Lateral Addition

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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
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 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
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 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 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 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
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 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 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 Addition2022
In 2017 I wrote a piece called Constructed Objects. The piece was the first in an ongoing project of imagining composing or making music as a sort of non-linear sculptural/conceptual project. I wanted to envision sounds as if they were material concepts (even found objects) in space that interrelate, resonate, and co-mingle in rooms. I have both ideas of assemblage or montage here as well as modular constructions. I then revisited this idea in 2020 with Correspondences. In that project, I wrote a very simple text score based on the concepts I was thinking about in photographic assemblage sculptures I was creating. Each ...
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PublisherLateral Addition2021
Writing About The Names A statement The Names is a new Berlin/Amsterdam collective of creative musicians playing open, yet melodic, pieces in a Cage/Oliveros informed spectrum of improvised strategies and open-ended compositions. Giving homage to the Chicago tradition of AACM music as well as praise to progressive thinking in society, highlighting people such as Angela Davis, Michelle Alexander, Audre Lorde and composers such as Anthony Braxton, Eva-Maria Houben, and George Lewis, whose names, along with the names of band members and friends, have been used as the melodic or structural impetus of each composition. Shaped by the ideas of critical music, listening and ...

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