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EleKtrIoN (music of diamond)
EleKtrIoN I (music of diamond) is a composition based on the sonification, remix and artistic reinterpretation of diamond property data obtained by very sophisticated scientific computer simulations translated into music using a computer-aided data-driven composition environment developed by the composer in the materialssoundmusic project. -
EMANATIONS
NoiseFold (Cory Metcalf & David Stout) perform EMANATIONS with cellist, Frances Marie Uitti at the CURRENTS International New Media Festival. This clip excerpts 4 movements from a longer work presented at El Museo Cultural in Santa Fe, NM in the summer of 2012.
Vimeo
SEAMUS Database -
embed (live)
embed (live) is a recorded improvisation for electric guitar and interactive electronics. When faced with a new electric guitar sound, some audience listeners might brush it off as just another effect. However, it is the effect itself that is the focus of their attention, which, in turn, minimizes the electric guitar and its role as a sound producer. Thus, in a sense, the effect supersedes its source. One way to get listeners to distinguish the instrument from that which is being processed is to invite them to confront the discrepancies between live and recorded sound. While recorded sound is a fixed representation or history of some sonic event, live sound is (sometimes) heard for the first and only time. In embed (live) the electric guitar acts as both an instrument that produces sound and a controller of another. While one sound is a live product of electromagnetism, the other, although composed in real-time, is a fabrication of fixed recordings contingent on the electric guitar input. -
Envelop
Interactive multichannel work that uses D4 spatialization library and the Sensel Morph controller. -
Erin
Chords voiced as beating sine tones.
Erin (2014) is constructed from five chords. Their harmonic vocabulary borrows heavily from jazz, but their sequencing is non-functional. The progression as originally conceived is heard in its unaltered form voiced by electric guitar near the end of the piece; this small fragment was composed in response to the tragic death of a friend, an accomplish jazz vocalist. The rest of the work is that fragment re-imagined by beating sine tones, spectrally compressed and temporally stretched. The electric guitar, electronically processed, appears throughout, demarcating structural boundaries. -
Eroding Mountains
song-based electronic experimentalism via audio production, microtonality, narration, discontinuity
Eroding Mountains is about a slow epiphany. It is about one’s realization of the value of nonhuman animal life in a culture that typically defines ethical standards along speciesist lines. It is about the realization and remembrance that such lines are and have been drawn within the boundaries of the human species. It represents confusion and conflict that results when what was normal and comfortable is recognized as ethically untenable. It is about remaining connected with those you love in spite of differences. It is about frustration with apathy. It is about the hope of things getting better.
Musically, transformations and re-orderings of recognizable materials represent emotional conflict, confusion, and the feeling of a voice that doesn’t reach its listener. Larger trajectories, such as de-tuned -> tuned and distributed -> isochronous represent the journey of coming to clarity. The three sections represent how individuals can come to this realization in isolation and how, unless they connect with others, will continue to inhabit that state. Each section features expression that refuses to compromise its humanity in spite of the confusing factors around it. The piece concludes with a musical statement of hope.