I’ve been a little slow getting this one up here, but here it is – some documentation material from the Meta-p(F)ace show created and performed in Athens, Greece.
This piece was devised in collaboration with Yiorgos Bakalos (performance with live cameras) and Stevan Lung (video/visuals). Whilst we all came to the project with ideas of where we wanted it to go, it was essentially devised over the space of 3 weeks, with the following 2 weeks consisting of approximately 10 performances at the Beton7 Gallery.
The piece explored the relationship between our private, personal space and how this affects our dealings with the world at large. Through the use of two wireless cameras strapped to the backs of Yiorgos’ hands (one facing in towards his face, and the other out) we examined this central theme, whilst also looking at how our memories affect our attitudes in the present, and how coming to terms with our past can liberate us from anxiety and misgivings about where we’re going.
Sonically the piece was made almost entirely out of audio recordings made in and around Yiorgos’ flat, trying to capture the background sounds and various times of day to build up a sonic footprint of the environment we were working in. I then layered these together to create an amalgamated impression of the soundscape, whilst at certain points introducing other elements (such as a synthesised drone) to create a sense of otherness, tension and dislocation. This latter part was very important since it cemented the idea of the individual vs the world, and the struggle that will ensnare all of us at some point in our lives.
The space itself consisted of two rooms: One large room which contained the Installation portion (projectors, speakers and an armchair) and a smaller room in which Yiorgos performed most of his choreography. Stevan and I were set up in this smaller space, so as to leave the audience to their own devices in the main area. Yiorgos began his choreography under a duvet on a bed in the small room, with his actions only visible on the two screens next door. Through this connection yet disconnection between the two spaces the audience had to choose whether to watch the bed or the screens, physically enter his personal space or watch it voyeuristically on the projections.
I won’t explain in great detail how the piece unfolds, since I think it has to be experienced in person. We’ll see whether there’s another opportunity for that to happen. To give you a feeling of the space and general tone, here some images (video to follow):
I’m writing this from a flat in Athens, where I am currently working on a performance art – installation piece to be performed on various days over the first two weeks of April. The piece revolves around the theme of personal space and how this conjures up certain thoughts an memories, as well as this personal space vs the unknown/intimidating nature of the world at large. It’s still very much in the developmental stage which is proving to be both productive and invigorating.
The team for this piece is (apart from me) Yiorgos Bakalos, who I met through my work with DAP Lab, and Stevan Lung who has travelled to Athens from Belgrade. I’ve included the flyer below and will put up video, audio and images as the documentation procedure moves along.
My lastest EP under the name Duskky has been released through the fledgling EDM label Broken Bubble. It features four tracks, plus a bonus one if you buy the whole thing off the Bandcamp page. I’ve been wanting to get some of these tracks out for a while, and after much discussion with label boss Cogidubnus I think we ended up with a pretty coherent track listing, which is as follows:
It’s (well) worth mentioning that the vocals on Nephilim are taken from a piece composed, performed and recorded by Anthony Kangaris named “Boring World”, featuring multi-tracked vocals at their best! Check out the original here. To date we’ve worked on one other track together, which turned out more like a journey though about five different tracks, called XIII. Check that out on Soundcloud too!
So, the project I have been working on with Mccoll-Misme has been show another 2 times (I have been a little slow on the updates this end).
The first of these was as a part of ‘Beyond Text: Making and unmaking text across performance practices and theories’ – presented at the Centre for Creative Collaboration in London on 28/01/2011. The event as a whole was fascinating, with all sorts of works presented on the Friday evening and a series of lectures on the Saturday.
31.10 was presented in the back room, with some alterations to both sound and visual arrangements. The audio was presented on just 2 channels this time due to technical constraints, though I don’t think it lost much in the small L-shaped space. The projections were displayed on vertical and horizontal white wooden boxes.
Here are some pictures from the event:
It was also presented at the Arts @ Artaud Performance on 16/02/2011. This was in the same space as the initial presentation, so the setup is very much the same! Check out the previous post about the project to get an idea!
The lovely people over at Circuitree Records have selected my remix of the Hydroplane track ‘Borm’ to feature on the ‘Borm Remixes’ album alongside 8 other tracks. The whole thing is accompanied by this excellent cover by Kent Hernández:
You can download the Duskky Remix and the rest right here.
In July 2010 I took part in a recording session of a piece by Rich Perks, a current PhD student at Brunel, in which he was seeking a fusion of disparate musical disciplines. He created a piece (the first in a series) where an interpretation of the traditional Persian Dastgah form was accompanied by sounds and players from more distinctly western traditions.
What was really interesting for me whilst involved in this project was the ease with which the Tar, Daf, Clarinet and Electronics meshed together to create a coherent result. This project is also part of a larger exploration for Rich into ways of scoring for instruments such as live electronics where the traditional techniques do not apply. I picked the sound sources and processing techniques, but the gestures and textures were very much dictated by Rich through the score. Hopefully he’ll allow me to post up a page or two of one of his scores sometime soon!
So, below is a recording of this first session. I believe there’s another on the way so I’ll post a second recording on here when it lands in my inbox.
Ali Nourbakhsh – Daf & Tombak
Tom Jackson – Clarinet
Payam Iranmanesh Zarandi – Tar
Sandy Finlayson – Electronics/Samples
So things have been moving forward recently with a little 3 track release entitled ‘Wish on the Moon EP’. This one has a slightly more house vibe, though still representing breakbeat science in a big way. The track listing is as follows:
2. Soundboy vs Soundman
3. Wish on the Moon
I wrote about ‘Soundboy vs Soundman’ in my MMus final project (which you can download here – including a clip of the aforementioned track).
I recently received the artwork from James Brasted which is looking pretty awesome as an animated GIF:
Release date set as the 15th March 2011 so be ready!
The 31.10 installation is an ongoing collaboration with McColl-Misme. The first performance took place at the Artaud Centre for Performance on December 15th 2010 as part of the Masters in Contemporary Performance Making at Brunel. It revolves around the idea of combining multiple different media to create an interlocking web of patterns and rhythms and was essentially made of 3 components:
1) Two projected videos shown on perpendicular walls (the corner of the room) – one taking the form of a horizonal strip and the other a vertical strip. This footage featured and was edited by Misme with filming assistance from McColl.
2) A manipulated recording of a poem written by Misme and voiced by me. The recording was then fed through four speakers and then manipulated by ducking and shifting small segments of audio to create a feeling of movement and instability.
3) A 3D object placed to create a triangular formation with the two projected videos. This element also draws attention to the idea of rupture within the piece.
The poem itself is autobiographical, but presented in such a way that it’s not clear who’s life is being discussed. What follows is the text as written by Misme, specifically without punctuation so at to leave the emphasis up to the reader.
loud but hazy penetrating the nebulous warm and wet space the imminent periphery opens to the blur bright cold cacophony leaps against the wall to the surface of her skin and inside her zero zero point zero one new acclimatization is required she beholds a newly fluttering cadence of shapes that are yet meaningless zero point zero two zero point zero three four five six seven eight nine ten eleven twelve thirteen fourteen fifteen sixteen seventeen eighteen nineteen twenty twenty-one twenty-two twenty-three twenty-four twenty-five twenty-six twenty-seven twenty-eight twenty-nine thirty, one one point one one point two three four five six propelled upon the liminal space she softens while intertwined her hands tracing an invisible loop slowly she looses her sense of gravity one point seven one point eight nine ten eleven two three four five six seven eight nine ten ten point one ten point two three four five six seven eight nine ten eleven abruptly her body folds meticulously moving and falling in the bleak distance ten point eleven twelve twelve point one fix vertical axe and frozen depths silence prevails twelve point one twelve point two three four five six seven eight nine ten eleven thirteen fourteen fifteen fifteen point one fifteen point two three four five six seven eight nine she becomes north an eruption of patterns flow around and inside her fifteen point ten fifteen point eleven sixteen sixteen point one sixteen point two three four duplication of a former data body skin environment no longer fits together inside a sphere sounds grumbles and shapes slide away sixteen point five sixteen point six seven eight nine ten eleven seventeen seventeen point one seventeen point two three four five six seven erratic particles heavily pulse pushed in the threshold soma enters an unfamiliar zone where the sensation of a new language is compelled seventeen point eight seventeen point nine ten eleven eighteen nineteen twenty twenty-one twenty-two twenty-three twenty-three point one twenty-three point two three four five six seven eight nine ten eleven the longing and voracity of an eruption of patterns flowing around and inside her has emerged she becomes west twenty-four twenty four point one twenty-four point two three what was taught thought and necessary is no longer functional morphing shedding her skin to delete previous primary functions twenty-four point four twenty-four point five six seven eight nine ten eleven twenty-five twenty-six twenty-seven twenty-eight twenty-nine thirty thirty-one thirty one point one thirty one point two three four five foreground isn’t concrete lines dissolves sensing is no longer perceived body oscillates slow pulse eyes flatter but stillness is thirty-one point six thirty-one point seven eight nine ten
Below is an example of one of the videos used. Sadly it is only two of the four audio channels, but the piece is going to be performed for a second time at the Centre for Creative Collaboration for the ‘Beyond Text: Making and Unmaking Event’ on the 27th jan 2011, so if you wish to experience the next incarnation please come and join us.
I joined DAP Lab in May 2010. I was employed as sound designer and musician, working with digitally constructed live electronic sounds, with a remit to realise the ideas of the performers in a technological context. My work also sat alongside that of composer Oded Ben-Tal, where our different approaches sat nicely in contrast with each other. The whole project was in collaboration with Keio University, Japan and received funding from the Japan Foundation.
By the time I joined the ensemble Ukiyo 1 had already been completed, with the performance taking place in what is now the Artaud centre for Performance. The performance of Ukiyo 2 took place on June 18th 2010 in Maribor, Slovenia. The final incarnation of the piece took place on 26th November 2010 at the Lilian Baylis Studio in Sadler’s Wells, London.
The piece itself took the form of a network of different choreographies, involving varying number of the performers, primarily based around Hanamichi like rectangular performance areas. This was complemented by projected film footage and live video manipulation from Johannes Birringer, and a series of sound producing garments designed by Michele Danjoux. Hopefully the movie gives an impression of the performance as a whole.