Lateral Addition

Series Editor Eric Laska

Lateral Addition aspires to enrich dialogues among contemporary practices in sound — improvisation, computer music, “sound art,” etc. — and other areas of current media and visual art. In order to nurture the growth of these connections, it serves to further elucidate the often esoteric methodologies and thoughts of artists working with sound through original audio material. Established in 2013, Lateral Addition releases sets of 4 audio and text contributions from an international roster of artists and writers on a bi-yearly schedule.

Series Titles

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    PublisherLateral Addition2013
    Often, interview questions unduly influence the way in which one considers an interviewee’s response. By framing the responses with silence, a greater interpretive space is left open. Conducted over Skype, September 2012 – EL
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    PublisherLateral Addition2013
    The Musical Condition of Reasonable Conspiracy is a discussion-performance from the “discussion in a room” series I’ve been developing since 2011. My phone interview with the Australian composer Chris Mann discussing ‘composer’s conspiracy’ is transcribed into a script and reenacted by two performers while a group of Rome-based composers intervene throughout the conversation. Here, “discussion” means something simultaneously organized and performed by re-enactors, speakers, listeners and beholders, all of whom become conspirators in a shared unfolding process. Re-enactors: Michael Fitzpatrick, Gaby Ford (The English Theatre of Rome) Interlocutors: Fabio Cifariello Ciardi, Daniele Del Monaco, Matteo Nasini & Fabio Rizzi • Chris Mann, composer ...
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    PublisherLateral Addition2013
    Iteration · December 8–10, 2012 · Philadelphia Counter-variation · Strict partial order · Samples · Apartment · Two rooms subdivided into four sections, connected by another · Two to four doorways · Peavey bass amp · Water · Vans Outline/blurb assigned numbered coordinates · Comments referencing room sections, objects occasioned, faulty time coding: https://soundcloud.com/lateral-addition/abd/s-3B10u · Lament metanalysis Nonrandomized domestic recordings: four linear tracks, seven breaks · Contingent irregularities — exception: three guests arrive · Additive objects and/or surfaces substitute, account for one another’s duration — obfuscatory spatial treatments · Per lack of attention, nonproportional proximity the rooms the podcast · Admeasure · Aural ...
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    PublisherLateral Addition2013
    “To understand the trajectories of the stars through a galaxy, Michel Hénon computed the intersections of an orbit with a plane. The resulting patterns depended on the system’s total energy. The points from a stable orbit gradually produced a continuous, connected curve. Other energy levels, however, produced complicated mixtures of stability and chaos, represented by regions of scattered points. […] The nested detail, lines within lines, can be seen in final form in a series of pictures with progressively greater magnification. But the eerie effect of the strange attractor can be appreciated another way when the shape emerges in time, point ...
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    PublisherLateral Addition2013
    Field recordings, MP3 compression 2013 Recordings often ask you to listen out-of-body by immersing yourself in the stereo image that the medium is reproducing. As if music were a window whose objects you could only perceive by imagining yourself on the other side. Immersion Loop asks you to stay where you are, to view the surface of the window and feel its effects in your space. The music is immersed, not the listener. Go about your business as though this sound is equal to all others: chatter, wind, traffic, footsteps, radios, appliance noise, etc. – JTP
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    PublisherLateral Addition2013
    Sound is contingent on material yet it has no material component of its own. In some of your recent work, you focus on the material that shapes acoustic environments (such as the wood in Tonewood Hills and the awning in Eve). By emphasizing the physical reality of sound, the non-ethereal, material aspect of aural perception is accentuated. It is my belief that part of what distinguishes the culture surrounding sound practices from the wider field of visual culture is the tendency to look inward and deal with the formal aspects of sound while neglecting the outward, external elements that also ...
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    PublisherLateral Addition2013
    EL: soo first in terms of editing, mix of the track any thoughts? Me: I just listened through again and was wondering about the order of the question sets EL: ok Me: like what if we move the first question set to after the talking set? Me: it’s hard to say though if that would make any difference as it stands it’s not too bad it’s just really austere in the beginning and a little silly at the end EL: hah Me: though the pink noise helps actually quite a bit after the describing food section EL: its a cleanser Me: totally a palate cleanser …
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    PublisherLateral Addition2013
    This recording was produced during a sculpture critique with Irina Arnaut and David Barr. – SL
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    PublisherLateral Addition2013
    Please read the following instructions before playback: The audio above is not the work but a means to facilitate the dynamic listening which you must perform. Throughout playback you must adjust the volume of your playback system in relation to the constantly shifting loudness of the audio track. The object of continual volume adjustment is to maintain as constant a resulting perceived volume as possible, despite continual changes of volume built into the track. Performance requires constant attention to the track’s loudness and simultaneous compensation in relation to its changes: – if the track gets louder, you must turn down playback volume; – if the ...
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    PublisherLateral Addition2014
    1 – An aphorism interrupted by some anecdotal wood 2 – An aphorism interrupted by some anecdotal wood 3 – An aphorism interrupted by some anecdotal wood 4 – An aphorism interrupted by some anecdotal wool 5 – An aphorism interrupted by some anecdotal oven 6 – An aphorism interrupted by some anecdotal wool 7 – An aphorism interrupted by some anecdotal wood – HP
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    PublisherLateral Addition2014
    Uneven Developments is conceived as two independent monophonic compositions of synthetic sounds to be played simultaneously. Diverse sonic events with varying duration and volume appear and behave independently on each channel. While the palette of sounds may be quite similar on both channels due to the uniform method of sound generation that is based on and inspired by analog modules, the aim of this piece is to reconsider the dominant consensus regarding the notion of stereo sound. Therefore, a central and fixed position for listening is not required and “uneven” or “unusual” speaker arrangements are strongly encouraged. The piece is born out ...
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    PublisherLateral Addition2014
    Since the Autumn of 2012 we have been attempting to connect a variety of musical and conceptual work in which we feel strongly exists in, points towards, or employs an area that could be described as the liminal. We both feel that this is not something so easily defined, does not have to do with a particular kind of work, nor is a particular thing or perceptual understanding. Yet at the same time we feel that in some music or ideas this area becomes quite important- actually vital to the total experience- even if it is not to be directly ...
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    PublisherLateral Addition2014
    1. 00:00 Base Mutant was recorded to tape in the basement at 16th and Moore, between January and April of 2014. I made around six versions, trying out different BPMs and filters, but this one sounded best. Like the other tracks, this one was written on a Yamaha PF-500 and a MC-909. On the 909, I primarily used the synth voices “SonicVampire” and “Dial,” both of which were programmed by long-time Roland Engineer Nick Tidy. Aside from doing sound design for Roland— including 909 as well as 303 voices— Tidy composed soundtracks for a number of shareware games, most notably “Starscape.” ...
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    PublisherLateral Addition2014
    Music for The Memphis Group was written in late 2013, inspired by the Milan design collective of the same name. The work produced by the association of international artists – active between the years 1981 and 1987 – playfully engaged in hypothetical and pragmatic applications (furniture, apparel, sculpture, kitchenware) for emerging global resources, both synthetic and organic, rare and commonplace. The loud colors, plastic laminate, and asymmetrical patterning was intended in part as a rejection of dominant Modernist aesthetic ideals of the time – ideals that still hold over today in contemporary attitudes concerning clean, “essentialist” design. The Memphis Group’s willful, ...
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    PublisherLateral Addition2014
    While I still buy records and tapes, increasingly for me, the time I spend Listening To Music has become a part of the more general act of Media Consumption, which is largely grouped under the heading Time Spent on the Computer. There is a permissiveness to mixing content in the new culture of sitting on your couch with your laptop, making your own entertainment. The flatness of more access means we listen to more disjointed content all the time, and has created a feeling of normalcy around collage. “Everyone is a DJ.” A rising tide lifts all boats, and the flattening ...
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    PublisherLateral Addition2014
    Audio Excerpts, Movements 1.5, 2 March 21, 2014, EMPAC, Troy, NY The notion that underlies this piece is levitation, both literally and metaphorically. When composing I imagined the possibility of the sonic elements existing in a parallel dimension, the aural aspect holding matter suspended as if it were an apparition in an interstitial space. In the presentation of the work, a literal manifestation or demonstration of low-end frequency levitation takes place using hand-crafted subwoofers with materials hovering in the windows of the boxes. The piece evolved out of studies accompanied by drawings and texts as investigations of threshold states. It is comprised ...
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    PublisherLateral Addition2015
    OPUS17ASLIMEVARIATION#4 is the fourth variation and first issuing of Roc Jiménez de Cisneros and Stephen Sharp’s re-interpretations of Hanne Darboven’s Opus 17a. The realisation remains true to the original composition save the occasional algorithmic hiccup on the DR-660.
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    PublisherLateral Addition2015
    This audio comprises binaural and stereo recordings. As a result of the mix, it is best experienced when listened to on headphones. The binaural audio is related to the research I conducted during my residency at EMPAC in Troy, New York in 2014. During two weeks in May 2014, I created different architectural configurations employing 16 moveable walls made out of materials with various acoustic properties. I placed many speakers around them to compose sounds that focused attention in different ways, an approach that reinforces sonic hierarchies. In November 2014, I focused on one particular wall/speaker configuration and invited choreographer Jocelyn Tobias ...
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    PublisherLateral Addition2015
    The work of Dove Bradshaw bridges the delicate line between object and environmental dynamics. Much of her material exploration is grounded in John Cage’s use of chance as compositional methodology, emblematic in works that employ elements such as live doves or ammonium chloride, the stochastic properties over which she has no control. Time is an active agent in Bradshaw’s oeuvre, lending her an exit route away from artistic bias or intention. In 1990 and 2014, Bradshaw curated two group shows at Sandra Gering Gallery in New York with works from the personal art collection of John Cage. The first of these ...
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    PublisherLateral Addition2015
    Here, William Anastasi elaborates on his thinking behind the pioneering 1966 Dwan Gallery show Sound Objects, his relationship with John Cage, and the tautological nature of his work. Recorded October 2014 – EL
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    PublisherLateral Addition2015
    Aaron Harbour of Et Al. interviews Ginger Wolfe-Suarez, expounding on her exhibition at Diane Rosenstein gallery, A Thing Repeated Is Not Always The Same. August 31, 2015 – EL
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    PublisherLateral Addition2015
    Voice, drums, recordings here and there. Composed July – August, 2015 I started this piece walking down by the Limmat on a cold, windy day. Whitecaps chopped the water and I was a bit out of breath from fighting the wind and trying to keep warm by moving at a brisk pace. Under the Hardbrücke the deep resonance there swallowed me up. A long rowboat chained to the concrete pilings of the bridge whipped to and fro in the strong current. I headed up the stairs to my studio. Schulhaussingen happens twice a year at my kids’ school. I usually go and I ...
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    PublisherLateral Addition2015
    In Peter Ablinger’s work, the listener is often asked to cross the distance between sounds. These types of comparative actions fall into at least three categories. One of these categories is a comparison between two sound sources: a recording and a reproduction. The term Ablinger uses for these reproductions is “phonorealism.” Another type of comparison is between a sonic memory and the sound that is present. I’ll play two examples later that activate specifically musical memories through a process called “verticalization.” We’ll start, though, with yet another type of distance that is to be traveled, this time in the sonic imagination, ...
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    PublisherLateral Addition2015
    On June 6th and 18th of 2015, I recorded the sounds Enrico produced from manipulating empty aluminum cans. Discouraged by the boomy sound of Enrico’s living room (let alone the noises coming from a few hyperactive neighbors) we decided to take the car out and go in search of a quiet spot in the country. On the crest of a hill we found an almost anechoic slope, populated by dense tall grass. We wanted the recording to be “pure” – as dry and close up as possible in order to verify with plenty of sonic detail the reasons an object ...
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    PublisherLateral Addition2016
    Excerpts from Day Three at the Sydney Cricket Ground: Starc bowling to Saha from the Paddington end – dot ball; off-drive: boundary; dot ball; dot ball; dot ball; back-foot defence: dot ball. Watson bowling to Ashwin – edged: boundary; dot ball; dot ball; dot ball; forward defence: dot ball; forward defence: dot ball. Hazelwood bowling to Saha from the Randwick Street end – front foot defence: dot ball; back foot defence: dot ball; back foot defence: dot ball; drive to mid-on: dot ball; dot ball; off-drive: three runs. Watson bowling to Saha – forward defence: dot ball; back foot defence: dot ball; forward defence: ...
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    PublisherLateral Addition2016
    A knife is cutting through air, relentlessly. However, it cuts very slowly, by degrees and in circles; it’s a wooden knife, not very sharp, like a butter knife but with teeth. The structure upon which this knife is attached has a light bulb resting on it, a light bulb with a rather complex metallic grid inside, vibrating softly with every degree of the knife’s turns. Then there is a strip of paper or a piece of thin cardboard, suspended; three toothpicks are leaning on and pushing this cardboard but they are not strong enough, the cardboard barely undulates. Sometimes a toothpick ...
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    PublisherLateral Addition2016
    Late last year, I visited Christopher Knowles in his studio on 20th street in New York City to discuss his contribution to this publication. Knowles shares the studio with his wife, the artist Sylvia Netzer, and the three of us sat down and listened to many of Knowles’s recordings before he decided on the one he wanted to include. As we played a selection of the sound works, most of which were created in the 1970s and early 1980s, Knowles spoke about the condition of each tape’s production. He readily called to mind where he made each tape, the day ...
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    PublisherLateral Addition2016
    We love too late! “I hadn’t been asked,” Udo Kier shouts into a microphone. Kier, the German actor of Cologne origins recites from a pamphlet against the lack of transparency in local politics as part of a performance initiated by Rosemarie Trockel in 2002. The occasion for the art-performance was a huge hole in the city-center of Cologne that emerged as a result of the demolition of a public contemporary art space, the Josef-Haubrich Kunsthalle, which was built in 1967. The local politicians that planned the destruction of the modern concrete building only recognized that there was no budget for a ...
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    PublisherLateral Addition2016
    This is a recording of a trio improvisation by Takahiro Kawaguchi (horns) Masahiko Okura (reeds) Masahide Tokunaga (alto sax) which was held at En-ban, a record store in Koenji, Tokyo, at 8pm on August 30th 2016. Okura and Tokunaga are wind instrument players who work in both composition and improvisation. Rather than focusing on any one fundamental output, the handmade instrumentation and musical content of each of Kawaguchi’s performances are unique. On this recording, he performs as a “mechanical wind instrument player.” Text translated from Japanese by Wonja Fairbrother. Audio mastered by Alan Jones.
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    PublisherLateral Addition2016
    This recording is made from a selection of my collection of cassette loop tapes that were created between 2006 – 2016. Most of them have been used in previous recordings but never in this configuration or layering of sounds. I have been making recordings under the moniker Tether for the last 3 years, and previously recorded and performed as Pak. I was interested in the idea of a time capsule, where information is recontextualized at a later time. My suitcases full of loops became my personal time capsule to investigate and find sounds that would serve a new composition. The ...
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    PublisherLateral Addition2016
    It has a season that has to have with a lot of setting up the one who likes to its feet or skeleton of a gun and ordered anyway the hello to have a little likelihood of home slow white lights that he only one child at home has to have it has totally into the case is the percent theater were aimed at setup a look at two outs. That’s a that’s the story to a record of as I’ve started with four of the sixth to its petition as the status of Jerusalem as its citizens that came ...
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    PublisherLateral Addition2016
    Today I clapped a mosquito dead and there was blood between my fingers. Two drops. I washed them off. The book Ben gave me has blood at the bottom, two drops, although maybe it’s just marker. It’s probably just marker. But, you know, it’s nice when things are more poetic than they should be, when life suddenly inflates like an air bubble in a sausage casing, when time puddles out. I like reading Judith Butler. It’s usually worth it. I read her at a rate of one book every two years. It’s too much, I guess, like eating a huge rich ...
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    PublisherLateral Addition2017
    i’ve been obsessed with chris tucker’s early work recently the lines sound so much different in the present moment than they did to me in the past they now are more like prescient articulations of a horrifying future or a gonzo present each message opens up its own rift in time and space i get caught in these little eddies, the accumulation of which has become pessimist rush hour – WWIV
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    PublisherLateral Addition2017
    Last fall, I was touring and performing my piece “Falsetto” every night. It’s a strange, physically difficult, fumbling, deliberately incompetent (or maybe a different type of expert) performance played almost entirely with small bells found at thrift stores, purchased with the criteria that they must in some way sound unusual or broken or just “not nice,” and also that they cost less than $5 each. The sound of the bells is great. When layered, it’s a complex, weird, and unpredictable sound made with exceedingly humble means – literally just jostling a bunch of crap around that I found at Goodwill. However, ...
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    PublisherLateral Addition2017
    The Pitch “A framework of understanding.” The pitch is a playing field. Four players trying to pitch something, an idea, a sound. A tone of definite frequency. The Pitch is a co-sharing of musical space, of certain parameters, limitations and an instrumental awkwardness collectively carried into brightness. Working out simple ideas to see how far we can take them. How long we can play them. How often we can handle them. Modes of interaction, rules of engagement, aesthetic agreements, instrumental limitations. Reducing material until we’ve reached the core. Initiative, shared intuition, collective composition, instrumentation. Bass harmonics doubling the clarinet, vibraphone rounding out the harmona, sine tones combining instrumental forces. The harmona is missing pitches. Playing such an archaic, flawed ...
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    PublisherLateral Addition2017
    For this piece, I created a foundation – or “backing track” – that can be used for a variety of playback scenarios. It incorporates on-site recordings and excerpts of cassettes and audio files from my personal archive, including: crowd noise (date and time unknown), guitar and tape recordings (2006 or 2007), synthesizer and electronics (2008), percussion / loop cassettes (2007), and recordings of live noise shows (artists unknown, circa 2008). Preference was given to sounds of an unknown or barely remembered origin. These audio clips were mixed with recorded ambiences from a visit to Vox Populi Gallery in Philadelphia on the afternoon ...
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    PublisherLateral Addition2017
    Reciprocal Scores is a light, body and sound performance piece that I have been working on with Lotus Edde Khouri since 2013. Sounding Reciprocal Scores is a sound perspective of the performance that I edit together after each performance. This iteration is very simple; it’s an overview of what occurred sound-wise during the last performance. The recording is always far from any worries of objectivity but ends up sounding closer to the mood of the performance than a more straightforward document. Of course, it sometime fails, and ends up being far from anything interesting, objective, subjective… This particular take was ...
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    PublisherLateral Addition2017
    A conversation between Khyam Allami and Sharif Sehnaoui recorded at OneHertz Studios, Beirut, late 2017 Two musicians with very different backgrounds and itineraries in music discuss their visions and some of the ideas behind their distinct practices and methods. The conversation is set within the greater context of advancing contemporary ideas into the space of Arabic music. Here, Arabic music is not thought of as a fixed thing but rather as a historical and cultural background that lends various shades of meaning to each artist’s work. Though there was not quite enough time to fully expand upon the ideas discussed, the conversation ...
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    PublisherLateral Addition2017
    i composed two versions of one work earlier this year. one is “from audience” (documenta 14 radio program); one is “for audience” (the ecology of place; a cinema listening event in melbourne). for both i used only sound recordings of audiences and their environments before, during and after concerts. recently i received “live” recordings of the latter event in which the audience in melbourne contributed their sounds into the other audience’s sounds of my composition. it’s about 27 minutes long. the next day, september 13th 2017, i recorded this audio at my new studio in beijing. i was sitting in the space, ...
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    PublisherLateral Addition2017
    In Collapsing Ourselves from 2014, Hong-Kai Wang and Mattin presented a formal exploration of a dialogue in disorienting spatial contexts: four tracks layered over each other with varying levels of audibility, Chinese, English, sounds from different spaces, digital artifacts, snippets of self-reflexive conversation. This was done not as a way to innovate a new compositional framework or sound, but rather to problematize the social experience of playing the recording back, listening to it, and reflecting on it. With this next iteration of the project, the process of superimposing four recorded conversations is repeated, though this time it was done with material ...
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    PublisherLateral Addition2018
    IMPORTANT: Do not click the “LISTEN” button that you see above. The only way to experience this piece is to never listen to any of the audio. Listening to the audio, or any part of it, will make you unable to experience the piece. You will not only be not experiencing the piece while listening to the audio, but the possibility of experiencing the piece in the future or the past will also be destroyed. Even if you go a long time without listening to the audio, but then you decide to listen to it sometime in the future, you will ...
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    PublisherLateral Addition2018
    An excerpt from a larger work comprising writing and performance that revisits and examines adolescent memories of suburban subculture. Oak trees and whitetail deer in Abundances we tame Razed woods and ticky tacky TV dins with the fam Excess, the new convenience Tinged with work ethic shame Same teenage rage all summer Restraint, virtue or sham?                               Americana 2006 Widescreen and lens flare evoke the epic or mundane, point out our hero amongst mass- produced hot dog buns. The popcorn-crunching audience files in prepared for thrill, everyone on their own path back home.                                   Lyric 2004 Well if you wanted honesty call me a faggot one more time I’m not OK trust me middle school sucks forget about LOL smooths friend awkwardness faggot ...
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    PublisherLateral Addition2018
    In Long Distance Music, composers Max Eilbacher and Stefan Maier explore listening and composition across vast geographic distances. Drawing on Maryanne Amacher’s text-scores of the same name, Eilbacher and Maier reinterpret Amacher’s call for “new awarenesses” beyond normative spatial listening and investigate the prospect of telematic listening in the contemporary moment of supposed unprecedented “interconnectedness.” Having emailed on-and-off for a number of years with the intention of eventually collaborating, the duo’s attempts at working together were continually frustrated by competing projects, touring schedules, and, most of all, by the fact that Eilbacher and Maier do not live in the same city. ...
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    PublisherLateral Addition2018
    Southwest Key Programs’ website was unavailable on the night of June 19th. “Under Renovations,” a static page read.[1] The next day, Southwest Key offered a second static page in place of its full corporate site: a few FAQs and a statement that the Program “does not support separating families at the border.” Southwest Key Programs does not support separating families at the border. For 30 years, our work in offering youth alternative justice, immigrant children’s shelters and education has served to improve the lives of thousands of young people. We believe keeping families together is better for the children, parents and ...
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    PublisherLateral Addition2018
    We spend 1/3rd of our lives sleeping and dreaming, yet scientist still don’t know exactly why… SleepWalks is sound artists Andrea Williams and Lee Sparks Pembleton. We lead soundwalks through dreams by performing improvised soundscapes for an audience sleeping overnight in a venue. These dreamscapes are created using field recordings collected around the world over the course of our lives. The performances last twelve-hours, 9:00 PM to 9:00 AM, gently fading out in the morning as participants journal and share their dreams over breakfast. The goal of this long-term project is to study the relationship between sound and dreams in order to ...
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    PublisherLateral Addition2018
    Commissioned and Performed by The Living Earth Show In Collaboration with Composers: Sharmi Basu Ava Mendoza Raven Chacon Morgan Craft Zachary James Watkins
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    PublisherLateral Addition2018
    The material point of departure for the accompanying track [1] is a new implementation of pulsar synthesis seamlessly integrated with the Distortion Product Otoacoustic Emission (DPOAE) and sieve algorithm [2]. The context of this implementation is my ongoing research project focused on historical techniques of pulsar synthesis – first introduced by Curtis Roads in his book Microsound – its conceptual and programming extensions and using it for composition. The nature and aims of the project are twofold. The first one is technical – an analysis of the original Pulsar Generator program, its source code, underlying programming paradigm and user interface ...
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    PublisherLateral Addition2019
    The audio comprises two realizations of These are They, locally by Bhob Rainey and externally by Eric Laska. Rainey’s realization includes material contributions from Chris Cooper, Ernst Karel, Leila Bordreuil, James Ilgenfritz, Kate Czajkowski, Matt Mitchell, Andie Springer, Carrie Frey, Vasko Dukovski, MinKyung Ji, Gibi ASMR, GentleWhispering, Creative Calm, and Unintentional ASMR. Both realizations were produced autonomously by the software. EL: You describe “These are They” as an algorithmic “machine.” Did you conceive the project as a way for other artists to re-arrange and manipulate their original audio? BR: First, I should mention “machine”. The README file where that description appears isn’t ...
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    PublisherLateral Addition2019
    It’s an energy, it’s the light, it’s a fever. It could be a sound that’s heard in our ears. Now that the boundary of sound has expanded beyond what it was in my childhood, the distinction between good and bad sounds is no longer important. It just exists on its own and is valued by someone to be meaningful. Wherever you are, whatever you do, you can hear the sound, and you can record the moment when you’re listening. It’s an element of sound that I define. Of course, that’s not important or it might be important depending. I don’t know ...
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    PublisherLateral Addition2019
    Words sit on the page differently if they first existed as sound versus writing; they crystallize differently. I’ve been thinking about this a lot recently in relation to scores, feeling a little suspicious of writing things down, and wanting to take a step back to review what happens when sound is transduced into image. I’ve gotten interested in orality studies because the relationship of literacy and orality seems to have a lot in common with the relationship of notated music and aurally-composed music. In the 1930s, Milman Parry upended long-held assumptions about the past by demonstrating that the Homeric epics were ...
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    PublisherLateral Addition2019
    I noticed a long strand of VHS tape entwined around a power line running adjacent to a bridge that crosses over a freight train yard. I walked across the bridge everyday, each time the strand shifted from the wind, its movement held in a new form of continuous fluctuation and radiating motion in fluid contortions. At night I would walk across the bridge or just stand there to listen to the long sustained tones of railway flanges weaving around one another forming a shrill, gossamer bloom or emanating solitarily in the distance. The anti-vacuum tubes of the train engines would ...
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    PublisherLateral Addition2019
    STS (2019) is an 8-channel installation work comprised of recordings made over a 15-year period on differing Serge Modular systems recorded at the Banff Centre for Arts & Creativity, the Columbia Computer Music Center, Elektron Musik Studion, the Groupe de Recherches Musicales, Harvard University Studio for Electro-Acoustic Composition, and Melbourne Electronic Sound Studio convolved with fragments of speech, recitation, and extra-textual verbal communication. Partly an homage to formative speech-transformation works such as Herbert Eimert’s “Epitaph für Aikichi Kuboyama (1960-1962)”, the mapping of the frequency spectra of time-aligned formants to a catalog of full-range synthesizer signals yields a warm, attenuated field of ...
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    PublisherLateral Addition2020
    When creating this sound piece, I wanted to incorporate modalities that have helped me and fascinated me throughout the years. Time is an illusion. Our Subconscious Minds cannot gauge what time it is or what reality we are living in. The Subconscious mind is operating on past patterns. All you need to do is install new patterns in your supercomputer (your mind) for a new reality. Source material: Recording of a Neuro-Linguistic Programming Timeline Therapy session Excerpts read from Personality Profile Through Handwriting Analysis by D. John Antony, O.F.M.Cap. Field recordings (handwriting – lead pencil on paper) GSR device Supercollider If you can influence your brain to change ...
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    PublisherLateral Addition2020
    From a conversation I had with Eric Laska over the phone, we discussed ideas and challenges of a work-in-progress I had been developing under my moniker Ex Continent titled Sistemes Dintre de Sistemes Dintre de Sistemes. The piece was originally presented at FASE Art Center in L’Hospitalet, Spain but later commissioned by Sonic Acts to be shown at the Stedelijk Museum, Amsterdam. During its development some doubts arose about how to properly re-introduce the piece and what my personal expectations would be from presenting it in public. During February 2020 I took several trips to the UK and Japan where I ...
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    PublisherLateral Addition2020
    a confused apparatus of sequencers with variable degrees of randomization functioning in some variation of tandem -::each alleatorically progressing through respective possible steps, a range of values sometimes plucked, chance driven from a pool of possibilities, some drunkenly staggered through miscellaneous orderings of predetermined values, sometimes running a prescripted line in proper order & some degree of connectivity between each channel of data being output: – i.e. amplitude restrictions and allowances envelopes generated based on the data produced by one sequencer draped onto another but frequently swapped vice versa or onto some third or forth etc. element and back implying some ...
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    PublisherLateral Addition2020
    This recording is an excerpt from a long-duration complex polyrhythm, which consists of the beats of 100 different tempos. Each click on the track corresponds to a beat in one of the rhythmic layers. The number of beats for each voice in a complete cycle (at which point all the voices would sound exactly together) are listed in the attached document.
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    PublisherLateral Addition2020
    A Reader Response Exercise for 10 Participants & GRM Sample Pack “With some conceptual tools, we will be able to find one or several desirable directions for music without having to obey to the dictatorship of technology. For example, the possibilites [sic] of AI in music is in the air nowadays. Lots of people are talking about it but it’s striking how little we think about what music actually is or should be. How can we have a valid opinion on the new possibility computer sciences offer to us as composers if we don’t think harder about the purpose of music ...
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    PublisherLateral Addition2020
    But sounds have been heard in the sky. They have been heard, and it is not possible to destroy the records of them. They have been heard. In their repetitions and regularities of series and intervals, we shall recognize perhaps interpretable language. Columns of clouds, different- colored by sunset, have vibrated to the artillery of other worlds like the strings of a cosmic harp, and I conceive of no buzzing of insects that can forever divert attention from such dramatic reverberations. Language has shone upon the dark parts of the moon: luminous exclamations that have fluttered in the lunar crater ...
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    PublisherLateral Addition2020
    The Hole, halfway between action and sound installation, is a recording which documents a collective listening session of a hole. The session was held in May 2020 and it tries to explore states of contingency where the self is continually negotiated with the other, experiencing how listening can be determined by expectations, longings, fears and everything that comes from the participants’ (and listeners) reading code. The hole is presented here as the favorable scenario in which one could put into practice a term I’ve dubbed contingent objects, which also gathers some of my latest work where I try to investigate the ...
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    PublisherLateral Addition2020
    In the moment of disaster, the old order no longer exists and people improvise rescues, shelters, and communities. Thereafter, a struggle takes place over whether the old order with all its shortcomings and injustices will be reimposed or a new one, perhaps more oppressive or perhaps more just and free, like a disaster utopia, will arise. – Rebecca Solnit from A Paradise Built in Hell 2020 is a tectonic shift, a rapidly changing reality of intertwined symbiotic cause and effect events. The precarity of life, health and care, ignored for so long by those wielding political power, are catalyzed front and center ...

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