PERFORMATIVE

Surface : Signal (2016)

Surface : Signal is a 4-channel performative installation using objects and physical interfaces, low frequency signal and vibrotactile technology. Table interfaces are “stages” for objects (glass bowl, whisks, metal funnel), materials (garlic skin, pebbles, aluminum foil, road salt) and object-assemblages. Signal generated in Max/MSP is transferred via puck transducers to physical interfaces, activating the surfaces directly and the objects indirectly. Objects perform variably as harmonic, staccato, cacophonous or drone sound.

Sounds Like Audio Festival, Saskatoon. Curated by Eric Mattson.

Video: vimeo.com/178658336

See: https://www.flickr.com/photos/oral_records/sets/72157670796846890

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(un)quiet d… (2015)

Durational live collaboration with Robert Luzar using objects, architectural features of the gallery, extended techniques and bodily actions for sound-making. Our actions included bowing, dragging and pouring with glasses, bowls, lids and other assorted items. Our bodies perform objects and materials within fragile structures, uncertainty and shifting decisions. Reverberating materials, frequencies and frictions transform the gallery into an acoustic chamber of resonance, dissonance, experimentation and perpetual (un)quiet.

Performance at G Gallery, Toronto, coordinated by Yam Lau. The work occurred within the context of Alexandre David’s project, My work has no meaning unless it is used.

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view video: https://vimeo.com/122457326

Book Table Chair

Interdisciplinary collaboration (dance, new music/theatre) and independent projects using Gertrude Stein’s Tender Buttons as source material and influence. Stein shifts the identity and stability of words as perceptual, spatial and playful experiment. Her emphasis on sound and rhythms over rational sense privilege the body, sound and the mind state over conventional meaning.

Book Chair Table (2014): a new media chamber music theatre piece for oboe, double bass, voice and electro-acoustic instrument by composer and vocalist, Lia Pas. My instrument uses materials, objects and actions for sound and image creation. The composition involves fixed and improvisational elements, repetition and experimentation with polyphonic sound and projection. Performed in Core Series V, a collaboration of PAVED Arts and the Saskatoon Symphony.

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Book Table Chair (2013): a sound and movement research intensive with dancer Kathryn Ricketts. Our inquiry into text, character, sound and story uses physical objects, and live and spoken word (female and male) recordings of Stein’s text to explore relations of objects, movement, sound, space and performative actions. Experimentation and improvisation opened up our process as interdisciplinary investigation. The project was supported by Nightswimming Theatre’s Pure Research.

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<LISTEN> BookTableChair   1’11”

Marking Space (2011)

Kentler International Drawing Space, Brooklyn, New York

Collaboration with interdisciplinary artist, Lezli Rubin-Kunda using live action, drawing and sound. Marking Space is an interaction in and with a space, materials and media through mark-making and sound. Our conceptual inquiry is the relationship of the sound of drawing / the drawing of sound using the gallery as a laboratory space for in-situ production. As artists, we bring our independent practices and our shared philosophical and poetic investigations into questions of knowing/not knowing, presence/absence, visible/invisible, doing/undoing and not doing.

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<LISTEN>  SeedWall 2’42

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< LISTEN >  Pipe 0’42

Seasonal Waves (2011) & Strung (2011)

Epcor Centre Calgary & Sounds Like Audio Festival, Saskatoon

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Strung is a collaboration with Jeff Morton  for AKA’s inaugural Sounds Like… Audio Festival. Four 8-foot long horizontal interfaces are equipped with musical and industrial materials, strings, resonant materials and objects. Analogue sounds are captured with pickup mics; spoken word sound files are triggered by specific actions. Sound is output to four speakers as recursive, spatialized sound. Seasonal Waves, a 14-channel work for the +15 Soundscape at the Epcor Centre in Calgary used the same physical interfaces, without spoken word sound, and a structural approach to the composition.  The work was installed for one year, until August 2012.

MOO (2010)

Canadian Western Agribition, Regina

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MOO is a collaborative site-specific sound project with sound artist, Jeff Morton. We constructed an eight-station percussive instrument with agricultural objects, organic substances and in situ field recordings. Participants modulate objects, sound and materials as spatialized composition in real-time. Sound is captured and amplified using contact microphones; in addition direct manipulation of the objects triggers field recordings as a secondary order of sound.  MOO was a residency project of the Saskatchewan Arts Board.

< LISTEN >  MOO excerpt 1’17

Realms of Knowing (2010)

Bickersteth Reading Room, University of Toronto

Realms of Knowing is a book-based and sound project as a collaborative live action. The artists set up a dialogue between texts and lived experience in a site of academic knowledge as another way of knowing and knowledge. Moffat constructs a multi-layered vocal composition referencing memory and the body; Rubin-Kunda works directly in classical philosophy books, drawing with everyday and organic materials.

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Presented by: WIAprojects, CWSE, OISE, Hart House, University of Toronto. Curated by Pam Patterson & Leena Raudvee; curatorial assistant Sevan Injejikian.