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This performance combined 6-channel recorded sound with 12 live vocalists and 4 video projections.  The performers flashed colored lights and moved through the large warehouse in simple geometrical configurations. Interacting with the spatialized recorded textures, they produced clusters of sound with voices and sound-making objects. Encircling and moving among the audience, the percussive whacking of boards strapped to feet, rustling of large laurel branches and the tonal friction of small bells dragged across the floor.  Patterns were informed by research into the emergent properties seen in schools of fish or swarms of swallows. On the four projections, colorful flashes of images: painted faces screaming, dancing figures, recombining words.

The space between events is charged. We utilize an erotics of distance: a call connects across space and invigorates a shared medium – our atmosphere. In balance, we utilize an erotics of proximity: the “tuning-in” of closeness, the ways of changing and being changed by those who are near.
Distance and proximity interact as a self-organizing form. I am interested in schools of fish, flocks of swallows, swarms of ants. Spatial distance may be confused and con-fused as a map of temporal distance for making music. Our sounds stay near, keeping an always-same but always-changing form, self-maintaining but allowing for rupture at any moment. This is a proximation of form.
Our ears move in the spaces between events. – {from the program notes}

Video Performers: Linda Austin, Woolly Mammoth Comes to Dinner (Rikki Rothenberg,

Live performers: Elie Charpentier, Eve Connell,Theodore Holdt, Emma Lipp, Sara Mapelli, Mindy McGovern,Peter Musselman,Sandra Preston, Kelly Rauer, Morgan Ritter, Kersti Werdell.

Costume & Makeup: Diana Lang

Movement consultant: Linda K. Johnson

AudioCinema, Portland OR
November 2008