Edwin Van Der Heide

Edwin Van Der Heide and Zbigniew Karkowski & Tetsuo Furudate - World as Will IV

Ludgar Brummer

Ice Recording

I put some ice and a water in a lexan Fair share mug with a hydrophone. Here is a short audio sample. It is currently in the freezer, so, more to come. ice

Latest work

A performance not so long ago. Somehow I made an error playing an audio file back. Still, the piece came off well.

found video

Some found video I'm listening to.
a collection I am enjoying.

Monk Radio

I am working on a live set for jazz, using a circuit bent radio with software processing, for a performance at the Spenard Jazz Festival. I am starting to get the technical stuff worked out. I opened up an old radio and short circuit it with my hands. The signal from this is sent out a headphone speaker and picked up by a microphone. I use a midi file to set the pitch of a bank of filters. This performance is pretty static on the software side as most of the performative activity it focused on learning what I can do with the radio.

This is the set up.
 

This is an earlier version where I hadn't cut the speaker free yet. It is a bit loud sometimes, hence the smaller headphone speaker. This is a nice shot of what the radio looks like and the spool of wire is my stand in antenna.

 


  Round Midnight

kinect work

Noto & Sakamoto,Loscil, Koner, Radigue, Di Scipio, Niblock & Puliese

ALVA NOTO - PVX2 Alva Noto & Ryuichi Sakamoto Vrioon Loscil - Stases Thomas Köner - Daikan eliane radigue - transamorem transmortem Islas resonantes, Eliane Radigue Roberto Pugliese "Equilibrium Variant" Artwork by Italian artist Roberto Pugliese. The robotic arms move as a reaction to audio feedback. Agostino Di Scipio & Manuel Zurria ZWERM - Modes Of Interference - A.Di Scipio  

Phill Niblock - Harm (2003) 

for 'cello, played here by Arne Deforce

info from the composer's website (www.phillniblock.com):

(he writes first about the whole triple album this piece is from)

"These nine pieces were made from March 2003 to January 2005. They were all made (except "Sax Mix") by recording a single instrument with a single microphone. The recordings were direct to the computer/hard disk, most of them using my Powerbook G4, Protools, an M-box and an external firewire drive. The resulting mono sound files were edited to remove breathing spaces, leaving the natural decay of the tone, and the attack of the subsequent iteration of the same tone. Each note was represented by several repetitions, perhaps ten for each tone, of about 15 seconds duration each. Each piece uses a few tones. A simple chord, perhaps. Additional microtonal intervals were produced in Protools using pitch shift. The pieces were assembled in multitracks, usually either 24 or 32 tracks. The recording environment varied from a simple apartment in Berlin (Ulrich Krieger's) to a very large hall used for symphony orchestra performances and recordings, with a sizable audience space (Deutschland Radio, Cologne). The recordings were generally done quite closely miked.

One hears only the sound of the instrument. There is no electronic manipulation in the recording, the editing of the tones, or in the mix. The only changes to the recorded tones are the pitch shifts to create microtones. The microtones are doing the work.

"Harm" (24:43, March 18, 2003) Arne Deforce, cello . The recording of the tones was done by Johan Vandermaelen (Amplus) in the Orpheus Institute in Gent, Belgium, direct to the hard drive. The piece was finished in Berlin and premiered at Maerz Musik Festival (the day after finishing). It was commissioned by Maerz Musik."

Agostino Di Scipio

Modes of Interference 2 (2006) - Agostino Di Scipio stanze private agostino di scipio audio excerpt STANZE PRIVATE (2008), (detail), size variable, speakers, earphones, miniature microphones, condenser microphone, glass vessels, wooden boxes, black cloth, duration variable

#chronicled

I created and premiered #chronicled in conjunction with Keith Kirchoff at the Connecticut College Arts Symposium this past February (info and links here). There is another performance of the work at the Latitude 2014 Arts Convergence. The piece uses a cell phone, the user creating a long format essay, and a typewriter, with the typist tweeting. The cell phone keystrokes trigger sounds and the typewriter creates it's own sound which is looped. Both writers review the sound work that they are generating, as they are generating the work. 

The audience can hear the piece via the house sound system. They can see the tweets fro the typewriter, projected on to a screen and can read the essay of the cell phoneist by accessing this google document.