Lateral Addition

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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 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 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 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 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 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 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 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 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 Addition2021
Song & Transcription with References 7:47 To decide what to write is a problem of a different order Part 1: SORT IT ALL OUT AND END UP WITH A SICK OBJECTIVITY Here’s another tableau of intimacy that won’t respond to questions. (LEPSELTER 2004) I found myself particularly moved by this video clip; it was silent (likely by some encoding error) but I think that the silence moved me further. (SHESHADRI 2020) Empathy is rough. (UNATTRIBUTABLE 2008) Remember When is the lowest form of conversation. (SOPRANO 2006) I feel ...
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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 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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