The work explores various effects of the regeneration of Susaek-dong and Sangam-dong, Seoul, in sound.
Onomatopoeia are especially common in Japanese and Korean. Whereas their use in Indo-European languages is often considered superficial and childish and limited to providing effect, it provides a rich source of vocabulary integral to the East Asian languages where their use is much more common and varied. There are also many onomatopoeia (or “ideophones”) in both languages to describe phenomena which do not produce sounds e.g. how things look or feel and emotions.
Being literally untranslatable at times, it could be considered as an example of sounds contributing to the notion of Otherness of East Asia in general. It also operates in a symbolic realm not entirely based on conventional semantics. The practice of making the inaudible audible developed over centuries provides a fruitful source for rethinking sound and its presence beyond language and the purely symbolic.
Part 1 consists of a video of interviews carried out in Suil Market and the surrounding area. Interviewees were asked to describe Susaek using ideophones.
Sound, noise and listening workshops and performances for people with mental disabilities and health issues.
The Mental Health Noise Orchestra challenges public preconceptions concerning people with mental disabilities and health issues by demonstrating their potential for creativity and experimentation. Through workshops, the participants open their ears to the possibilities of sound and noise through listening. They culminate in performances which also confront the audience’s notions of what music and musicality are or should be shaped by the music industry and elitist traditions.
Soundtrack to audiovisual installation in collaboration with Meital Covo.
Genosong is an improvising ensemble with live sampling. It incorporates live electronics as an augmentation of traditional acoustic instruments in an improvisational context through live sampling alone: no pre-recorded sounds or synthesis methods are used. A natural and organic electroacoustic soundscape is produced that acts as an additional voice in the ensemble; this results in further development of the musical material by the players that is then also sampled. The creation of this feedback allows for extremely interesting emergent behaviour where smooth and gradual processes are juxtaposed against abrupt and chaotic changes.
Outsider Rehearsals 2009
Play each track separately, or download album as single zip file (flac) with artwork.
Chien-Chun Lin: soprano
I-Chin Li: piano, percussion
Guillaume Viltard: double bass
Tom Jackson: reeds (track 02)
Ryo Ikeshiro: acoustic guitar, laptop
Track 01 recorded 02 Dec 2009 (take 1)
Track 02 recorded 18 Nov 2009 (take 2)
Construction in Self is a generative work based on the Lorenz dynamical system. It has sensitive dependence on initial conditions, giving rise to what is commonly known as the “butterfly effect”. Its generative form is suggested by this property and the work takes an input prior to performance as initial conditions from which a different piece is produced each time. A diverse variety of behaviours are observed ranging from periodicity to chaos that yield interesting results as signal, control and meta data, suggesting a self-similar microcosm that is complex yet deterministic which can be replicated from the same initial input. The title is a reference to John Cage’s Construction in Metal series (1939-42) in which simple sequences of numbers – referred to as “rhythmic structures” – are used as a basis for structures at different time-scales.
Construction in Self has been performed at noise=noise the Basement Series 2009, London, ICMC 2010, New York, CONTEMPORANEA 2011 ‘Japan 2011′ Festival di Nuova Musica, Udine and 希/日 GR/JP at Het Nutshuis, Den Haag.
See “Generative, Emergent, Self-Similar Structures: Construction in Self“ for more details.