{audiovisual catharsis}
A Midsummer Night's Drone (2011) w/ John Bowers
Channelling Interference (2011)
The audio static buzz and noise is momentarily hijacked as stray pirate radio frequencies are channelled and received through human flesh and bone. The squawks of voices and distorted rhythms of music below out as the interference is carried inside the system. Approaching the phosphor coated television screen noticeable patterns begin to form and change with the bodies proximity to the radioactive, electromagnetic device. Upon contact with the screen and the skin electrons shoot from the cathode ray tube sending painful static pulses racing out into the ether, hurtling towards the earth. The body absorbs them willingly channelling them through the circuit.
Oscillations of bioelectrical feedback.
The body is integrated.
HYLICS (2010)
HYLICS is a collaboration with classically trained,
multi-instrumentalist Geraldine
McEwan.
The violin, voice, metallic objects, and human skin are all used in
conducting electricity and controlling various sound objects through
Pure Data and other home built electronics.
The general concept is to create a mentally scored comprovisation, and
the concept that everything is to be used as an instrument. The stage,
body movement, lighting, sound, etc etc. The idea is to also keep
everything raw, minimal, and simple; not to over complicate the
process. Deal with the matter. After all, Hylics “can be thought of as a level of thinking,
dealing with the lowest portion of human nature. It is considered
living by instinctual drives with no sublimation. Hylics, choikus,
sarkics, etc. are said to be below Psychics which are below Gnostokoi,
the highest order of transcendence.”
Rhythmajik and Possession Trance
(2010)
Collaboration with sound artist and industrial percussionist Z'EV. An electronic drum kit
triggers audio samples and strobe lights. The audio samples are
dispersed through loud speakers and also taken directly into Pure Data
where they are manipulated and effected through some self-made
software.
The drumming rhythms and strobe lights slip in and out of sync creating
moments of disorientation and trance.
The performance is improvised within the framework of the choice of
equipment and sound files.
SWEEPS-10 (2010)
Inspired by a project by Suzanne Treister and used in combination with the possession trance equipment, SWEEPS-10 is a performance in which the audience take part in a remote viewing training exercise. Performed on the 29th December 2010 in Ipswich for an event related to the 30th anniversary of the Rendlesham UFO incident, the audience are given the grid co-ordinates for the planet SWEEPS-10, which was discovered in the Sagittarious Constellation in 2006. They then work through the remote viewing training sheet while sitting in a dark room and are bombarded with strobe lights and loud noise.
Possesion Trance (2009)
4093 synths with light sensors attached to strobe lights and smoke machine.
Based on underground dance music, hallucinations, possession-trance cults, hypnosis, etc.
Draws inspiration from a personal out of body, out of mind experience from a Doomcore Rave where the area was flooded with thick smoke, multiple flashing strobe lights, and loud music. This created a feeling of hypnosis, mild panic and complete immersion into the moment, which is what I wanted to recreate. It is also inspired by the psychological experiments by Dr. W. Grey Walter who discovered theta and delta waves, associated with light and deep sleep. Walter used highpower strobes, experimenting with triggerfeedback techniques where the flash was set to fire in synchronization with, or at any chosen time in relation to, the spontaneous or evoked activity of the brains rhythm. The effect was in order to modulate the brain with itself to temporarily create a different type of brain. He found that with using strobe rates approaching flicker fusion (where the rate is so quick it is nearly perceived as being permanently on) “strange patterns, new and significant, emerged”.
Sensory Response Systems (2008/9)
Pure Data, Arduino, accelerometers, push buttons, strobe light.
Slow, restricted body movements control the screaming, howling noise while the rapid flickering of a strobe light shines in the faceless mask and reflects off the wall behind illuminating the oppressive, giant shadow of a deity.
Self reflective audiovisual catharsis. Sensory overload.
This piece formed the main project for my MFA Computational Studio Arts degree. A video from Piksel08 can be seen here and MFA thesis can be read here.
Exoskeleton (2008)
Sonalog exoskeleton connected to a Mac sending out wireless body movement data to other Mac's connected to the network to control whatever the other users wished. Also using the MGI and home made electronics to control sound/noise in Max/MSP.
Restricted physical movements and spasming sends the data to spin the sounds through a surround sound speaker system.
The Cabinet of Dr. Caligari (2008)
Performed at the Roundhouse Theatre, London.
This 1919 film by Robert Wiene sees a fairground hypnotist control a somnambulist, who has been sleeping for twenty-three years, to commit murders, dressed in a black stocking with a ghostly white face. In this performance the role of the fairground hypnotist is brought out of the screen into the theatre. With sensors attached to his body he controls the somnambulists vision and sound through his physical movements and gestures.
[HAC] _B (2007/8)
Collaborative physical performance with Claire Keating, Tamon Miyakita, and David Corbett.
Experimental butoh dance with wearable movement sensors, light, home made and circuit bent electronics, and programming.
Movement and Gesutre Interface (2006)
BasicStamp, accelerometer, LDR's, Max/MSP, strobe light.
The MGI is my first project into physical performance of electronic and digital sound. It was an attempt to gain a sense of physicality in laptop performances and to be free from the restrictions of being stuck to a keyboard and mouse in a live performance. A video from a performance with the MGI can be viewed here and an essay about it can be read here.
noise=noise (2006 - to date)
I established noise=noise as a sporadic live performance event to act as a platform for experimental noise. Since 2006 roughly 200 artists, musicians, VJ's, hackers, dancers, punks, academics, and underground lurkers have performed at the events. A variety and cross-pollination of different practice is always strongly encouraged.
The general theme is that anything goes, as long as its loud, and the people taking part in performing all take part in running the event.
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