Software be a flow, not a fixed product, and if you paddle your audiovisual canoe along to the riverside Brisbane Powerhouse on April 5-6th, chances are you’ll catch quite a few interesting snapshots of code in motion, where the Real Electronic Virtual festival brings together a range of innovative and experimental instrument makers and sound artists. Check the quite inspired program of gigs, workshops, presentations and installations :
www.brisbanepowerhouse.org/02_program_2002/rev.htm
What are some of the exciting aspects of sound-tech REV’ll explore?
REV is about experimental instrument design as well as experimental sound. So to that end you’ll see a whole manner of instruments. On the tech-front there’s Melissa Madden Gray’s midi jump suit which triggers sounds and vision using MAX/MSP and Image/Ine as the interfaces, Stuart Favilla’s light harp, Paul Cohen’s generative paint styled virtual instrument titled MooZk, and Tim Opie’s tactile granular synthesis engine operating in the Powerhouse lift.
What are some of the more unusual ‘instruments’ being showcased?
There’s a whole range including a massive pryophone, Jon Rose’s Hyperstring performances, amplified cacti and a huge circular harp. There’s also over 20 interactive installations.
What aspects of digital manipulation offer genuinely ‘new’ approaches to sound?
It’s such a relative concept – dependent on the audience at such an event. At one end you have people who’ve only ever heard pop music or dance music on wild fm compilations, so when they hear programming of artists such as squarepusher it’s a complete revelation to them that digital music can sound like that.
Sound labs like Ircam are constantly refining technology and various sound application. MAX/MSP really allowed digital sound artists the chance to turn their sonics inside-out and that was very exciting. I think genuinely new sounds come from those contemplating sound in different ways, looking for new combinations, new approaches of working the sound to a space and exploring sound in different contexts.
What’s your own “Composition 11” about?
Composition 11 is actually a vinyl score by DJ Olive, an idea he came up with based on taking three identical records, comprised of various sounds and scapes and combining those together. Each composer or DJ paints their own sound portrait from the palette available on the records. I’ll be composing a score for DJ Olive’s label later in the year titled Continuum, exploring the ideas of found sound, environmental recordings and sound elements distinctive to Australia.
What sort of audio / video crossover happens at the festival?
Several of the installation pieces work with vision and sound. Scanner and myself will be using three projectors on the walls of Brisbane Powerhouse. That installation Biospheres: Secrets Of The City explores the hidden resonances and meanings of sound and image that lie beneath our everyday surroundings. In that piece we’ll be combining various sound and vision elements collected in and around Brisbane and will reconstruct those into an alterative view of the city.
Some musical highlights?
Numerous theatre performances from the likes of Jon Rose, Linsey Pollak and Graeme Leak, and Fabrique: late night electronic music. Friday 5th has live sets from Pimmon, Hydatid, Hutt River Space Agency, Aniki, Tam Patton and Diaspora, and Saturday 6th has Oren Ambarchi, David Toop and Scanner.
Gigs aside, what sort of workshops and presentations will be on offer?
A number of workshops will be hands on for people interested in getting their hands dirty. Also Bart Hopkin will be deliver some lectures as will David Toop and Robin Rimbaud.