MULTI-CHANNEL SOUND

Small Sonorities (2017)

This body of work explores the acoustic properties of materials as resonance – the study of sound relations. Low frequency signal input to physical interfaces via vibrotactile transducers triggers objects resulting in a kinetic sonic performance. The rhythmic composition fluctuates through cycles of frequency modulation and material sonic actions.

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Small Sonorities: a pen, a sponge

View Video: https://vimeo.com/21854633

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Study in FM: Variation #2

View Video: https://vimeo.com/210866309

Base frequencies relate to states of mind and body and the Earth’s electro-magnetic field. Kinetic and sonic actions of the materials add a second sonic layer as analog sound. Empirical processes combine with experimental play in an endless loop of recurring signal.

Small Sonorities: Material Signals

Remai Modern Gallery Web Commission: https://remaimodern.org/pre-launch-programs/web-commissions/ellen-moffat-small-sonorities-material-signals

Playing with Gertrude (2015)

Playing with Gertrude is an interactive installation for sound and image creation inspired by poems from Stein’s Tender Buttons. Objects and text(s) are props, players and instruments. Participants perform the installation as direct actions triggering spoken word recordings and creating new sounds and text-images through experimentation, play and interaction. Sound is output to 8-channels; text-images are projected as a live feed.

Co-production residency of Charles Street Video and NAISA, Wychwood Barns, Toronto. Also see Performative: Book Table Chair.

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View video: https://vimeo.com/123158793

PickUpPutDown (2011)

PAVED Arts, Saskatoon

PickUpPutDown is an interaction in and with architectural space and experimental sound making using surfaces of the gallery as ad hoc soundboards. Participants engage with objects and materials (instrument wires and resonant materials attached directly onto the walls) through interaction, improvisation and intuitive exploration. Sound is amplified with contacts mics, processed through software with delay and output to multiple speakers as distributed sound.  Performance at opening reception with Jeff Morton and David Grosse.

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VIDEO: Performed Installation 03’43

<LISTEN> PickUpPutDown 02’04

INSTALLATION DETAILS: objects and materials for experimental sound making

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Lines Tones and Spaces (2011)

NSCADU, Port Loggia campus, Halifax

Situated installation in a 160′ long corridor using constructed and found elements. Two physical soundboards positioned at opposite ends of the corridor are equipped with objects and materials for live soundmaking. Participants improvise with materials and the interfaces through ludic play, negotiating co-creation and communication over distance. Sound is distributed to four speakers along the corridor with variable delays to stretch sound spatially as recursive sound. The project was completed during a residency at NSCAD U.

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<LISTEN> LinesTonesSpaces 01’29

Sound/Track (2010)

Gordon Snelgrove Gallery, University of Saskatchewan

Sound/Track is a foot-controlled interface that uses local and imported organic matter, sensors and extremely low frequencies ranging from 7.8 Hz to 60 Hz. Impact of participants’ footsteps on the floor-level sound board triggers switches that release sonic frequencies as primary sound which activates matter in four speaker cones as a second layer of sound. Together, preset and chance sound events propose an experimental compositional process.

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Speaker cones contain: dried flowers and berries; leaves (birch, basil, oregano, tea); water and Palestinian olive oil; seeds (peppercorn, coriander, hemp).

<LISTEN>  Sound/Track 2’09

Basement Suite (2009)

Open Space, Victoria

2-person exhibition; curated by Ted Hiebert & David Cechetto,

http://www.tedhiebert.net/site/eidola.php

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Basement Suite started in my domestic space. The living room floor became a soundboard for experimental sound making and the crawl space a recording studio and listening chamber. Participants performed the floor using extended techniques for sound generation with objects (furniture, pill bottle, boots, shoes, sponge, tuning forks, glockenspiel), animal and body parts (dog, knuckles, heels) and actions (walking, dancing, moving furniture, sweeping, knocking). Captured by contact microphones, I edited the recordings into an 8-channel psycho-acoustic composition for in-house and a gallery installation.

basssess_install11Physical elements of the gallery installation link to architectural and acoustic aspects of the domestic space. Suspended wooden platforms suggest a fragmented floating floor; speakers and a light fixture reference the house installation. The composition layers somatic rhythms, percussive beats and sustained phrases into an open narrative of spatialized sound.

basesess_detail_web<LISTEN> BasementSuite  01’14

 
 
 
In-House Sound Recording + Installation, Saskatoon
 
 
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THE PHONEME PROJECT (2005-2008)

The Phoneme Project is an extended investigation into polyphonic composition using phonemes as note events and multi-channel spatialized sound in installation and performance. Phonemes (the granular units of spoken language) are extracted from professional recordings of the International Phonetic Alphabet. 

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My process uses an iterative approach, focusing on composition generation, structure, physical interfaces, technology and/or interaction. The compositions suggest language as it is becoming or deteriorating, teasing with meaning, sense and sensibility. My references include sound, visual, linguistic, psychological and cartographic disciplines: aerial photography, cognitive (dys)functionality, linguistic gestalt and musical instruments.

vBox (2008)

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vBox is a linguistic instrument of polyphonic sound. The twenty-foot sound cabinet houses four data banks of phonemes, eight scripts, twelve audio speakers and twenty-four external physical controllers.

Participants manipulate an existing composition in real-time using buttons, knobs sliders and switches as a solo or collaborative actions to alter tempo, rhythm and amplitude as sonic variables. Programming is in Max/MSP. The polyphonic composition is inspired by Dadaist sound poetry as sonic play and linguistic meaning. Presented at The Art of Immersive Soundscapes 2, Regina (2007). National tour: Kenderdine Art Gallery | College Building Gallery (2008), Doris McCarthy Gallery (2009) and Thames Art Gallery (2011). Solo exhibition at Surrey Art Gallery (2011).

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<LISTEN> vBox 2’04

<Text by Marie Lovrod>   COMP OSE_Review_MLovrod_FUSE

 

convocare_consonare: duet for four voices (2007)

collaboration with Dr. David Gerhard, Computer Science, Regina

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convocare_consonare uses sound and text-image projection in a poly-vocal composition generated in real time as a co-authored performance. Each participant wears two speaker devices with micro-controllers, buttons, an accelerometer and distance sensors housed in PVC tubes as low-tech speaker cabinets. Each speaker-unit is mapped to a discrete data bank of phonemes, synchronized to glyphs (the integrated sound and text-image unit) and projected. As composed sound, the four voices references choral music (soprano, alto, tenor, base), concrete poetry and synaesthesia. Presented at the International Computer Music Festival, Copenhagen (2007) and The Art of Immersive Soundscapes 2, Regina (2007).

<LISTEN> convocare_consonare 1’21

SoundsNervouse (2005-2006)

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SoundsNervouse #2 is a 24-channel sound installation based on the taxonomy of the International Phonetic Alphabet for its compositional structure. Twenty distinct categories of phonemes are output to twenty tracks of sound; four additional channels use single phonemes, manipulated in performance using Max/MSP. Select speakers contain seed and water that is animated as the tempo and volume escalate. Formal linguistic structures are juxtaposed with subjective rhythms and interpretation. Developed and presented in performance during a residency at Western Front, Vancouver (2006).

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<LISTEN>

SoundsNervouse #2

01’51


SoundsNervouse #1 maps 16 channels of discrete sound to colour organs in an audio-light installation. The fusion of colour, rhythm, silence and darkness suggest social anxiety without logical sensibility. Exhibited in North Bay (2005) and Calgary (2006).

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banff fugue (2005)

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banff fugue is the first version of The Phoneme Project using a MIDI keyboard, sampler software, real-time processing software, Bach’s 5th fugue and phonemes. The 16-channel spatialized vocal composition straddles music, sound poetry and free form experimentation as personal expression and social anxiety. Presented in Sound Madness 1, The Banff Centre for the Arts.

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BLOW (2004)

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BLOW combines fragmented vocal recordings, projection and audio equipment. Two voices – one male, one female – are deconstructed into semantic and grammatical units in a polyphonic composition that is output to twelve tracks  as spatialized sound. Breath, utterance, syllables and phrases propose a cut-up sound poem of sentience and rationality using high/low technology and aesthetics. The text explores sense and sensuality of the individual, the collective and utopic social movements. A cartographic-text map fusing concrete poetry and the nervous system of the human body as a techno-organic graphic is projected on one wall. Catalogue with Audio CD; essay by Betsy Warland. Collection of the Saskatchewan Arts Board. 

<LISTEN>  BLOW  1’00