the Arts (ISSTA 2019) conference. This year on Thursday, October 31st I am scheduled to give a paper about a project I have been working on titled IGNIEUS, then on Friday I will give a solo electronic music performance related to the paper. I will share more about this soon. For now you can find the program at ISSTA.ie.

This year the conference features a keynote talk and performance by Ableton Live co-creator, Robert Henke who will be performing his work Dust.

Dust is a slow and intense exploration of complex textural sounds, shredded into microscopic particles, and pulsating interlocking loops, recomposed during a improvised performance. The sources are leftovers of digital processes, material created with old analogue synthesisers, noises of all colours and flavours, field recordings; splashing waves from a shingle beach, captured on site in Australia, a massive storm, steam from my Italian coffee maker, crackles from the lead-out groove of a worn record, hum and electrical discharges from a large transformer, collected over several years, and refined and deconstructed in various ways.

I am pleased to be featuring the Organelle M from Critter & Guitari in the setup for my performance on Friday. I have had the instrument for about six weeks, which is long enough to just scratch the surface of the device’s capabilities. I’m also using the Bass Station II with the new 4.14 firmware. More to come!

ISSTA 2019 Call for Proposals

October 31st and November 1st, 2019 the Irish Sound, Science and Technology Association annual conference and festival will be held in Cork, Ireland at CIT Cork School of Music. Keynotes include a performance and lecture from Robert Henke (Ableton Live, Monolake) and a performance and workshop from Ellen King (ELLLL / Gash Collective).

I starting going to ISSTA in 2017 and have had incredible experiences while attending and performing. It’s usually a fairly small gathering of like-minded artists, educators, performers, and scientists all of whom are experimenting with sound in fascinating ways. I’ve participated in many events, festivals and conferences, but nothing aligns better with my interests and practice than ISSTA does. If you appreciate the music and sound experiments I share here on ACB, then please review the call below for details about this wonderful gathering. Continue reading

Jenn Kirby at ISSTA 2017

Attending ISSTA last month was a fantastic experience. The conference brought together an intimate group of like-minded composers, sound designers, and developers all dedicated to uncovering and exploring new sonic territories. I immensely enjoyed all that ISSTA had on offer, especially the concerts. One of the performers this year was Jenn Kirby who composes and performs electroacoustic works that apply processing through the use of unconventional, gestural, controllers like the Gametrak golf swing tether controller. In Phonetics she uses the Gametrak to control the signal processing of her vocalizations.