For this performance I played three of my instruments (Expand Contract, Aqueous Poly Pipes and Threaded Infrastructure) as a new configuration, titled ‘Aqueous Infrastructures’. The sounds of these chaotic instruments summon vast infrastructures, animal calls and a range of other ‘voices’ from the depths of the materials themselves, as if they might tell us something else about systems in the world. In this work I use materials both loose and as part of sculptural structures. They are played as musical performative bodies in relation to my own performing body and the bodies of others. A series of audio tracks were produced from this performance into new soundscapes. These will be released in 2020. Please see tracks below video for high quality audio recordings of soundscapes.
Performance took place at The Bomb Factory, London in July 2019 with audience members. Video editing, Rita Evans. Live Sound Engineer Phoebe Robinson. Sound Post Production Francine Perry.
As part of Archway Sound Symposium curated by Phill Wilson-Perkin and Hannah Dargavel-Leafe.
Aqueous Poly Pipes
This instrument generates liquid clashing beats teetering on the brink of chaos inside one tubular body system of interconnected pipes. In other configurations this instrument is played by up to five people. To sustain playing this instrument as one person, it takes extreme physical effort, the gaps in playing are where I regain my breath.
Each of the five pipes in this instrument is named according to their sound character (of various animals and insects) and playing qualities. These are: ‘Knat’, ‘KHVK’, ‘Speaks’, ‘Cluck’ and ‘Smooth’. These names help me to identify individual pipes and their characters for the score.
This one single surface has an incorporated cyclical score that involves audience participation. This was originally developed as part of my ongoing series of responses with women to Karlheinz Stockhausen’s Mikrophonie 1, 1966. Reference to the 1966 film here. The sounds produced by this instrument connect to other vast infrastructures, morse code and shifting radio static.
This is the first in a series of instruments with internal puzzle-like musical structures that effect pitch and timbre as they are negotiated between people to dizzying audio effect. The instrument has an internal logic of its own with interconnected woven strings and caps that open and close the internal chamber, muting and unmuting sounds that create an acoustical sense of pressure (in the head, in space).
1. Threaded Infrastructures 2. Aqueous Poly Pipes Liquid Beats 3. Aqueous Poly Pipes Underlay Liquid Call 4. Aqueous Poly Pipes Speaks and Calls
Live Sound Engineer Phoebe Robinson. Sound Post Production Francine Perry.