What follows is an example of your
"Performer" homework. Where I used audio lying around on my
desktop, you are to edit down our live class recordings in to bits,
samples, or whole tracks, and perform a similar text composition: track
explanations followed by your "Performer statement", somewhat like an
artist statement but more about your philosophy towards live
situations, including the documenta created within, and the memory of
this situation either digital or psychological. Note: I
normalized all the tracks in order to create the highest possible mp3
resolution. You can choose this web-mastering approach, or of
course you can leave your tracks as AIF.
This is a recording of Corey Fogel, an experimental percussionist from
LA. Live, he creates steady beds of what is known on the east
coast as "relabi", or non-rhythm. Thus the reason I like this is
because it is a consistent performance- he "doesn't quit"- yet it is
composed of micro-material that is ever changing, such as when looking
at a fractal.
I really like the "grabbing the nuts" part of this piece, because
it is really a natural sounding gesture from maybe a kitchen or a
barn. How a composer scribes silence as tension of hand
clasping. From the Faculty Composers Concert, February 18, Full
From the night before, Ezra Buchla and I played in Cleveland,
invoking our old band Mister Kilogram 2/3. @ Spaces
Gallery, we played inside a huge couch structure, so it was quite
cozy and the wooden cabinetry surrounding us made the sound quite
warm. The full performance is 42 minutes.
About one minute from the end of our set in Warner Concert Hall the
next day. I finally got the sound loud enough in the back of the
hall to make the high, aliased "deerhorn ghosts" to come out over
Ezra's viola thundersounds.
I love Lewis Nielson, mostly for his personality. Here I
experiment with sampling his pieces. The first sample is of the
wonderful spanish text spoken by my chinese friend, with piano lid
bangs and these wonderful scary flute sounds. I compressed the
hell out of these, experimenting with making it more rocking.
Another Lewis Nielson sample. Trying to get a good "avant
sampler". Can be used in the future over sparse IDM track.
The sound of the "airwall" rising on the stage of Warner Concert
Hall. It is powered by heavy machinery but all you can hear is a
faint, constant low whirring, which when it cuts out leaves a
noticeable empty space in the last few seconds of this track.
Whistling in the stairway of Bibbins, I am interested in the sub-bass
tones encoded by its concrete in space. They are not too audible,
but quite visible in the original recording.
Peter B Performer's Statement:
On stage I demonstrate the new analog and digital instruments which are
my art. I can do this in a humorous way, as a lecture, or as a "piece",
which means that it does not have self-conscious or didactic speech.
Recently, I have come to see the performance situation itself as a
"virtual instrument", which has knobs, buttons and other controls, such
as libretto, that can be artfully tweaked.
A further extension of the "performance instrument" is the "recorder
instrument". That is to say, having recorded a performance I have
the whole arsenal of post-production techniques available, also to
perform on, mutating and manipulating the memory of the performance as
my instrument. This is my excuse to not have a dogma on fidelity
when working with recorded material.