Investigation of Preliminary Materials For A Theory Of The Young-Girl by Tiqqun
spoken word and electronics
SHARMI BASU and LARA DURBACK
JENNIFER WILLIAMS, TIMOTHY BLACK, and STEPHAN HALUSKA
for interactive object, harp, and percussion
This piece was initially inspired by the book Breath of Life by Clarice Lispector, and imagining words vibrating, full of their never ending meanings. In order to explore this image, two musicians will create a sonic translation of five wood type letters composed and placed by performance guests. How does our perception of letters and words stretch and strain when they are presented in this way? Do the sounds reflect the meanings?
“I wanted to write a book. But where are the words? all the meanings have been exhausted. Like the deaf and the mute we communicate with our hands. I wanted permission to write the scraps of words while accompanied by a rustic harp. And to dispense with being discursive. Like this: pollution.” (Lispector)
“Covenants Not to Compete Volumes I, II and III” three interactive art objects
A collaborative work by NICK KANOZIK and TAURIN BARRERA.
Created April 2013
To hear all three in action click HERE
Dedicated to the fond memories spent untangling the catalog of an international law firm library. These volumes were sculpted into performative art objects by embedding prepared music chimes, contact mics, and circuitry provided by Taurin (see below). This work elicits a pact with visual and sonic artforms in a way similar to the text’s function in law: a covenant not to compete.
Volume I: Light
For this circuit, two photoresistors and a C74C14 chip turn light into sound. Very subtle gestures and movements that cast shadows upon the photoresistors can produce wavering and harmonic oscillations. When this circuit detects bright sunlight it’s pitches are incredibly high – beyond the range of human hearing. When shadows are cast upon this circuit, its tones enter the realm of human hearing and turn movement and light into twinkling sequences of analog enlightenment.
Volume II: Pulse
Built with a CD4093 chip, this circuit drives two oscillators that may be controlled in terms of pitch, tempo, and volume. This synth can generate a full spectrum of flanging drones, phasing polyrhythms, and rhythmic pulses. Meant to be played, and performed with, this synth is intended for use in the exploration of the otherworldly sonic worlds. Touch, twist, and modulate the invisible waves that surround you.
Volume III: Touch
Based upon two LM386N chips, this circuit generates beautiful oscillating white noise that responds to atmospheric electromagnetic waves. This circuit is the unique result of experiments with white noise, feedback, and skin capacitance. When touched, conductive pads diffuse electricity through the skin to create a palette of “fierce” sounds. Applying full pressure to both pads shorts the circuit. However, by applying very delicate pressure, this circuit produces harmonic sirens, fierce bobcat tones, and polyrhythmic clicks and pulses. To generate a variety of sounds it is necessary to apply the most subtle touch, just the right amount of energy…
A sort of augmented translation of an existing artists’ book, Look Again combines collaboratively written text, letterpress and monoprinting, projection, audio recording, live performance, and even the automatic Vandercook press itself to comment upon the contextual and contingent manner in which information gets transmitted and perceived.
Materials: book board, spray paint, copper tape. This piece utilizes capacitive touch sensing to turn this book into a musical tool.
Artifactual Modulations 