Archive for April 2010
Live Improvisation: The Big Room, New Haven CT, April 24 2010
This performance took place on April 24th 2010 in New Haven CT at The Big Room. Our setup consisted of a number of circuit-bent toys and original electronic instruments, hardware mixers and computers running SuperCollider programs of our own creation. All toy and other input was captured via microphone, run through the mixer, and into…
Read MoreLive Improvisation: Art Space, Hartford CT, April 25, 2010
This performance took place on April 25th 2010 in Hartford CT at the Art Space. Our setup consisted of a number of circuit-bent toys and original electronic instruments, hardware mixers and computers running SuperCollider programs of our own creation. All toy and other input was captured via microphone, run through the mixer, and into either…
Read MoreAudio/Video: Uncertainty Music – April 24th
[wpvideo PlQ8VSar] Here is some low-quality video from our show at The Big Room in New Haven. More details will follow. Below is audio only.
Read MoreAudio/Video: Hartford Artspace, April 25th
[wpvideo D3YNrBlv] The above is some low-quality video from our most recent show at Hartford’s Artspace. Below is audio only. The performance space, as you will be able to tell in the recording, was cavernous. I estimate the ceiling to be between 16-20 feet. The room was exceptionally live and reverberant. Our approach is always…
Read MoreShake Rattle and Scacinto
[wpvideo GoPw2hxb] Above is video from the April 11th concert at the YUAG. Below is a low quality video shot from a slightly different angle. [wpvideo ewIKKsYj] Below is an audio recording of my live electronic improvisation EI4 from the Shake Rattle and Roll III concert. The piece is about 8 minutes long and consists…
Read MoreEI4: Yale University Art Gallery, New Haven CT, April 11 2010
EI4 is a live performance of an interactive electronic program I wrote for SuperCollider. The performer (in this case, me) uses the built-in microphone to scrape, scratch, and otherwise agitate the system. The software configuration consists of a series of reverbs, feedback lines, and samples which are triggered at various times throughout the performance.
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