Lateral Addition

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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 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 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 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 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 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 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 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 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 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
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 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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