Resound Falmouth 2011

A generative pattern for three classical rave sounds. These noises have been used in the way they would expect: pitched, panned, delayed, etc - however I have provided all functions with the ability to travel through time in a forever changing, never repeating, endless piece.

I occasionally perform semi-generative pieces during live sets at the participatory events I co-curate for Kunst Kernewek. I have numerous ongoing sound projects - bits have been published through various labels: on koept.net, red arse records, Open Source Sound, Kingdom of Rad, ◣.com, various other projects for the Rad Organisation and irregular shows on K-Radio.org

koept.net/oliver

Matt Rose - Larking by Robot Mother (Monochord Mix)

Wed, 23 Mar 2011 19:27:40 +0000

Matt Rose - Sound artist, acoustic ecologist and music librarian.

Matt is currently writing a history of the Aeolian Harp.

matt.rose@orange.net

Larking by Robot Mother (monochord mix)

This drone was created by sampling tiny snippets of sound

and processing them with extreme timestretching software.

Timothy Crowley - 3 Bells - Interactive sound installation

Tue, 22 Mar 2011 11:30:00 +0000

Please pick up the bell and swing it.

Two imac computers speak and respond to each other, through the use of their individual speakers and microphone. Each of their voices is one unique synthesised bell sound, and their response is to interact with each other, using ‘change ringing’ techniques, contained within their programs.

This installation depends on interaction from the audience.

The ‘lead’ bell is rung by swinging it, and the two other bells (the imacs) follow it’s course.

timothycrowley.co.uk

Andrea Flaminì - Macbeth Morse (To the last syllable of recorded time) - 7:55 - 2005

Tue, 22 Mar 2011 11:20:00 +0000

A passage from Shakespeare‘s Macbeth is translated to Morse code. The work is part of an ongoing series investigating private spaces and the smallest units of language.

” With elegant sophistication and underlying drama, Andrea Flamini taps into the world of short-wave radio transmission with a Morse code translation of a passage from Shakespeare’s Macbeth. The work is a hybrid, addressing classical technology and prose jettisoned into a suggestive contemporary context of spatial communication, condensed language, distress and romance.” [McGuire]

She should have died hereafter;

There would have been a time for such a word.

Tomorrow, and tomorrow, and tomorrow

Creeps in this petty pace from day to day,

To the fast syllable of recorded time;

And all our yesterdays have lighted fools

The way to dusty death.

Matt Davis - Rain 2 - (9.00)

Tue, 22 Mar 2011 10:50:40 +0000

Matt Davis - London 1970

Working in improvised and experimental music since 1994 - using trumpet and field recordings. Has also directed ‘Field’ - a live art/performance project, operating since 2003.

His work investigates the question of sound (noise) as music; music as a tool for improvisation; improvisation as a tool for the creation of a space of encounter, not as a projection of a concept, but a space (place) which can be entered conceptually, experientially or otherwise.

f-i-e-l-d.co.uk

Miles Bowe - Coastal Path

Tue, 22 Mar 2011 10:33:10 +0000

A precursory piece to a short film.

Recordings were made using hydrophones, exploring bodies of water in various states and locations.

Beginning with areas of ice at the bottom of a cliff, melting in the morning sun; moving underneath the sand as the tide approaches, to a stream originating from deep within a cave. Then below the waters of a sheltered harbour, until finally emerging where the swans feed.

milesoutinthefield.blogspot.com

Made In Cornwall, 2011

Robert Curgenven - Silent Landscapes No.2

Tue, 22 Mar 2011 10:31:48 +0000

Nightfall by a riverside camp near Wollumbin (Mt Warning), walking in dry grass, the sharp call of a single insect emerges. Above the nearby road, power lines catch the breeze – an echo finding resonance over 3000 kilometres west at Karlu Karlu (Devil’s Marbles) in Central Australia, where the wind strikes a parallel rhythm some years before. Further north, other winds blow in grevilleas lining the Buchanan Highway, en route to the Tanami Desert. Along a river, 20 metres deep in a flood that isolates a town, crickets pulse agitatedly on the Tropics’ edge. Two thousand kilometres east, aeolian currents bring the Musical Fence in Central Queensland to a slow crescendo. Finally, 2000 kilometres south east again, returning through the grass to camp, the cycle is, for now, complete.

recordedfields.net/robert_curgenven

Sally Rodgers - nano

Tue, 22 Mar 2011 10:31:00 +0000

A sound work and micro sculpture by Sally Rodgers that considers the diachronic miniaturisation of computing technologies. Using sonic archeology techniques and oral testimony from three generations of the same family ‘nano’ recreates the rattle and hum of obsolete computers and couples these sounds with a meditative oral narrative. Charting the life-span of computing, the story begins in the late 1950s when giant, noisy mainframe computers were first introduced into the workplace. Moving on through the 1980s with the start up sounds and whirring fans of early home computers and winding up in the abstract world of remote access, ‘nano’ considers the current generation of users whose computers are tiny and contain nothing but the sounds they choose to load into them. To illustrate the concept further the accounts from Sally’s mother Shirley, sister Jayne and niece Bibi, and a bricolage of historical and recorded sounds are played back via miniature hardware.

amancalledadam.com

Thaniel Ion Lee - Things We Choose To Ignore - American Eugenics

Tue, 22 Mar 2011 10:30:31 +0000

In this work i attempted to make a sonic metaphor for Americas’ ignorance of and its attempt to forget its own history of eugenics . i took a found radio program about the history of california’s eugenic program, and edited out all the information that was given and left only the dead air, microphone pops, vocal ticks, breaths and other sonic debris that we usually try to ignore.

“My work is about the inner workings of my mind whether that be my inner struggle as a person with a disability or my surreal dreams”. Thaniel Ion Lee (US)

thanielionlee.com

Robert Curgenven - Acciaccatura Amplificata

Tue, 22 Mar 2011 10:29:20 +0000

From the album OLTRE (LINE 2010).

“Transparence” resonating dubplate | turntable | field recordings | guitar feedback | ventilator/fan

1. Isole: Allargando Nero (13:51)

2. Acciaccatura Amplificata (10:21)

3. Gran Coda Andante (07:42)

4. Largo Capriccioso (14:08)

5. Nero Lento: Coda Lunga (13:46)

The “Transparence” dubplate, developed at O’ in Milan, Italy, works within the physical limitations of the vinyl medium, employing the object as sound source and also sound medium, to become an instrument in its own right. Using the non-linear acoustics of the gallery at O’, the dubplate was recorded, and later cut to disc in Berlin, at very low volume. This ephemeral audio signal becomes present during playback only at high volume, which subsequently produces, by design, a unique physical response from the room, air and amplification – creating deep undertones and blossoming overtones via these manifold resonances; simultaneously, the action of the stylus gently abraids the soft vinyl surface, causing the dubplate’s sound to gradually disappear and evolve, successively losing higher frequencies whilst acquiring new artefacts and crackle. OLTRE documents this degradation and transformation over two months of live performances. The integrated system of subsonic feedback from ventilators, acoustically gated binaural microphones, modal micro-variations in guitar feedback, field-recordings from across remote areas of Australia and the live, physical interplay of the turntable, dubplate and stylus, combine to create a field which moves beyond the original recordings and their individual spaces.

1 – Aria 1, 18th movement, recorded live at Ionian University, Corfu, Greece, 6 May 2009

2 – Aria 1 & 2, 12th movement, recorded live at Klub Kamieniolomy, Warszawa, Poland, 20 March 2009

3 – Aria 1, 13th movement, recorded live at NRD, Torun, Poland, 25 March 2009

4 – Aria 2, 13th movement, recorded live at NRD, Torun, Poland, 25 March 2009, additional guitar recorded by Jörg Maria Zeger, Berlin, Germany, 11 September 2001

5 – Aria 1, 17th movement, recorded live at Codalunga, Vittoria Veneto, Italy, 26 April 2009

Dominick Allen - 2 Square Wave Oscillator and Toy Microphone

Tue, 22 Mar 2011 10:27:26 +0000

2 Square Wave Oscillator and Toy Microphone

Please Play.

Matt Davies - Marx Bros - (3.33)

Tue, 22 Mar 2011 10:26:43 +0000

Matt Davis - London 1970

Working in improvised and experimental music since 1994 - using trumpet and field recordings. Has also directed ‘Field’ - a live art/performance project, operating since 2003.

f-i-e-l-d.co.uk

Thaniel Ion Lee - What Do You Call? - MP3 - (2008)

Tue, 22 Mar 2011 10:24:50 +0000

“My work is about the inner workings of my mind whether that be my inner struggle as a person with a disability or my surreal dreams”. Thaniel Ion Lee (US)

thanielionlee.com

Sound Installations - Friday 1430-1730

Tue, 22 Mar 2011 10:02:45 +0000

The following posts are to provide you with a little information on the sound installations during Resound.