While the Sun Shines: (2013-16)
for SoundDome (Acousmatic)
- New York City Electroacoustic Music Festival 22-28 June 2015 [16-Ch Mix]
- SoundDome16 School of Music, Kenneth Myers Centre Auckland 15 July 2016 [25-Ch Mix]
- Finalist in Metamorphose 16 - international composition competition. Presented at international festival "L'ESPACE DU SON" Brussels 19 October 2016
- Link to publication https://influxacousmatic.bandcamp.com/
Work for fabricated instrument and live electronics
Karlheinz Company Concert, School of Music Theatre, University of Auckland, 10 May 2015. Link to video http://sounz.org.nz/works/show/22433
In 2010 my son and I found an interesting looking manuka branch on the forest floor. I had an overwhelming desire to keep it – so I took it home with me (a questionable act in itself). I then set about industrialising the partially hollow stick (It was hollow because Wetas had been living in it!). I fitted a copper pipe and reed, made use of 3 natural holes, and drilled 3 more.
The initial idea was to play ‘tunes’ on my skillfully made instrument - but alas, although the stick produced a series of interesting sounds, it did not speak as I had hoped. The instrument stood in the corner for a few years, while I pondered and pontificated the nature of my actions.
Slowly it dawned on me that the most fruitful approach might be to attempt to step away from my ego-driven ideologies, and from the gestural timeframes that define my human orbit. In late 2014 I fitted the stick with a wind sensor, taught myself how to circular breathe, and abandoned the idea of using pitch and rhythm in the work. My preoccupations had reached a state of reversal. I was now convinced that finding a way to work alongside nature was the key to unlocking the secrets of the stick. Using Arduino electronics and Max software, I began to build a system that would allow the wind itself to develop the sounds.
The discoveries made over the 5-year incubation period for this work have been informative and profound. I see many similarities between the method of composing adopted, and principles of sustainability, with a particular emphasis on permaculture design. I have for many years tried to identify a general method of working alongside NZ’s natural environment. Green represents my first step along this pathway.
Interactive Multimedia Installation
Installed at Seeing With Ears: Video Works by John Coulter the New Zealand Electroacoustic Music Symposium (NZEMS) 2-4 September 2009, School of Music University of Auckland.
A work for electroacoustic music with moving images Performed at Seeing With Ears: Video Works by John Coulter the New Zealand Electroacoustic Music Symposium (NZEMS) 2-4 September 2009, School of Music University of Auckland, The Beijing Modern Music Festival, 20 May 2010, Beijing, China, Nanjing Arts Institute 22 May 2010, Nanjing, China.
In memory of a much-missed loved one.
Mouth Piece: (2008)
For solo voice and visuals. [Audiovisual], (10 Minutes), Out Hear: The Body Electric, New Zealand at Kings Place, Hall Two, Kings Place, 90 York Way, London, 26 March 2012 8pm.
Mouth Piece makes use of an electronic headset that transforms ordinary speech into musical tones. The device works by repeatedly recording and playing back vocalisations through a small speaker that is located inside the mouth cavity. This process-based composition is founded on a paradigm similar to that of Alvin Lucier’s I Am Sitting in a Room (1970):
Shifting Ground: (2005)
A work for 16mm film & electroacousticmusic. Screened at McGill University, Monreal, Canada, 20 October 2005, Seeing With Ears: Video Works by John Coulter the New Zealand Electroacoustic Music Symposium (NZEMS) 2-4 September 2009, School of Music University of Auckland
A work for solo violin, body percussion, electronic sensors and tape Performed at the opening of the Queensland Conservatorium Research Centre, QCGU, 25 November 2003
Acousmatic: [Stereo]. Performed at The Christchurch Music Centre 1 October 2001:
An audio documentary of an extraordinary man who gave his life to music.
Bill's influence over me as a child (and I believe over many others) greatly effected my development as a musician, as a composer, and as an individual. He has been a true source of inspiration in my life. In 1998 I discovered a box of reel to reel tapes that Bill had meticulously recorded and catalogued. They spanned the last 30 years of his life from 1959 to 1988. This piece is constructed from those archives, and from my memories of him.
Tribe: Te waiata ruruku
koauau: Chant for Scottish Pipe Band (1999)
Sound Fountain: (1998)
A work for kinetic sculpture and tape Performed at The Great Hall of the Arts, Christchurch Arts Centre, NZ, 9 October 1998
A work for 16 performing artists Performed at The Linwood Performing Arts Centre, Christchurch NZ, 20 June 1997
A work for 16 performing artists Performed at The Great Hall of the Arts, Christchurch Arts Centre, NZ, 3 October 1996
Acousmatic: [Stereo] Performed at The Composer’s Workshop, Nelson School of Music, Nelson, NZ 31 March 1996
Control of 14 Peacock Street fell (in descending order) to Timmy the dog - an Airedale Terrier belonging to my partner's brother, Klara - a four year old child, Peter and David - the cats, Anita - my partner, and lastly, to me. It was a home full of stress, of chaos, but also of laughter and a lot of love.
Piece for Taonga Puoro and Live Electronics: (2017)
Piece for Taonga Puoro and Live Electronics employs a range of spectrally transformative software to extend the inherent sonic characteristics of the Pūtōrino in combination with other traditional Maori instruments. Fine-level control of the abstracted sounds (e.g. individual harmonics) is achieved in real time through the use of customised gestural sensors, allowing the introduction of subtle harmonies and textural shading well beyond the ordinary acoustic limitations of the instrument. The work also acts as a demonstration of the four ways in which the pūtōrino may be played.
The pūtōrino is an instrument unique to the Māori and very highly esteemed. It has been called a bugle flute because it has two voices, but the traditional concept is of two complementary voices, the male and the female. Its male voice is played as a trumpet and its female voice as a flute. The shape of the instrument is taken from the casemoth cocoon that houses Raukatauri, Goddess of Flute Music, who loved her flute so much that she went to live in it. [Flintoff 2004]
Eye Piece 2.0: (2016)
Interactive Multimedia Installation
Eye Piece 2.0 is an electronic instrument that is designed to track the movements of the eye. The device works by exposing participants to a series of still images and translating the resulting data into sounds and moving images in real time. The resulting discourse immediately reveals the autonomous nature of the eye. Even when presented with horrifying images from todays mediated world, the eye (a more primitive version of the self) continues to probe in all directions. Within the work, voluntarily eye movements are also employed to control and trigger various aspects of the interactive audiovisual experience. The eye inadvertently seduces the participant into becoming an active participant, and contributor in the production of explicit and violent audiovisual materials. Iterating this point, it is the movements of the eye itself that create the sounds and images in Eye Piece.
The work is a serious attempt to comment
on the human appetite for pornography and bloodshed with reference to social
media, the threat of terrorism, and gaming. It is hoped that through the interactive
experience, a deep-seated human paradox will be exposed. Succinctly stated: we,
products of evolution, are unable to change the fundamental nature of
ourselves. Or are we?