A new little release. Two new pieces drawn from field recordings made in Thailand last year and studio improvisations.
A new little release. Two new pieces drawn from field recordings made in Thailand last year and studio improvisations.
Over the past couple of weekends L and I have made our way down the coast to check out a few events happening as part of the annual Festival Fleurieu program. On the first weekend we checked out longtime family friend, Ruth Eisner’s open studio at her wonderful property, Mulberry Farm; then this weekend we checked out a couple of exhibitions and attended a concert by Margie Russell at the Yankallila Agricultural Hall supper rooms. Both trips have been enjoyable and revitalising since it’s been great to get down my hometown digs and catch up with some folks I haven’t seen in a while. This weekend also provided a good opportunity to make some more field recordings for my Fleurieu Sound Map project which is now in its seventh year.
Fleurieu Sound Map beginnings
From 2011-2012 the Fleurieu Sound Map gathered momentum with a flurry of activity as I darted all over the region with a handheld recorder in tow. This was an exciting time as I found myself revisiting familiar places and redicovering them with a fresh aesthetic appreciation. At the time I had an Edirol HR handheld recorder for my captures, and whilst it was up to task most of the time, its flimsy windshield and noisy preamp prevented me from capturing certain environments faithfully – where winds sheared over the microphone’s diaphragm, or conversely where environments were so quiet that the noise floor of the device would be the most prominent feature in the recording.
Beyond the recorder itself, I started building my own hydrophones as a way of capturing sonic activity in bodies of water. I went through a number of hydrophone variations incorporating piezo transducers enclosed within pill boxes, film canisters, shoe polish cans and on one occasion, a condom. What I realised – each time I heard the DIY hydrophone fill with water – was that I probably wasn’t up to the task of making hydrophones that are reliably water tight and that I should get around to buying some, which I did later on. Still, a couple of my inventions worked for a while and captured some nice sonic activity in water and beneath sandy substrates.
One of the reasons why 2011-12 was such a fertile period for skipping all over the region and making hundreds of records was because I was engaged in an art project with the WIRED Lab and Country Arts SA which would culminate in the latter half of 2012 with the National Regional Arts Festival, Kumawuki in Goolwa. Our work, Southern Encounter was a group multimedia work and my headphone installation, Echocline featured field recordings from around the region.
With this project behind me by the end of 2012, in the following years I managed to keep exploring the region and expanding the sound map, largely thanks to routinely visiting the sculpture I constructed south of Lady Bay and compiling an album of Fleurieu-centric field recordings for my 3Leaves edition, The Path Described (2013).
Five Year Itch.
Prior to heading back down south for the Festival events this month, I realised it had been over a year since I’d last updated the sound map. The last update in February 2016 included a dearth of material from a weekend in Carickalinga the previous year and a single recording made in Yankalilla during January 2016. In spite of finding time to get down to the region I was finding it to be a struggle to find new locations to capture, let alone finding reason or motivation to capture particular locations.
It didn’t help that some of the locations I found (when I had a recording device with me) just weren’t very interesting at all:
Why bother recording this location? Why am I here? Nothing’s happening at all! OK, I haven’t documented this particular location, but let’s be honest there’s nothing going on here and I believe that nothing is going to happen. I’m wasting my time here.
This was happening a lot. I’d arrive at a location with the best intentions and nothing would happen at all, or – to an equally frustrating extent – a potentially good recording where a chosen element unique to the location was clearly emphasised would be compromised by a human (I presume) cranking up a chainsaw, angle-grinder or techno album somewhere nearby. I was caught between two extremes on an axis of a) nothing or b) too-much-information – the former is a waste of everyone’s time, the latter is a blemished document. I was becoming fed up with the whole process and the limitations of what I could achieve with my equipment on hand. I was still restricted to a handheld recorder since I didn’t have the motivation to invest in more high scale equipment due to my growing discontent with my sound practice at the time (see What’s Happening #1: Therapy for more on this.)
So I purposefully took a break from updating the sound map. When L and I went down to visit the Nude sculpture in August 2016 it was the first time I hadn’t taken my recorder with me, instead opting for my camera to document the state of the largely destroyed sculpture.
Diverging from the sound map, over the years I’ve watched the Fleurieu region change in visible increments, noticing prominent swathes of vegetation reclaiming the hills and gullies whilst conversely land is cleared and houses pop up in towns and on their outskirts. The tension between nature and human activity is particularly felt on the Fleurieu. It occasionally causes a measure of anxiety in me.
I remember the first time I felt an unease towards changes in the surrounding landscape. In the early 1990’s a large parcel of agricultural land was sold off near Lady Bay and a large scale housing development covered the hillside and a golf course was carved out of the ground. The Links Lady Bay took a long time to get going and for its first decade it looked like a geniune folly with only a few houses constructed and the golf course stalled at nine holes and situated in what looked like a cow paddock (which is what it was previously). Now, over 25 years later it has the semblance of something like what the original scale model looked like when myself and the locals saw it proudly displayed under perspex outside Normanville’s shopping centre. Elsewhere, other pockets of land have been sold away and a combination of residential and holiday houses spread over plains near the town.
It’s a delicate topic of discussion for a town like Normanville. After all, a significant chunk of the region’s economy and employment has relied on tourism and development since the 1970s. The resort at Wirrina Cove was one of the first developments of this kind in the area. I completely appreciate this reality and that this sort of progress in regional towns around Australia is a vital component to keeping communities intact. The Links development and its golf course are hugely beneficial to the area and it employs plenty of people including some I knew in high school. The compromise is, of course trading off bits of the landscape (and potentially the environment) for progress. Within the scope of my experience, this can be summed as a solastalgia of sorts and has comprised a large part of my ongoing relationship with the region when I was living there and when ever I’ve returned.
The term solastalgia was coined by Australian,
In the case of sprawl, this is what one will see as you make your way to the western coast of the Fleurieu. From Noarlunga through Seaford to Aldinga and Port Willunga, expanses of large houses pop up, creep and rub against pockets of farmland. So again we return to that onerous issue of progress and what we’re willing to compromise for it. From the vantage of what’s been happening in and around Normanville over the past 30 years, this is small fish compared to things like the current aberration that is Seaford’s Vista development which saw a huge chunk of farmland progressively covered with McMansions and an obligatory Aldi supermarket. Enough said – I won’t go there for risk of steering this post into rant territory; my cup of tea’s not strong enough to clearly articulate where that particular thread is heading. Another time, maybe.
Thankfully, nobody is mining for coal or extracting gas in or around Normanville, there aren’t plumes of coal dust filling the air and there are no spikes in lung infections or cancer in the community. All that is really happening is that more houses are being built to accomodate growing families whilst fufilling a demand for more holiday accomodation in the area.
When I reflect on such a thing it seems like the term solastalgia was custom built for such a dramatically nostalgic individual myself – one who is so acutely affected, moved or piqued by the slightest of change to an environment. I believe this is one of the reasons why I started the Fleurieu Sound Map – where photographic media failed to adequately document (and in some way preserve) a place, the audio option would come in.
The here and the now
Given the struggles with my mental health this year, my lifelong tendency to get so hung up on the rampant scourge of humans and their prediliction or expand their turf across and into everything might not seem like such a good thing to ruminate on, especially when I’m making an effort to clear my head of particular anxieties. However, to my suprise (and relief) I found on my recent trips to Normanville that my concerns relating to this have diluted somewhat and that I’m comfortable accepting it as more of a drift of ‘stuff that happens’. I’m cool with it – as long as everyone looks after the native vegetation, sand dunes, animals and stops pumping vile shit into the Bungala River.
The places we inhabit hold a deep significance for us. We feel connected to them through memories, objects, landscapes as well as the mysteriously intangible – the things we can’t quite put our finger, eye or ear to. Familiarity and change are part of this drift. There’s such a strong poetic to a hometown and through the Fleurieu Sound Map and its various field recordings I found myself slipping further into the mystery of the town I grew up and its surrounding areas. Since it continues to change and unfold, I don’t see any reason why the Fleurieu Sound Map should end – or ever end for that matter. I’ve just got to scope out some interesting locations and wait patiently for the angle grinders to abate. Unless of course the recording emphasises the angle grinders. It could happen.
So, with that in mind there will be some new additions to sound map shortly. It’s something a little different and it may potentially raise some new questions and possibilities for this project. But more on that when I get around to posting.
In the meantime, drift on.
You (don’t) Want It Darker
I was just informed by my sweetheart, L that the yearly day of reckoning will be upon us once the 11th hour clocks over into midnight. More accurately but no less dramatically, I regard it as my personal reckoning since South Australia’s daylight savings ceases and the evenings are plunged into premature darkness along with increasingly colder nights and mornings. I dread this time of the year because I like daylight. I need daylight. Whatever proclivities I once had for seasonal darkness were left on the shores of a dismal coastline of seemingly endless depression. I used to relish the darkness and general climactic shittiness of the colder months. I don’t know exactly why, since I’d pretty much established an analytical framework from when I was about 16 which basically told me: “Stay inside, make a cup of tea, don’t go outside..well if you must, at least put a jacket on. It’s raining; do you care? Oh, that’s right..you’re being hard and brooding. Forgive me. You’ll be miserable when you get back…oh, fine – fuck it, don’t listen to me then.” So there I was on a given day walking along the beach in the middle of winter, occasionally it would piss down with rain. It would – more often than not – make me feel miserable, but at the same time there was a peculiar contentment to be had feeling lonely and bored whilst my shoes filled with water.
Shoot forward a couple of decades and whatever romantic notion I ascribe to walks along the beach in the middle of winter are now accompanied with a rainjacket and sensible footwear. Better yet, I don’t even get out the door and instead I make a cup of tea. Strategies!
A strategy is critical when you’re someone like me – partial to the whim of the elements, whether it’s coupled to the drift of seasonal activity or coughed up in a random spasm thanks to anthropogenic climate change. February and March are traditionally the time I lay the groundwork for segueing into not-daylight-savings-time relatively free of anxiety, insomnia and the odd panic attack. Unfortunately, this plan was scuppered by being busy and besieged by a myriad of…anxiety, insomnia and panic attacks.
You may recall the first of these long posts was written at the beginning of February this year and laid out some of the groundwork for feeling better about myself and my art practice. If someone was to read only this blog as a measure of my progress since then, you would potentially glean an impression that things have been alright, maybe even downright rosy. The evidence is there – lots of posts about engaging with own and others activities. It all seems reasonably upbeat and there’s loads of writing too (which I hope is gradually improving). The blog’s been great in this sense since it’s provided me with a point of focus, allowing me to steer my brain toward routine activities which are thoughtful and fulfilling. This sort of thing is also known by that fucking awful (awful, awful, awful) thing called ‘mindfulness’, which I equate more to a KPI dreamed up by a global HR thinktank as opposed to its supposed Buddhist connotations.
So, on the surface of things the blog makes out that things are good, and in some respects they are. Jump over to another social media/self-publishing portal of mine such as Instagram and you might encounter the odd doomed fantasy-vision of a dystopian society. Behold:
Look at the framing of that image. At the bottom the upper stories of a domestic idyll are ruptured by this dismal-looking building under construction that dominates the rest of the image. Desaturated completely of colour, amped-up contrast enriches the grim monochrome whilst the caption of ‘Ballardian skyline’ wraps everything in a neat little package of Depressed Chic.
Sometimes I wonder what an image like this does contextually in a given Instagram user’s photo stream. Of course it depends on whom the user is following and what other users might be posting, but occasionally I think that an image like my Ballard Building might have the chance of temporarily ruining someone’s afternoon. I’m trying not to judge here and this is a very general assumption, but a given person’s photo stream might hypothetically go like this:
picture of someone’s food >cute dog > picture of someone’s food > drink in mason jar > LOL cat > duck face > picture of someone’s food > Tristan’s picture of building in dismal monochrome > picture of someone’s food.
If the image hasn’t ruined their day then that’s excellent; I didn’t set out to purposefully ruin someone’s day. But, perhaps someone dwells briefly over this grim image and thinks to themselves, “wow, that guy must be really miserable”, the cogs tick over in their head and they proceed to unfollow my profile out of self-preservation because they don’t want to see shit like that in their feed. That’s totally fair enough. I must admit that hypothetical photo stream description of mine above lays out a barely veiled contempt for all things food porn, cute dogs and mason jars. Who am I to judge if someone doesn’t like a photo of some fanstasy-dystopia? I despise mason jars. Each to their own.
I’ve veered a bit off track here. What I’m trying to suggest here is that in spite of the good stuff broadcast on this blog, there’s been a lot of grimness occupying my mind for the past couple of months. That domestic idyll in the picture is the blog, the ugly building erupting in the sky and ejaculating bad vibes into the air is pretty much everything else that’s been going on. Whilst life has remained relatively coherent and I haven’t overexploited my partner or friends patience and generosity, it has felt at times as though I’ve been losing my mind completely. This is why I haven’t been able to make a plan for dealing with the dreaded seasonal drift since I’ve been cracking up, recovering, analysing and making the best effort not to crack up again.
It’s been (or it’s felt like) a lengthy process of taking steps to get to a relatively safe position where I find myself now.
First of all I moved out of my private office at work and back into an open plan space. That worked wonders. I’d always fantasised about having my own office and shortly after my relocation into the city I jumped at the opportunity. I could get past the horrid early 90’s pastels that covered nearly every surface and the meagre slither of natural light entering the space because I had my own office. Since moving out of that space I’ve had conversations with fellow staff about the office and barring one exception practically everyone who’s occupied the space had to get out of there. I’m not supernaturally minded but I do enjoy spooking myself from time to time. Realistically, the problem was that I was learning a new role in an isolated space with minimal natural light and shitty decor, however I can’t get over the fact that there were some seriously bad vibes in that office. Note to self and anyone else: don’t work in dismal offices by yourself when your trying to learn a new role. It will fuck you up big time.
The second thing I did was arranged to see a councillor via work to talk through some of my issues. This is something I did once before a few years ago and mostly hated the process. I mostly hated being given homework to do. Thankfully, this current counciller hasn’t given me any homework to do and instead we talk through various issues pertaining to stress, anxiety and maintaining a work/life balance. If that sounds dry, it mostly is except this counciller actually has a personality and by the end of the first session we were already waxing broadly about the state of the global economy under Trump’s presidency and the virtues of Brian Eno’s ambient music. This might just work out and I do feel much better as a result of attending these sessions. Hooray for work who are completely subsidising the cost of this experiment, including the tangential waffles off-topic.
The third thing is a bit more multi-tiered and relates to improving aspects of my day-to-day diet and fitness. I ride my bike to work everyday and walk a fair bit to get around the place. This is one of the huge advantages of living so close to the city. So whilst I wasn’t putting on weight or remaining idle for long stretches, in the pits of my recent blues I found myself eating more bad stuff and drinking a lot more (thanks, Festival season.) So I’ve sorted that out to an extent and have curbed my booze intake marginally, though this is still an uncomfortable work-in-progress since I really, really like drinking wine. A critical workaround for this compulsion to eat bad food or drink a bit more than usual is to question why you’re doing it. If I find myself hankering for something deliciously fried, then I should be asking myself: “Do you really want this?; do you really need this?; Oh, don’t make me digest this…please.” At that point I might eat a banana instead. By this same token, if something alcoholic is on the agenda, I will most likely be asking myself: “what is the purpose of this? To get a bit numb and distract yourself from the horrors of your existence? Don’t go there, man.” At which point I might make myself a cup of licorice tea. So that’s working to an extent. On the fitness front, I’ve recently gotten into the habit of jogging around the local oval in the mornings before work. This is the kind of bourgeois activity that would have made me mock myself verbally in public five years prior, but it’s pretty excellent and is just the thing I need to switch my brain off for five to ten minutes at a time as I amble around the oval in a daggy t-shirt. Walking doesn’t work so well since I use my brain a bit too much. It’s better if I’m entirely focused on not passing out and keeping in a straight line.
Beating Dem Ol’ Seasonal Affective Disorder Blues
Now it’s just past 6pm and the light’s beginning to wane. By 8pm it will be virtually dark. This time tomorrow night it will probably already be dark.
I’d like to think that I’ve gotten better at adjusting to this time of the year. The chemical interactions in my brain are probably following the same pathways they were twenty years ago when this stuff started to happen. I just have a better awareness of it nowadays. I think for the first few years (maybe even the first ten years) I had no idea what the hell was going on. I don’t even think the term Seasonal Affective Disorder (SADS) existed back in the 1990’s, so how on Earth am I going to know what’s going on with me if I don’t have a label to stick on it? An accredited label at that. I need labels, boxes, categories, schematics, gannt charts and to-do lists put my stuff in, under, around or through.
Life is too complicated and I’m getting too old to follow a miserablist’s whim which lands me in my underwear on the beach in the middle of winter shouting at the ocean. I’m past that now.
I’ll still keep taking photos of depressing buildings though because I find them particularly beautiful in my own damaged kind of way. I do apologise in advance if it does happen to spoil your day.
Continuing the recent trend of looking back at past work and its intersections with present activities and preoccupations, I thought that this time around I would return to where I found myself approximately ten years ago.
This is essentially a post about how a teapot salvaged my Masters degree and went on to form the basis of an installation work that I’ve presented a couple of times over the years. The teapot in question began its sonic journey ten years ago and has been used in conjunction with loudspeakers, microphones and other electronic paraphanalia more than actually brewing tea. This was to be its fate.
Trust in Crate.
To set the scene it was mid-March 2007. I’d arrived in the morning at Sebastian Tomczak’s parents house in Brighton carrying my Tascam 424 Portastudio and a milkcrate full of non-musical objects. The milkcrate and its contents were an important component of this visit. In 2004, Seb hosted the first Milkcrate, a music project he devised whereby participants are required to create music using only the contents of their milkcrate over a continuous 24-hour period. I’d participated in the second Milkcrate which was held in the Brighton scout hall in January 2005. That was a strange experience. I’d recently come off a particularly humiliating break-up and had spent a good week shacked up in my room not speaking to anyone. By the time I arrived at the scout hall on a sunny January morning I was having tremendous difficulty verbally communicating or acknowledging anyone present. Eventually I loosened up and got into the flow of making a racket with a pair of speakers, a couple of objects and load of feedback. Good times!
By March 2007, the ‘Crate was up to its thirteenth installment and had been hosted in a variety of locations including Adelaide University, my sharehouse in Stirling and a former art and music venue, The Gallery Delacatessen. All manner of objects were exploited during these sessions – various kitchen implements, plastic tubing, wineglasses, aerosol cans, etc – with the musical outcomes encompassing a variety of styles. Where one participant might be producing a soothing ambient bed of textures, another might be rendering a monolithic slab of abrasive noise. Up to that point I’d participated in a few of the sessions with results ranging from admirable to fucking horrendous. Whilst one could sometimes attribute (or pass off) the dubious quality of their work to a lack of sleep over a 24-hour period, some of the ideas I incorporated into given pieces (in spite of dulled faculties) now seem downright inexcusable. A track from Milkcrate 6 comes to mind, a piece entitled “Carnal Pivot” where a short shrill EDM beat is followed by the audible penetration of a peach with a blunt pencil. Throbbing Gristle much?
I arrived at Seb’s parents house with next-to-no fruit molesting intentions and instead set my motivations on exploiting a variety of resonant objects in my Milkcrate, including a big red teapot. This is where my eventual work, Infuser took its origins.
At this point in my life I was pretty miserable. I’d (again) come off a break-up and was looking more worse for wear than usual. I had begun to live in a shit-brown coloured leather jacket with wide lapels and not bothered to wash my hair in about a month. I was pretty much broke with a dribble of income coming in from music technology tutoring and trying desperately to resurrect my Masters after acrimoniously abandoning it the previous year. My life was a depressed slag-heap consisting of misery, apologies and late rent, so surrendering myself to spontaneous music making over 24-hours seemed like a good idea.
Paging Alvin Lucier.
* * *
I Am Sitting In A Teapot
One of the composer Alvin Lucier’s lesser know later works is a piece called Nothing Is Real (1990) and consists of a performance involving a piano, teapot and amplification system. The title of the work derived from a line in The Beatles’ 1967 track, “Strawberry Fields Forever” and the melody which accompanies the song’s lyrics are played on the piano during the performance; albeit with a deliberate free-time feel and sustained tone clusters giving the melody a slightly disjointed, yet recognizable feel. On top of the piano is a teapot, and placed near the teapot is a microphone. Whist the pianist is playing the melody to “Strawberry Fields Forever” a recording is being made of the performance. Once the pianist has finished the melody, a small loudspeaker positioned inside the teapot broadcasts the recording of the performance. At various points the lid of teapot is lifted and this radically affects the resonant response of the piano – with blooms of rich harmonics materialising from the piano’s body. It’s a beautiful, elegant work. You can watch a performance of this work performed by Lucier below.
* * *
With my Tascam 424 Portastudio, a little loudspeaker, small microphone and Big Red I would record the sound of the teapot and broadcast its sound back into the teapot’s chamber until its natural resonance had reinforced fully. Whilst my teapot process was in part inspired by Lucier’s work, Nothing Is Real it was his seminal electro-acoustic work, I am sitting in a room (1970) that really brought my own process to fruition.
Explained succinctly, I am sitting a room consists of a performance work which involves spoken text and two recording devices. Following the initial recitation of the text, a recording of this is then broadcast back into the performance space – whilst being simultaneously re-recorded – until the natural resonant frequencies of the room are reinforced.
The spoken text also operates as a score:
I am sitting in a room. Different to the one you are in now. I am recording the sound of my speaking voice, and I am going to play it back into the room again and again until the natural resonant frequencies of the room reinforce themselves. What you will hear then, are the natural resonant frequencies of the room articulated my speech. I regard this activity not so much as a demonstration of a physical fact, but rather to smooth out any irregularities my speech might have.
Depending on the dimensions of the room, a performance of Lucier’s work can take up to 40 iterations of the process of broadcast/re-recording until the natural resonant frequencies are reinforced. Applying this process with the intimate confines of a teapot streamlines the iterative process considerably whereby the resonant frequency of a teapot can be established over 3-5 repetitions of this process.
The process utilized in I am sitting in a room is similar to the process of photocopying the same thing over and over again. Imagine you have the front page of a newspaper consisting of a header, headlines, some images and a bunch of text. If you make a photocopy of this material and then proceed to photocopy it again and again, gradually certain elements of the material will become indistinguishable from their original source – losing aspects of their detail and semblance – and eventually becoming a homogenous blot of ink.
So I went to work: hunched over the teapot, making sure the microphone was positioned appropriately within its chamber and placing an appropriately sized loudspeaker in place of the teapots lid. Four to five iterations of the process of recording/broadcasting brought the Big Red’s voice out.
Big Red salvages Masters degree
In the past couple of weeks I have re-activated my status as a post-graduate student at Adelaide University. Though I had considered my life as a student to be officially over after last year’s debacle, a handful of people managed to coerce me back into the fold. The research on Alvin Lucier re-commences!, complete with rocks, teapots, stairwells and the University’s resources at my disposal. The provisa [sic] is of course I am undertaking my study as a part-timer and I won’t complete my degree until around December 2008. This means plenty of research centric posts over the next 18 months. Hooray for you dear reader! (blog post, 29th March 2007)
Enthused by the results of this Milkcrate session, the following month I booked a studio at the Electronic Music Unit and used my MiniDisc recorder, microphone, an amplifier and ProTools to replicate the process.
A key aspect that distinguished the teapot process from the one utilized in Lucier’s I am sitting in a room was that the teapot process didn’t begin with a voice or any other sound, rather it began with silence. This was one of the most compelling things about exploring this process during the Milkcrate session; hearing a resonant voice coaxed out of seemingly nothing. Of course, there was something there, and within the context of the Milkcrate session, the activity of fellow participants in adjoining rooms of the house and street traffic could be heard on the periphery of the teapot’s quiet chamber. Over a couple of repetitions of the process, these incidental sounds would dissolve into a harmonic texture consisting of several perceptible harmonic frequencies.
Obviously, the architecture of a room differs significantly from the inner chamber of a teapot, so the complex acoustic properties of the teapot’s interior made the process of coaxing out and reinforcing resonant frequencies an occasionally delicate affair. For one, I needed to dutifully monitor the volume level from one iteration to the next as the unpredictable harmonic response within that little chamber would cause frequencies to amplify significantly and materialise in all their ugly distorted glory. Rather than being frustrating, this instead became a way of learning how to bring out the teapot’s frequencies effectively – a tweak of the volume here, a slight attenuation of middle-band EQ there. Later on, when I would put Big Red with other teapots for an ‘ensemble performance’ I would need to learn how to play other teapots of various dimensions and materials. Every one is unique in itself. I’ve found that porcelain teapots are the most manageable during a recording process, whereas thin metal teapots are an absolute nightmare to get anything worthwhile out of.
 In 2007 I acquired a bunch of about 6-8 metal teapots from the 1950s. Whilst they were aesthetically interesting from a visual point of view, they were absolutely useless for furthering my research. Later that year, I was packing the last of my possessions for a move to a new sharehouse I decided that these teapots were not going to join me on the next stage of my life. As it was very late in the evening and being a bit wired by the whole moving ordeal, I took the teapots down to the nearby beach, arranged them by the water’s edge and let them be taken out by the tide. This is (now) known as littering.
By around 2008 the teapot process began to find form as an installation work which I had called Infuser, the title being a poetic reference to the process of brewing tea leaves which I also considered an appropriate analogy for the technical process of reinforcing the resonant frequencies of the teapot.
I can’t recall the exact background, but in 2009 I was invited to participate in a group exhibition at a newly established artist-run gallery in North Adelaide. The exhibition was called The Art of Tea and featured work from painters, ceramicists and sculptors. The exhibition seemed like the a perfect opportunity to present my work to the public for the first time. Three teapots featured in this version of the work.
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A couple of years later I submitted Infuser for the 2011 Format Festival and it was exhibited in the front area of the Format venue in the Adelaide CBD. Seven teapots featured in this version of the work.
For each of these installations, I sequenced the looped playback of each of the channels so that there would be a fade-in and fade-out of the resonant frequencies, followed by a silence. I made each of these sequences at different lengths so that when each of the recordings began a new loop they would fall out of phase with each other creating different tonal and textural patterns. Obviously, the more teapots that were introduced the more complex and varied the patterns became. This was certainly the case of the Format installation.
Infusing the present
Infuser hasn’t been exhibited since the Format installation in 2011 and as other projects have taken priority in the following years, I haven’t really had an opportunity to revisit the work. I did utilise a very similar process to the recording of the teapots for my work, Five Voices (2015) where bottles of different sizes were recorded in a manner so as to reveal their resonant frequencies.
Where I had previously begun the recording process with silence, by this point I had discovered that it more favourable to begin the process with an impulse (similar to Lucier’s spoken text) as this allowed the subsequent process of re-recording to be a bit easier to manage in terms of volume, equalisations and following the behavior of the resonant response with each iteration. Since I didn’t want to use anything readily identifiable or dynamic as a voice or instrument, I used a clip of continuous white noise that would serve as a consistent acoustic impulse for the resonant frequencies to reinforce themselves around.
So, what’s happening now? Well, Big Red’s currently in the upstairs studio joining a few of the others for some impromptu jam sessions. There’s nothing to present as yet but I’m pleased with outcomes so far – it’s been lovely to reacquaint myself with this work and hopefully there will be another installation sometime in the future.
Reflecting on Big Red, I tend to regard this teapot as I would any other musical instrument. Much like a guitar, it’s symbolic of various artistic and social activities over the years. It also wears the marks of usage with a couple of scratches and a very recent chip near its spout. It’s imbued with good memories and long may it continue to be there as a familiar and reliable presence in my practice.
Having said this though, every teapot is significant whether it’s used for sound art or conventionally making tea for oneself or good company. As an object, teapots can possess a deep personal significance – tied to aspects of domesticity, socialising, ritual and aesthetics. These are broader and potentially interesting threads to follow, but that’s something to explore another time. The tea’s getting cold.
Reading Footrot Flats comics is honestly one of the earliest coherent childhood memories I have. I think growing up in the country only heightened the escapism that his comics evoked; insofar that I fantasised of tramping over distant paddocks in gumboots and sleeping in a huge overturned rainwater tank. It firmly supplanted a fascination with NZ as well. More crucially, Murray Ball inspried me to draw and design cartoon strips and characters at an early age, which I continued to do all the way through high school producing zines and dozens of ambitious side projects until my preoccupation with music properly took hold. So in that sense, Footrot Flats was one of the catalysts for using my imagination and being creative; and for that I’m indebted to Murray Ball and very sad to hear of his death. What a bloody legend. Vale.
A shout-out to my old buddy, Sebastian Tomczak and his new excellent blog, New Me-ism where the emphasis is on self-improvement and reducing waste. This is something I can completely get behind. Check it out via the link.
Regular visitors to my blog will have noted that I’m currently following a similar train of thought – largely reevaluating aspects of my life and creative practice. Not so much the waste aspect, but quite remarkably I was planning to write about this soon. Seb’s blog will most certainly give it a kick along in the schedule.
Love on ya’s.
An abundance of posts today!
Many years ago, when it came to writing and performing electronic music I used to call myself red_robin.
For a while I’d been keen to make the early red_robin albums and eps available – Tiefurt, Staub and Oslo. Previously, I’d had a conflicting relationship with these releases since in many respects they scream, overproductivity vs actual quality. These three releases were produced within the space of a year. Whilst there’s definitely merit and a surfeit of ideas going on, my approach to editing releases hadn’t yet been refined.
On a couple of occasions these releases had been unceremoniously removed from the web, and at worst – deleted from my computer altogether. In order to find any trace of Oslo locally I had to exhume my 2007 MacBook and scour iTunes for a copy. Miraculously, it was still there and hadn’t been sent to the trash many years ago!
On the downside, only mp3s of these releases remain so therefore they can’t go onto Bandcamp and instead have found a home over at Soundcloud. For free! I had pretty shabby standards when it came to preserving my own music in the past, and more often than not the original lossless copies were deleted. I don’t know exactly why; I can only presume I was being stupid and flippant about it.
But anyway – the albums:
The only proper album of the bunch and upon reflection it should have probably been contained to probably 7-8 tracks. It’s a travelogue of sorts since the bulk of the material was composed and recorded in Germany during the latter half of 2008 – specifically around Weimar where I was undertaking a mentorship with Robin Minard at the time. Some additional work was done back in Australia. The material is fairly heavy on lo-fi approaches, blended with Plogue Bidule and Max-based processes.
This EP has a considerably more loose and improvised feel to Tiefurt. If my memory serves, I think I recorded the entire set in one day using a combination of electric guitar, turntable, Roland synth and Soundhack plugins. Very lo-fi, but a nice spatial and minimal quality to these pieces.
I hadn’t listened to this in many years and I was pleasantly suprised by what I heard. I’d completely forgotten that recordings of my teapot work, Infuser had been employed as segues for a selection of grungy, dark drone textures and a couple of pieces which seem to have been heavily influenced by Rolf Julius. A strange work, this one.