Festival Closing 3:30 PM 4:00 PM
Australian & NZ Electroacoustics 4:00 PM 5:50 PM
Jonny Marks NZ
Incidence and Elasticity 1999 0:10:00
Energy is neither created or destroyed.
Daniel Beban NZ
Herakles 1999 0:08:33
To me, weight-lifting seems a particularly strange occupation. The enormous stress that iron-pumpers place on their bodies is both intriguing and repulsive, and their semi-conscious reactions to this stress -in the form of grunting, spitting, clenching and howling- are found in no other controlled situation. Recordings of these sounds, and sounds generated from these recordings make up part of this piece. The other sounds come from recordings of squash games, an activity closely related to weightlifting -most gyms have squash courts- but completely different in terms of physical force (effort vs outcome). The sound-worlds these movements generate -squash sounds seem to move and dance around quickly and effortlessly while weigh-lifting sounds are slow and generated only by extreme effort- were compiled, juxtaposed and contradicted in processing. On one level, this piece is about physical effort and the odd characters who seek physical perfection (hence the title).
David Shepherd NZ
Crema 1999 0:05:42
Crema was composed for the 1999 Electroacoustic Music Festival In Bourges France.
My aims were to blend abstract with "concrete" sounds of Wellington Cafe
Scene: to create a sound world that would grow out of an entirely abstract
idea to become much more recognisable.
Michael Graeve Australia
PT30899 Part 2 0:07:55
The composition consists of the following components and processes: Microphone recordings were made of record players and loudspeakers playing. (No records were used: these are simply recordings of the stylus picking up the surface texture of the platter, as well as the record player feeding back on itself). These source recordings were then processed via reel to reel tape manipulation, studio effects and hard disc editing. The reel to reel tape used was purchased from an Op-Shop, and in the recording process some of the 50's popular music contained thereon continued to bleed through.
Break 0:20:00
Ros Bandt Australia
Serendipity 0:10:00
Real-time spatial electronic piece for Audiobox
Inspired by the gliding tones of Grainger's free music of 1938, Serendipity is a work in progress until infinity which asks the listener to identify and locate the changing orientation of convex and concave sound wave shapes. These are constantly present in the soundscape, both intentionally and unintentionally, but are most noticeable in relation to transport systems of all kinds. Here the theremin, Grainger's microtonal butterfly piano and air whistle fly about , coming and going as separate but overlapping breathing organisms with a life of their own but necessarily impacting on each other.
Alan Dorin Australia
The Procrastinating Suttee 2000 0:05:44
The Procrastinating Suttee examines the past and future, and the flicker which is the present. It is concerned with internal and external memory of space and time and the immense amount of human effort invested in capturing the past. Why this drive to record, to take snapshots of moments and preserve them for all time? Why is there a need to play the past as an accompaniment to the future? Why has our unique behaviour come to depend on the correct functioning of our external and internal memories of past events. It is no longer simply a matter of recalling where we buried a bone, or where the nearest water source is located. We preserve images of ourselves and our friends for centuries and record events in oral and written traditions for millennia. Why do we strive for immortality in this way?
The Procrastinating Sutte is an electro-acoustic work primarily synthesized using analogue sound modelling techniques. Much of the sonic material has been modulated into seething, shimmering fragments. The composer would like to thank Peter McIlwain, Alistair Riddell and Steve Law for their valiant efforts to knock some musical sense into the work of this predominantly visual artist.
Garth Paine Australia
Episodes 3 & 4 0:15:00
Episodes 3 &4 are two of a series of seven electroacoustic works that were originally written for an interactive telepresence dance performance with Company in Space. A level of the score was generated in realtime based on the movement of the dancer, using David Rokeby's Very Nervous System, and some MAX and Supercollider patches. The original performance was in Melbourne Australia, before the work toured to SIGGRAPH 98 in Orlando Florida, the "Dowloading Downunder" festival, Amsterdam, Holland and the "Dance Umbrella" Festival, London, England.
Episodes 3 & 4 examine the many levels of communication possible between
two people (in this case dancers) who are physically distant, yet occupy the
same virtual space, and sustain a detailed and intimate exchange both vocally
and physically. In approaching this work I asked the questions: "how does the
abstraction of the human form into binary data streams effect the reality of
a recognisable presence?" and "in what way is that presence altered through
the transmission to, and reconstitution of ,that data stream on the other side
of the world?"
A number of synthesis approaches is applied to vocal statements dealing with
the idea of communication and the Mind/Body divide, so prevalent within western
society. I see the Mind/Body divide as one of the principle driving factors
of the fast growing web based escapist adventures. The web being the ultimate
escape. Instant access to a Nirvana of the mind.
I have made these works for dance as a way of addressing my belief that the
body is fundamental to human existence. It is through the body that we have
sensation, movement and expression, we hear, see, smell and touch - who would
be without those things?
Miriam Rainsford 1971 Australia
audio PiSh 0:12:54
featuring the voice of Peter Wells
Based on an excerpt from J.J.Quantz's treatise On Playing the Flute, the majority of the sounds in this piece, including all the drum loops, were produced by processing and manipulating the recording of Peter's voice. A selection of text-based recordings taken from various sources augment the voice, including my niece and nephew, Bethany and Joseph Reece, speaking on the phone from Tasmania, and several recordings of train and underground "tube" announcements; which are combined with an emphasis on jump-cuts and comic timing. The title is something of an in-joke for ProTools users - the transformation of the loops required a lot of pitch shifting, and when this particular plug-in is used the file is saved as "audio PiSh". Which seemed to me to be an accurate description of the work!
Donna Hewitt 1998 Australia
Drowning 0:10:00
The sound sources for this piece include hydrophone recordings of voice and water turbulence. Sometimes these sound materials are used untreated, at other times they are subjected to a variety of digital processing and re-synthesis methods such as convolution, mutation and granular synthesis.
Manipulated voice features heavily in many of my pieces, stemming from my work as a singer. Drowning alternates between sound worlds and explores various unusual acoustic perspectives. The software applications SoundHack, Sound Effects and Protools were used extensively in the sound design and construction of this piece. Initially in stereo, the piece has been reworked and remixed for multi-channel surround presentation, heightening the sense of being immersed and engulfed. The piece is part of a series of works exploring death and the grieving process.
and untreated voice. The piece explores aspects and experiences of the female vocalist and contains segments from interviews.