The first performance of Structural Cohesion, a new vocal/choral work, will take place at Concertgebouw Brugge, Belgium in association with the Orpheus Institute, Ghent and the Royal Conservatoire Antwerp.
The work investigates various forms of rhetorical expression in relation to language, architecture and music. What, for instance, is the relation between ethos and rhetoric in today’s political campaigning? How do architects design buildings that enable focussed listening and yet remain connected to the outside world of everyday life? And in music, what was the role of rhetorical expressivity in the development of opera in the sixteenth century?
The performance will be realized in two parts during the evening of Thursday 21 November and take place across the public spaces of Concertgebouw Brugge. Vocalists, Maribeth Diggle and Natasha Lohan will perform the principal roles, accompanied by a chorus of specially trained students from the Royal Conservatoire Antwerp. image: N.G. Brown.
I’ll be playing (monochord/electronics) at Project Arts Centre this Saturday (6 July) with David Lacey (percussion) and Nick Roth (saxophone). Our trio will feature in the inaugural Sound Collector event. Sound Collector is a series of events in Dublin which explore the spaces between music, installation, improvisation, sound, and noise.
I’ve recently revised my monochord rig so that it is built around Pure Data running on a Beaglebone Black with a Bela cape. I’m very excited about the possibilities of Bela, with its super low latency. I think it makes playing an electronically mediated instrument much more like playing an acoustic instrument: the reduction in latency values really does make a difference. Read more about Bela here.
My 2017 interactive sound installation, Chit-chat, which transforms a vocalization into a bird call is on show at the Scenkonstmuseet, Stockholm February 26- August 18, 2019. It forms part of Science Gallery Dublin’s group exhibition, Sound Check, which is currently on tour.
More information about Chit-chat here
My new installation, The Undulatory Theory of Light, which uses sound to create water waves according to changes in the colour temperature of daylight, was presented at Turner Contemporary, Margate on 2 June, 2018. The work formed part of an annual, sonic art festival, OSCILLATE, hosted by Turner Contemporary. The show also featured special contributions from my colleagues at the Orpheus Institute, Ghent (Jonathan Impett, Nicolas Collins, Simon Waters, Juan Parra, Daniela Fantechi) alongside performances by Leafcutter John, Elaine Mitchener, Evan Parker and others.
The installation ran for the duration of the event. I also gave a short, four-channel performance, feeding the signal from the RGB sensor to the speakers, in tandem with the sound from the vibrating water tank.
Click here for more information about The Undulatory Theory of Light on the project webpage.
I’ll be giving three performances of Vanishing Points, my 2017 work for clavichord, electronics and mobile phones, at this year’s Sonorities festival in Belfast on Sat 21 April.
Free, but sign-up required. More information here