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"Noa and Alphonse" [mp3 removed]. A slightly more elaborate version of "Clip City." It doesn't clip anymore, and has been turned into a quiet minimal techno tune that I'm actually pretty proud of. Every analog drum track was recorded as a separate .wav file, then those were run through an analog filter to create more separate .wav files, then everything was cross faded. The Sid tune from "Clip City" is now a Reaktor tune, mixed way down so it weaves in and out of the drum sniggles. The detuned note that runs through the whole thing is a drum setting called "multi."
Tonight: TRANSPARENT PROCESSES
curated by Nick Hallett
featuring LoVid, Gibson + Recoder, I Love You, and Ray Sweeten
at The Kitchen, 512 W 19th Street NYC
Wednesday, November 9th at 8:00 PM
www.thekitchen.org for more information
ticket price is $8, and this show will sell out (probably already has, but call 212.255.5793; I can't come but want to support this --tm).
Here is the curator's statement:
The Kitchen presents an update of the 60s Psychedelic Lightshow, an evening of live visual music, expanded cinema, and nouveau psychedelia called Transparent Processes.
Here's what it's all about: the artists in this show avoid using laptops. Instead, they build or customize their own "audiovisual hardware" out of consumer electronics devices like film projectors, TV sets, and oscilloscopes. [...] By operating in a DIY fashion, these artists are able to sculpt electrical impulses into audiovisual performance. I call this style of creating "transparent" because it gives the audience a keener sense of how process relates to product, and demonstrates the basic principles of synesthesia, maximizing multimedia's ability to address the intersection of the senses.
LoVid (Tali Hinkis and Kyle Lapidus) perform on their "Kiss Blink Sync Vessel," a homemade audiovisual synthesizer. Working like a television signal scrambler, the instrument uses electronic sound to interrupt video signals and filter the feed into swirling, hyper-kinetic animations. I Love You (Seth Kirby and Ana Matronic), in their debut performance, titled Open to Above, employ a collection of vintage “color music” instruments like the optical theremin, which uses a photocell to transform light into sound, creating an environment in which pure light can be both seen and heard. In Override, the duo of Sandra Gibson + Luis Recoder strip the cinematic experience down to its barest essentials, demonstrating how the mechanized movements of the film projector and barely-audible sounds of film itself can be manipulated to produce delicate plays of shadow and diffused light. Ray Sweeten takes the opposite approach in Vatican Satellite, sending electronic sounds into an oscilloscope (a device used to collect electrical measurements, commonly used by physicists and in medicine) which graphs its input onto a readout screen, transforming basic acoustic forms into visual geometry.
Oh yeah, and check out these beautiful posters by Kayrock and Wolfy. There will be a few on sale at the show...
