Goyder’s Line at ACMC 2017

Goyders Line 2017

My concert work forMax/MSP and vocoder, Goyder’s Line (2014-17) will be performed at Concert 2 (Saturday 30th September 2017, Elder Hall) as part of this year’s Australasian Computer Music Conference. Information regarding the conference and concert program can be found at the conference website.

I’ve been busy working at refining the MSP patch with a few tweaks and additional parameters. Rehearsals have begun in the studio and it’s sounding promising!

Earlier this year I wrote at length about the development of Goyder’s Line. You can find the post here.

Screen Shot 2017-09-11 at 3.17.33 pm
v. 4-5 of the Goyder’s Line Max/MSP patch
Advertisements

Notes on Goyder’s Line

I’ve submitted a proposal to perform my work, Goyder’s Line (2014-2017) at this year’s Australasian Computer Music Conference which is taking place in Adelaide this year. I’ve reproduced the text of my proposal/abstract below. Although I’ve regularily commented on the inspiration and development of Goyder’s Line in the past on this blog, I feel as though this text perfectly sums up the essence of the work. With thanks to L for her thoughts and input.

 

The plains that I crossed in those days were not endlessly alike. Sometimes I looked over a great shallow valley with scattered trees and idle cattle and perhaps a meagre stream at its centre. Sometimes, at the end of a tract of utterly uncompromising country, the road rose towards what was unquestionably a hill before I saw ahead only another plain, level and bare and daunting. Gerald Murnane, The Plains (1982)

The plains surrounding the ghost town of Dawson are situated in the lower Flinders Ranges – a vast arena of ochre-coloured earth and sparse vegetation. The presence of distant hills that stretch around the plains appear to reinforce the utter stillness of this place. As if time and motion are suspended or are just inclined to unfold at their own pace. As one spends more time in this place, its unique properties are revealed. A subtle scent carried on a breeze that sends a rustle through dry leaves, the droning buzz of busy insects, the brief relief that lies in the shadows of clouds drifting slowly over the terrain and discrete rumbles that exist just on the audible periphery.

Sometime during 1865, a few kilometres south of where Dawson would be settled twenty-three years later, George Goyder was travelling across the region on horseback. Goyder, who was the South Australian colony’s Surveyor-General had been tasked with the duty of mapping the boundary between areas that received regular rainfall and those that were prone to drought. Based on Goyder’s Line of Rainfall and the subsequent report detailing his findings, farmers were discouraged from planting crops north of the line. In most instances, this advice was not heeded.

At the beginning of the 21st Century as much of Australia was enduring the Millennium Drought (1997-2009), Goyder’s Line became a point of reference for meteorologists, climate scientists and farming communities. During the drought it became evident that the line of rainfall as identified by Goyder in the late 19th Century – whilst being subsequently regarded as a highly accurate tool of analysis and agricultural planning for most of the following century – was requiring reassessment and pointed to a southward trend in light of protracted drought, shifting seasonal rainfall patterns and the impact of anthropogenic climate change.

Goyder’s original line of rainfall and a recent 21st Century revision inform the basis of this electro-acoustic work. The lines – their relative patterns and trajectories- represent the fundamental frequencies of two sawtooth waves, which are routed as inputs to a vocoder and extended effects modules. Although each of the frequencies remain distinct throughout the work, the resulting modulations reveal expansive sonorities and rich harmonic textures. At regular iterations the lines are purposefully suspended in parallel, allowing their harmonic relationship and modulations to unfold and develop.

I regard this work as an ode to the South Australian interior, as defined by Goyder’s original line and its contemporary revision. The interior, at its boundary appears as a vast, seemingly boundless space – rich with the possibility of uncertainty, terror and fascination.

TLR, July 2017

Discreet Concert for Onkaparinga – Live at Sauerbier House, Pt Noarlunga 10/12/2016(excerpt)

Had such a great time down south this afternoon performing an extended three-hour set of discrete electro-acoustic ambience for the art opening at Sauerbier House. Here’s a small excerpt from the performance (desk > recorder). When I find the time (obv. in the new year) I’ll compile a longer version for the Bandcamp page.

Great opportunity to rock out the new Earthquaker Transmisser pedal too!

“Red Eyed Beacon” live at Ancient World

Last night I played a set at Ancient World where I presented a new live set up, returning to the laptop (Ableton) and incorporating an expanded array of external effects. Below is an excerpt of the performance (recorded direct from my sub-mix). I have another gig this evening at the *huge* Future Sounds IV festival where I’ll be presenting the same set, so complete sets should materialise on my Bandcamp page sometime soon.