The recipients of DEV RES VIII are Sam Price with THRESHOLD / OTHER, and Zoltan Fecso and Joli.vision with The Pointillist Ensemble. The three performances of their residency will take place on the following dates:
THRESHOLD / OTHER
Sam Price - drums and electronics
Building on my exploration of the Sublime in the western suburbs of Melbourne through my improvisatory practice and recent audio-visual release, THRESHOLD / OTHER (https://samprice.bandcamp.com/album/threshold-other), I wish to use this space and residency to go deep on the aspect of the Sublime that, nowadays, gets somewhat discarded.
That of terror, particularly in consideration of beauty.
We are dwarfed by things that are beyond our comprehension. Nature, technology and ‘our place in it all’ have consequently provided much impetus to art and music making. But I wish to explore the sub-cellular, the micro, for there too lies an infinity beyond our ken. An uncomfortable commonality between us as the arrow of time flies unidirectionally.
Technically, this requires polyphonic granular synthesis; building sound up from its smallest blocks with its commensurate referents and access to many voices in performance. This technique was, until recently, best served by the use of a laptop, something I discarded on stage long ago. However, I have recently acquired new equipment that brings this sound world, with its visceral possibilities, back into my practice, whilst maintaining the required gestural transparency between performer and audience.
The three dates will involve increasingly complex combinations of synthesis equipment as I further integrate and engage with the new technology:
1. August 25th: drums & GR1; the first date will be explore drums and Granular Synthesis only, simultaneous manipulation of both with hand and feet controls.
2. October 27th: drums, GR1 & FM; adding to the rig with FM synthesis & live sequencing capability.
3. December 15th: drums & full synth rig; further adding analog, wavetable, DSP and mixer to rig.
Staging the performances and the technology used in this way allows for a full exploration of each part of the technology, giving each performance a unique sound and feel.
The Pointillist Ensemble
Zoltan Fecso - augmented guitar
Joli.vision - visuals
The Pointillist Ensemble is a shifting mixed ensemble of musicians and non-musicians, exploring improvisation, site specific performance, audio-visual feedback loops, acoustic and electronic spatialisation through the adaptation of graphic scores.
Pointillism is a technique of music composition used by Zoltan Fecso, inspired by the post-impressionist painting technique of using individually coloured dots to form an image. The ensemble will interpret graphic scores by using single sounds of varying lengths to create changing sound relationships, explore dynamics, spatialisation, density and structure.
The aim of this collaboration between musician and visual artist is to expand on the relationships between the audible and the visual. Graphic notation was pioneered by composers in the 1950s to expand on the traditional language of staff notation, affording performers the freedom of interpretation and introducing chance elements into their work. With technology available now, the possibilities for visual and sonic interaction are much greater.
Over the series of 3 events the Pointillism Ensemble will create three separate pieces of interaction:
1. Visual and light representations reacting and responding to sound.
2. Sound reacting and responding to light
3. Light and Audio responding to Performers and audience participation.
1. Light responding to audio:
The ensemble will perform from a graphic score. The score will be interpreted by an ensemble of musicians and non-musicians, using instruments and other sound making objects. Groups of performers will be placed around the room, to spatialise the sound. As the piece progresses, so too will the projection, using audio-reactive and midi-controlled software.
A picture becomes more discernible over time, through points of colour slowly revealing the entire scene. Dots ripple and evolve as texture builds, light intensifies as volume increases, the evening will be a synaesthetic experience.
2. A camera will face a wall of projected light, as beams and points of light are added, the ensemble will interpret them as a graphic score, being driven by parameters in the visual scene. Again the performers will be placed around the room, encouraged to move around the space if they feel the need to. The performance will be driven by the visual cues for the ensemble, who will react to size, brightness, position on the X/Y axis, and colour.
3. A feedback loop of sound and light is completed. Light feeds off of sounds, and the sounds off of light, performers can add elements to the loop and see and hear how it cycles through. Incorporation of a depth camera, light sensors and microphone invite the audience to participate in the feedback loop and create music and sound through interaction.
Lebowskis acknowledges that these performances will take place on the stolen lands of the Wurundjeri people of the Kulin nation. We pay our respects to their elders past, present and emerging.