Hommage to Eggleston. Brooklyn NY, summer 2012.
Gay Cello Improvisation No. 4, Gay Violence No. 2.
This one goes out to all the lovers, dreamers, and deadbeat landlords in the universe.
A 12-channel, whisper-quiet digital granular synthesizer I designed and built as a musical instrument and set-piece for Jack Waters’ opera-in-process, “Pestilence” while in residence at the Emily Harvey Foundation in New York City.
Copper, steel, nylon rope, alligator clip test leads, tiny speakers. Approximately 14’ bottom to top. Sound implemented with Pure Data.
The main aim of the synthesizer design (as of this writing, a five year work-in-progress) is to create a playable musical instrument, in the same way that I can play the cello, for example. I have put a lot of thought into prioritizing the paradigms of granular synthesis I want to have ready-at-hand, and have experimented with integrating them into ergonomically suitable physical interfaces.
My goal is to have a rich set of tools that will allow the microcosmic exploration of sound in the time-domain which can sustain compelling improvisatory performances.