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Formerly titled Lifedance, this soundtrack for dance by Amiti Perry (OSU Department of Dance) explores interpretation of one's life experiences as dance. Each performer in the company has created movements relating events from their own lives, which Amiti incorporated into the larger whole. The music parallels this concept by taking existing songs and sounds in some way significant, cutting them apart, and reassembling the pieces into a soundtrack collage.
This is an electronic score to accompany dance by choreographer/video artist Ashley A. Friend. The score is played back through Max/MSP so that it can move from section to section with the dancers in real time. The dance was created as a way for Ashley to deal with her own experiences with epilepsy. Visually she draws inspiration from many sources, including many classic horror movie motifs. The sounds and music used in the score are taken from a variety of sources, cut apart, mutated, and carefully sewn together à la Frankenstein’s monster.
Part dance, part theater, part history lesson, part movie, part story, and part video game, Abandoned Revolution is not your average dance piece. When Boris Willis approached me about creating an original score I knew that the music had to be special. To that end I chose to create the entire score using a vintage Nintendo Game Boy and Nanoloop, a loop sequencer programmed for the Game Boy by Oliver Wittchow.
November 2-4, 2006 at Sullivant Hall, Ohio State
Sonnet 56 / The Corneal Gates (Patricia Carragon)
The last project I worked on with Seen Performance was to be a series of series of short works created through round-robin style collaboration that join in the social mingling at local house parties, challenging where we see performance.
When the doors open, the show begins.
The stage is scattered with wooden dowels and pvc fittings, but "performers" are absent. Three FOH Ladies in pretty dresses talk of clothing and whimsically burst into tiny ensemble dances. They generate a friendly mood, guiding viewers to become a single entity. Before the starting ritual is done, the audience – now a group – has built the set: two human scale boxes out of modular sections (ingeniously designed by Shana McKay Burns to play with the viewer’s visual perception of physical boundary). The Group fulfills a moment of choreography as they play together to decipher the correct construction method, and bring a new level of attention to the “stage” where the “performers” belong.
This sonic palindrome was created using a waveform editor to delete, clip, cut, and paste little bits of a synthesized sound. Originally intended only as a private exploration, it has become the music for a piece of dance by Erin Tisdale Feiler. I'm considering revising it for an upcoming album...
Exiles was composed for Immigrant Breast Nest's album AMSCRAY: The Scrams get Scrambled, which remixes music by the Albuquerque garage rock paragons .
Enveloped in the Dreaded Anguish of Ancients (Apocalypse mix) was created for Immigrant Breast Nest's album Remixing the Bloodwhore. This album remixes Decanting The Bloodwhore’s black metal classic, Enveloped In The Dreaded Anguish Of Ancients.
Fracture is a track I created for David McIntire's [LINK]Putney Project[/LINK], a set of remixes using source material he created using a Putney synthesizer. It takes the original, slices it into little pieces, and creates new rhythms and textures with those slices.
