Tessa Elieff :: Tattered Kaylor

PUNCTUM Inc Artist Callouts

2011-12-06T15:39:00.005+11:00

I would like to spruike two opportunities that are currently accepting proposals and are facilitated by Punctum Inc.

Why these two?? I hear you ask...

-because as an artist who was fortunate to be guided towards these opportunities and experience them on a first hand basis I can safely say that I would strongly reccommend them for both established and emerging artists alike.

#1) Seedpod Sponsorship

- Details direct from PUNCTUM's site can be found by clicking on the link above so I won't rehash their own words. I will say that the work space provided through the sponsorship (Live Arts Incubator) was a highly effective way of ensuring productivity. The amount of work I was able to complete for the duration of the Seedpod was a substantial amount and directly related to the space, facilities and support provided not only by Punctum, but also by my work colleague, Jacques Soddell.

My own experiences of the Seedpod Sponsorship can be found on my blogg HERE

#2) In-Habit international arts research and cultural exchange program

- Again, details for the above program can be found by clicking on the link.

Where this program differs from the traditional artists residency is in the fact that it adds into the equation, the value of cultural exchange. While other residencies may support this, In-habit takes an active approach in that this element is a necessity for their program to operate in the way that they have developed it to do so.

My own experiences of the Inhabit international can be found on my blogg HERE

Letter's from Home: Travel Tips

2011-10-31T18:45:00.015+11:00

I have made it back to Australia with gathered sounds intact. The oncoming months will be spent piecing together the works I initiated while at Noirlac - I am painfully aware of the fact that I am removed from Noirlac. If I discover I want a particular recording I can no longer walk out the door and into the environment I wish to record. I am separated from the space - and now - have to work in reflection of an experience rather than in the moment itself.

On another note - I wanted to post some general travel tips for other fellow sound artists. Small yet crucial details that I often wondered about and on speaking with others - could never find an answer to.

#1) Travel Insurance

There was no way I was heading overseas without ensuring my recording gear was well and truly covered. Having spent years working below average jobs to put together my recording arsenal the thought of losing it in a single moment is enough to send me into foetal position. Standard travel insurance will not cover items above say $500 - $700 with the exception of a few specific items such as laptop, camera and phone. I managed to find a company who offered travel insurance for the entertainment industry - specialising in high-end production equipment. Action Insurance Brokers was their name. They weren't cheap by any means but they covered everything and anything I asked for - even making last minute changes over night with no problems at all. I found the most cost effective option was to take standard insurance (such as TID) to cover all my general gear and microphones under $700 (Laptop, camera, phone, leads, mic accessories etc), then all my high end equipment I insured with AIB.

#2) Packing: the eternal search for the perfect bag

Despite my insurance there are certain items I did not want leaving my side. Select microphones and my recording device were heading into the general luggage over my dead body - yet as you know - hand luggage is extremely limited and microphones need to be packed with care.

Enter - the Crumpler Karachi Outpost. This badboy comes with detachable padded panels that you can pull out and change at will, as well as a laptop bag and side pockets. The image to the right is how the bag is on purchase, shots below are of how I packed my gear.

What you can't see is that under this top layer there was actually another layer of gear again, separated by the padded panels. Space was not a problem.... Weight however, was a concern. Return flight entailed frantically pulling items out of my hand luggage and shoving them into my general bag to appease an over zealous flight centre employee. Another plus is the fact that this bag only has one main zip for entry. This is positioned at the back of the bag, making it impossible for someone to access it when it's on your back. Team this with the fact that it's weather resistant, comfortable even at over 10kg and folds opens frontside down providing you with a portable work station and I was sold. Again, it was not cheap but seeing as my last bag managed to 'live' for 7 years - I think it's well worth it.

#3) Seeing the Countryside of France

:: Bike with boompole ::

- Can't say this would be viable for the wetter months of Europe but during the sunny season - highly reccommend it - particularly if you plan on heading to areas where a car cannot go (forests, private land). Bikes are a lot easier to hide under scrub and life over fences. They also allow you to listen to your environment as you travel whilst not polluting it with your own car engine. Nature is not frightened away and the locals are more lightly to greet you as you go sailing by. Team the above with my lantern, backpack carrying recording equipment and windjammer and I was prepared for anything, anywhere, anytime.

ENSA - Bourges School of Art

2011-10-06T00:36:00.011+11:00

:: Work space in Bourges ::

I have been lucky enough to be offered a work space in the town of Bourges (closest 'Large' city near le abbaye Noirlac). The unexpected offer came after meeting with Stèphane Dorè, Director of ENSA: Ecole Nationale Superieure d'Art de Bourges, and discussing the studies and mediums that the school offers it's students - in particular - it's sound department. I was excited by their interest in sound. The school has a detailed history dating back to the first resident artisans in Bourges, (the buildings alone are from the 17th Century) and is continuing it's strength of education within the arts into the present and future with a focus on practices such as sound, radio and new media arts. I noted that the sound department alone is growing annually with the number of increasing student work studios providing an obvious indicator.

One room that made me smile was the, 'Listening Room', A modest space with a few worn chairs scattered around on carpeted floor. Speakers were in stereo and the room seemed a little more acoustically isolated. Stèphane explained to me that this room was where once a week, a lecturer would play sounds, students would listen and then the sounds would be discussed. These sounds could be anything - from what we would call music - to musique concrete - to soundscape - to field recordings - to muzak. No student is required to attend, it is purely there for their own enjoyment. It reminded me of my own earlier study days where my tutors exercised the same teaching methods (but we had to attend). I remember that some of those discussion sessions became incredibly intimate. I would say a number of us bared our soul just a little in those sterile classrooms under the protective blanket of sounds. I am still in awe of how sound can affect us without us even consciously recognising. I miss talking about it.

It is a welcome change to work from Bourges, away from le abbaye Noirlac. I was nervous about leaving the site so close to my day of departure - think I experienced a mild separation anxiety. I quickly realised that distance is helping me to detach from the space and commence the post recording work with fewer distractive thoughts nevertheless, I am looking forward to getting back tomorrow and fine tuning my rough drafts.

If only I had a few more days in Bourges....

and a few more in Noirlac....

then a few more to say goodbye....

Bringing it together....

2011-10-02T01:59:00.008+10:00

:: 1st Surround recording in le abbaye Noirlac ::

This weekend is the only opportunity I have within the remaining time, to gather surround recordings at le abbaye Noirlac. Last night was my first attempt and tonight will be my last. I actually enjoy the fact that time is so limited as it means my work methods, ideas and process's have no room for 'whatif's' and 'maybe's'. I am working with what I feel are my absolutes and am not questioning my instincts.

The planning and development of the concept behind this work has been the hardest process to rush (how can you rush thought, reflection, conscious and unconscious realisation?) The trick for myself has been to not think too much rather just do and then reflect on the creation or sound gathering afterwards (making the unconscious conscious).

Using these methods the final work I hope to present to Paul Fournier, Geneviève Hollemaert and Fabienne Taranne will consist of two installations that portray the world as viewed from within Noirlac. Both pieces will be site specific with the sounds mixed specifically for the selected spaces and utilizing systems that have been configured accordingly. The first space would be the Refectory (where I have been working) and the second, would be the Cloister - a garden at the centre of the abbey.

Thoughts and discoveries that have led me to these developments include the realisation that both the abbey and the township of Bruere Allichamps exist and have existed in the past in their own pleasant individual worlds. The two are obviously connected (the abbey is actually within Bruere Allichamps boundaries) and yet they remain as two very separate entities living peacefully side by side in comfortable silence.

When I then look at the life that the monks of the abbey use to live, it too was one contained within a bubble. In keeping with their Cistercian beliefs, the monks were not allowed to leave the abbey's boundaries and despite their surroundings of dense wilderness - well worth an adventure - they remained within the confines each and everyday and night. And so - on this thought, I decided that the work that entailed bringing the 'Outside' within the walls of Noirlac, should also include the opposite - bringing the sounds of Noirlac to the 'Outside' (hence, two installations).

The first installation would be the 'Outside In' (sounds of the outside such as bird calls, wind, markets etc) to be installed within the abbey, in the refectory. The second would be the 'In Within' (sounds from within the abbey Noirlac) to be installed still within the abbey, but, at it's Cloister (centre garden). I like the idea that inverting these sounds is creating a breathing space for each world, within it's opposite other - allowing their presence to be felt where it has been forbidden in the past.

To be cont'd

The Sounds of le abbaye Noirlac are available for you

2011-10-02T00:41:00.006+10:00

- nearly forgot to mention

All my recordings that I have completed are available for you to download, listen to and comment on.

You can access them HERE on the Freesound website.

Any comments would be most appreciated and please feel free to use the sounds for your own work providing you credit me where appropriate.

Enjoy,

:: Recording Crickets along the Cher River between le abbaye Noirlac and Bruere Allichamps ::

Discovering Bruere Allichamps and workingworkingworking (9 days left)

2011-09-28T23:57:00.004+10:00

:: One of the characterful houses of Bruere Allichamps ::

I've fallen in love with the houses of Bruere Allichamps. The above, is one of my favourites to date but there are so many more...... Majority (perhaps even all?) of the buildings within the town are of the same age. Some have been restored and/or maintained in their authenticity whereas others (like the one above) are yet to be tended to. The day I stumbled across this home the washing had just been done and an old radio was playing music not unlike Edith Piaf. From the street I could faintly hear a voice joining in for the chorus - was a little overcome with how perfect the world was then and there.

Fences and towering walls down alleyways bend and curve in towards you then out again seemingly defying physics and architecture by remaining standing and strong. Lamp posts are exactly that, and on route to the local bakery in the morning (two blocks) you will pass a number grandpa like figures in their day to day cap and well-worn shirt with a baguette or bannette under their arm.

Sunday past was a great day. The town shutdown it's side roads and opened up as one big flea market (with a few food and carny stalls scattered around). I managed to gather a few sound recordings and was interested at peoples response. Some were understandably wary of me and would ask what I was doing. It was actually a perfect way to start conversations with others without feeling like you are imposing on their day. I had no negative response - most were happy to hear of my interest in the town and what I hope to use the sounds for.

Night times are spent within the walls of le abbaye Noirlac. Light's are shut down at night so I bring in my own lantern and wander around in the dark a lot. The atmosphere is quite charged to say the least with bats keeping me company and following me as I move room to room. At this stage I have just begun introducing the field recordings to the refectory and listening. I plan to start tailoring the speaker configuration tonight to create a site specific system as well as begin working compositionally.

There is so little time.....

:: Night time work in le abbaye Noirlac ::

Finding sounds and space

2011-09-24T22:43:00.007+10:00

:: Temporary sound studio at Noirlac ::

I have never had a studio quite like this to work in.... The space which has been assigned to me is the refectory - the sound in this space is quite unique in that the arched ceiling in twice the height of usual cistercian architecture. In the past, it was used for communal meals (in silence) and now, for a brief period I am able to work within it's bubble (not so silent). The space is incredibly live. One word echoes, bounces, reverberates and delays - to the point that I am reconsidering how I will work with such acoustics. At this stage I have six speakers setup in a standard circular configuration. The pillars are an obvious distraction but not a large problem sonically. Because of the nature of the space I am more inspired to place speakers unconventionally. Sounds move with a mind of their own within the refectory and I would like to explore this moreso than the perfect 360˚ representation.

The struggles I have been having finding outdoor sonic environments less prone to traffic and machine noise have not abated (please see image + details below), leading me to the proposition of recording moreso within the abbey and yet - I was working with the intent of bringing the outside within it's walls, allowing those sounds to become part of it's immersive environment. In contrast, if I now record the sounds of the abbey and re-release them into their original environment to react with the space yet again, I will be causing a type of feedback loop - folding the room in on itself (as well as initiating the first step of Alvin Luciers piece, 'Sitting in A Room'). This would greatly change the intent of my work........

decisions, decisions, decisions.........

:: Recording alonside the Cher in the morning in Bruere Allichamps::

I have managed to somewhat decipher the numerous industrial sounds that surround Noirlac.

#1 is the obvious - Traffic. Noirlac is beside a freeway

#2 is the trainline. This carries remarkably far - right into the forrest.

#3 would be the local porcelain factory that emits a general humm not unlike a large airconditioner

#4 Is the hors d'oeuvre factory (i'm pretty sure that's what it is) next to the porcelain factory. This too emits it's own constant drone

#5 Lucky last would be the planes that pass overhead - it appears we are relatively close to a flight path.

The biggest struggle is that the underlying drone the permeates the air does not stop. It carries on through the night into the morning. At times it is louder but it will never cease. The field recordings I have gathered so far have this drone but can used if they are not at a loud volume, and with some severe filtering. I was imagining gathering pristine outdoor recordings but this will not be the case. Within the walls of Noirlac however, the drone is somewhat held at bay...

I hope to start uploading sounds to Freesound soon and am a little worried about how they will be received - never the less - the show must go on...

Hunting for 'The Quiet'

2011-09-22T23:10:00.003+10:00

I will never cease to be amazed by just how far traffic sounds can carry. You may walk for hours - direction - away from the roads and engines only to find that the sound is infact somewhat amplified by terrain that has unravelled between yourself and the offending noise. Yesterday I began the search for those perfect recording spots. My instinct was to head into the nearby forestry that is an arms throw away from Noirlac. What I found (as many other field recordists have discovered before me) was that the deeper I went into the woods, the more the sounds of the traffic seemed to resonate in the air. While it's detail may have been lost, it's thrumm became more prominent, destroying the fragile sonic ecosystem nature had already provided.

Solution????

I will be using tried and true (ish) methods such as high pass filters, recording extremely early in the morning/through the night as well as continuing to hunt for a sheltered area. This morning I managed to gather some birdcalls by the Cher River. There was undoubtedly traffic noise present but I am wondering if I am able to work with them regardless. The last minute pinch to purchase a DPA 4017 shotgun mic definitely helped to no end. It's hyper cardioid capsule blocking out excess side and rear drone but also the beautiful reverb and echo moving up and down the river, I don't think the recordings would have been even possibly useful otherwise.

Seeing the countryside by bike and on foot has helped pick up on sound environments that I would miss from the enclosure of a car. I also notice pretty quickly if the humm of traffic dissipates. The downside to this is the fact that finding these 'safe' areas will take time. I had expected to be well on my way with sounds by this point in my residency and am feeling the pressure of falling behind....

The plus side is that I have the perfect excuse to discover critters such as wild deer, giant orange sluggs and thoroughly acquaint myself with French countryside!

Who is le abbaye Noirlac?

2011-09-20T21:54:00.069+10:00

:: The work of Zur at le abbaye Noirlac ::

The past days have been spent acquainting myself with the abbey, it's surroundings and fellow Inhabit International residency artist Tara Gilbee. It is interesting entering a space that you have been fixating on for the past months - like meeting a character from a book. I was taken aback to find that I had already become attached to Noirlac and on experiencing it's delicate nature firsthand - was embarrassed by the flood of emotions that en slewed.

If anything I was expecting to be disappointed after building up such expectations in my mind and on first sighting - I was. As we drove alongside the abbey, glancing out the car window my first thought was, 'Small?' Where are the towering watchtowers and grand arches I had assumed would astound me? Where is the size and sheer magnitude I have come to expect from 12th century cathedrals?'

And so I entered the abbey and began to realise why Noirlac is an experience in itself.

"It is small from the outside but large from the inside"

Paul Fournier: Noirlac director

If the abbey were a sound it would be an untouched field recording - one that is understated in it's nature yet so perfect that it need not be processed. The architecture makes use of the natural light. Windows are found where the best days sun passes through, walls and ceilings are neutral to the eye and invite the observer to feel a peace attached to their simplicity and the sounds!

On arrival the artist group Zur were presenting their research of Noirlac on a daily basis and we were lucky enough to catch to catch one of their performances. It was an exceptional introduction to Noirlac and one that acted as a major catalyst in my understanding of the space. Throught the sensory explorations of Zur, le abbaye Noirlac presents itself as an unanswered intrigue - one that stimulates pleasure for the observer via the curiosity that it evokes.

The beauty in it's space is uncomplicated

Light :: Air :: Sound :: Space :: Time :: Observation

Zur use these elements to create their own reiteration of Noirlac and I hope that through my work, with the use of my own choice of mediums and elements, I will be able to do the same.

Bonjour Paris

2011-09-16T15:46:00.004+10:00

I arrived in Paris a few days ago and have been trying to cram in as much of the city's priceless culture and the arts as possible (within three days). My backpackers is a half hour walking distance from the louvre and say an hour from centre Paris so I'm travelling on foot - the best way to begin learning about a city!

You will find me quietly watching foot traffic from a laneway cafe, or standing on a street corner with my small map in hand figuring out my next move. The city itself - it's infrastructure, buildings, developed lifestyles is nothing like what we are have in Australia. The general height of buildings is greater - often creating the feeling of narrower roads and meandering labyrinth's.

Their use of height gives me a feeling of more space. It opens up the world around me. The signs of life positioned high in the sky (trees on balconies, overgrown vines and flower pots, beautiful ornate outdoor parisian chairs) creates a feeling of being surrounded by humanity as opposed to the stark walls of Melbourne's inner city high rises. The French seemed to have mastered the art of combining hectic inner city living without compromising the joys of everyday pleasures.

Just because there are limitations - does not mean that it must be stripped of the signs of humanity and of life's small luxuries.

Other points of interest include: The butter patties are MUCH bigger, French women really are thin and beautiful (generally speaking), junk and cheap inner city antiquities are relatively common, 'Sound Artist' is not a term that leads to confusion - it is common knowledge and taken with all due seriousness.

Je'aime Paris

FBI Radio

2011-08-25T17:57:00.001+10:00

This Sunday evening I'll be having a chat with Scarlett Di Maio and Brooke Olsen on FBI Radio's experimental sound hour Sunday Night at the Movies. Tune in for an assortment of my sounds and to hear me quite possibly stutter and lisp - live - on air.

With the perfect excuse to head over to Sydney I'm able to attend brilliant gigs such as Chihei Hatakeyama and others. - I am not familiar with his sounds but I will enjoy something new and am looking forward to being a stranger in NSW.

The release that never was

2011-08-07T19:44:00.001+10:00

I am confronting the unborn release. He/She is pretty pissed - I should have done this years ago but in the words of a tutor I once considered a friend,

'It's frightening putting something out there - for others to criticise and pick at but you have to do it.'

I know I know, but none of it quite makes the grade.
So I will put it out there anyway.
What choice do I have?
I know that a number of artists I admire, have a first album or ep that is obviously an embryo - not yet fully formed with it's potential lost in layers of unformed technique and meandering direction.
So with this excuse, I will allow it to come into being. While I am not able to exist - this is.

Samadhi Mechanism - Quadraphonic Install

2011-07-13T16:34:00.001+10:00

Earlier this year I was invited to present my work at the launch of the Kew Arts Centre. The timing could not have been better to exhibit and install 'Samadhi Mechanism' and the setting was near ideal as I had the use of an old gaol cell (sounds familiar). The size restraint of the cell meant I had to minimize speakers so my setup for the piece was down scaled from 7.1 to Quadraphonic with no Sub. This worked surprisingly well in the space due to how 'live' it was. Natural resonances appeared quickly and with little effort of volume, meaning that the addition of a Sub would only have muddied up the sounds and impacted negatively on the mix.

As the only artist working with Sound at the Arts Centre launch I enjoyed the discovery and experiences of others who were not too familiar with works in the medium. I am use to being surrounded and critiqued by people who are as obsessive and knowledgable of the styles and works created with sound as myself (or even moreso). Being placed as 'The Odd One Out' provided me with the gift of observing extremely honest responses and opinions that can become clouded by the impinging judgments of an art scene.

Many thanks to Caroline Carruthers from Boroondara Artists Travelling Show (BATS) for co ordinating the artists on the day and congratulations on your beginning!

Kew Arts Centre Launch

2011-07-13T14:52:00.001+10:00

: Quadraphonic install of Samadhi Mechanism :

Machine Recordings

2011-04-16T15:00:00.007+10:00

:: Sound gathering for 'Samadhi Mechanism' ::

-Have been spending nights hunting and collecting sonic identities relevant to 'Samadhi Mechanism'. The final work will be a 'Frankenstein's Monster' in that it will be a new creation, coming into being by the severing and suturing together of other audio bodies. The above images are of two of these bodies, the first, is beneath a train-line that bridges above a main road. The second, is a floor level that plays host to a number of air conditioning vents and general airflow within an inner city convention centre. Surround recordings were taken from the floor level and MS was used underneath the bridge. Other samples I have gathered include an old electrical printer (2 x contact microphones in stereo), A scissor lift (1 x stereo Rode NT4) and discarded metal sheeting. I would very much like to record the sounds of an old printing press that is operated by hand. Unfortunately I am not having much luck at tracking one down........

Abbaye Noirlac will be a welcome relief after this piece - I have been in Melbourne city for too long - working to acquire microphones and equipment. It's an isolating and soulless experience that I hope to alleviate soon. As a (primarily) sound artist I record and portray what is within my environment and the hard walls of urban landscape have dominated that space for quite a while. Balance needs to be restored I think.........

Samadhi Mechanism

2011-03-21T15:50:00.010+11:00

::'Samadhi Mechanism' Still 2011::

“Such a state is ineffable by definition, but those who have known it, and the traditions that have cultivated it, maintain that it is the ultimate reality.”

Robert Jahn and Brenda Dune, “Sensors, Filters, and the Source of Reality” 2004

I am Quite excited by my next major piece of work, 'Samadhi Mechanism' - a further exploration into the individual’s experience and sensory perceptions of ‘space’ - the results by which, they form their impressions of their own unique, reality. It will be my first venture into combining the mediums sound and vision and I am already feeling a shift in my everyday sensory perspectives. While I often listen to the sounds of my environment as though they are part of a grand composition, I have never allowed everyday scenery such attention. I actually find vision almost too strong as a sense, to allow myself the freedom of subjective viewing. Sound however, (for myself) is a beautiful sensory stimulation to lose yourself in via multi-dimentional realities.

In research of these ideas, I am reading, 'Filters and Reflections. Perspectives On Reality', edited by Zachary Jones, Brenda Dune, Elissa Hoeger and Robert Jahn. I am only 1/3 in at the moment so cannot make any sweeping conclusions but will say that although it's incredibly dense and scientific text is at first... unexpected and undesired, it brings to light exceptional information re: differing possible and cultural perceptions of our reality. This is how I was made aware of the state referred to by Zen masters as, 'Samadhi' - a state of pure experience,

"It is the visceral feeling that shifts the filters of consciousness from those of passive, objective observation to ones of proactive, subjective participation, and this participatory immersion in the experience modifies it's perceived reality." pg 22

At the risk of sounding self-important I would tentatively suggest that through documentation of a space my work attempts to act as a catalyst for this state within the observer. The process of documenting a selected space, at a certain time through the eyes and ears of another individual (myself) allows it's (the space) existence to be born anew, in the reality of the observer (their perception of!). This process and experience enables them to participate in the creation of an alternate reality. Overtime I hope to become more skilled and/or successful at stimulating this reaction within each individual.

For the piece, "Samadhi Mechanism', I have chosen to indulge my inner Futurist (omitting the war glorifying/feminism despising aspects) and document a space that is filled with the body of a machine. It’s giant pumping arms and rotating spindles remind me of what I imagine futurist and pioneer of noise music, Luigi Russolo’s ‘Intonarumori’ to look like. (I have to imagine as the machines were destroyed with only limited photo documentation)

Like Russolo’s machines, this device also emits what would traditionally be considered non-musical sounds. These sounds include clunking of gears, grinding of spinning axis and the abrasive humm of energy as generated by the main motor as it powers each movement the machine makes.

As an inorganic object, I perceive it as exhibiting strikingly human behaviour. It is this subjective ‘identity’ existing within its surrounding environment that I wish to translate via sight and sound.

The moving image in my work will be used minimally meaning, that I do not want to use post-editing effects to dramatically manipulate what I have successfully captured but more so, crop, cull and arrange, The unique aesthetic of the machine and the habitat in which it resides will provide me with enough inspiration and source material to work with. The setting is capable of provoking an ‘other world’ feeling from it’s observer on it’s own. My meddling with this connection between space (place) and person would only sabotage the identity I wish to portray.

Sound will be treated with less purist ideals in comparison to the visuals. Not only will I be recording audio from the space with no concern as to matching it to it’s original visual event, but I will also be collecting other sounds I feel fit the nature of the machine. These sounds will be recorded from anywhere and everywhere that I hear what I imagine the sound of this machine to be. The working mechanisms of a printer, rumbles of a train from beneath the bridge it is travelling over, the clicks and clangs of latches, locks or pots and pans – it will all be considered. Post editing of the sounds will create a surround composition that completes the piece, working with the visuals in bringing to life the reality of the machine in each individual observer.

to be cont'd.........

Bogong AIR Festival 2011

2011-01-02T22:15:00.001+11:00

Full PDF Including participating artists can be downloaded HERE courtesy of Westspace Gallery

Was quietly excited to see this in my inbox as an email from one of my rather distant/impressive/at-times-even-infuriating-yet-still-incredibly-likeable, lecturer who shall remain nameless.....

Was impressed by the eclectic nature of the artists involved, as participants originate from a number of different countries and with various years of experience. (In a nutshell - I like the fact that there are students I studied with amongst the established and more renown Sound Artists.)

-Will try my best to make it to this one...

Inhabit International Arts Research and Cultural Exchange

2011-01-02T21:39:00.007+11:00

2011 has started with exciting news - I am lucky enough to have been selected as a recipient of Punctum's Inhabit international residency to be completed at the 'abbaye de Noirlac', in the countryside of central France.

: An opportunity to work and create within the country at which the concept of the Acousmonium (as a sound system) and acousmatic spatialising, was born :

The work that will be undertaken at Noirlac will be heavily focussed on the acoustics of the present architecture as well as it's surroundings. I must say - the abbey itself looks sonically inspiring (yep I'm inspired to create sounds simply by looking at the buildings - I cannot wait to hear how the walls, arches and cavernous depths will affect the atmosphere)

These images are snapshots of those found at http://www.abbayedenoirlac.com

At this stage, I plan to use my time there to make recordings (surround, stereo, mono) of various sounds. These sounds may have a highly charged cultural relevance to the local communities, or they may be a further expression and discovered detail of the reality I explore there. There is much to write about and much to do - will flesh out the details at a later date.

I hope to make these sounds available to all via the Freesound Project. I also hope to include others in the work process through the feedback and suggestions that can be made on the website - we'll see how it goes!

Much thanks must go to Jacques Soddell for his encouragement in my recent development of these work methods.

Much-to-do, Much-to-do

STUDENTSzine issue #1

2010-12-08T12:25:00.002+11:00

The very first issue of STUDENTSzine was released on December 1st and can be downloaded from

Put together by Dublin based, fellow sound artist Richard Carr, this online zine aims to 'bridge the gap between student and professional' and I must say, it fills a much needed void re: opportunity and community for emerging artists worldwide across all artistic mediums.

I highly recommend watching this one unfold and am proud to be a part of it's debut.

Live Arts Incubator - Conclusive Performance

2010-11-16T20:20:00.003+11:00

: Last two evenings of the Live Arts Incubator :

Saturday and Sunday night proved to be two unique experiences, both providing Jacques and myself with rewards stemming from the hours/days/weeks of work beforehand. Final performance consisted of four parts, each flowing seamlessly from one to the other so as not to break the listeners immersion into the sonic experience. Presented works included three solo and one collaborative piece.

My own solo work was created purely from the surround and stereo recordings that I had gathered from the Sacred Heart Cathedral throughout the first week of the residency. These sounds included a 5 bell peal, creaking pews, footsteps/voices and movement through the space, turning of pages, the playing of the organ and of a wood-carved recorder and voices chanting in prayer. My sounds were considerably naturalistic with selected segments being presented as true to reality as possible.

In contrast, Jacques Soddell used highly manipulated and processed sounds - some were recognizable and some were not. All were incredibly pleasing on the ear in their textures and frequencies.

Final setup included 10 speakers on two levels.

1st level was 6 x 300watt in circular formation 4.5m radius.

2nd level was 4 x (TBC) in diamond configuration, 1.5m above Level #1

All speakers were calibrated by true film standard of Pink noise @ -20db = 83 db SPL (reading taken from center of circle diameter.)

It was extremely satisfying to explore the experience of height. I have had the chance to do this once before, during the event, "Akousmatikoi" but it was not quite so controlled and as flexible as this set-up. Through the use of Audiomulch + midi control + sound system I was able to spatialise and perform live with stereo, mono and surround audio samples. Sounds were able to be triggered when and where I desired with ease. Panning selected sounds from left to right and/or top to bottom was effortless and I am looking forward to further developing my patch and my midi control.

One of the unexpected rewards of the first evening was a followup discussion and constructive criticism of the works by Punctum's artistic director, Jude Anderson and fellow board member, Stephen Henderson. As a sound artist it can be difficult to entice others to tackle the language of the medium and the guidance and reflections of Jude and Stephen were an unexpected luxury within the whole Live Arts Incubator experience. The support that Jacques and myself received in the form of equipment, studio space and technical expertise was matched by an emotional element. This element assisted in our confidence throughout the work process, encouraging us along the way and resulting in the completion of a live performance we hope to continue on with post Seedpod.

The eye of the storm.............

2010-11-11T12:15:00.004+11:00

: Day four, final week of Live Arts Incubator :

This week has been one of the most, 'Challenging' I've had for a while regarding computer related glitches and bumps. (This would be why I am halfway through the conclusive week of my Bendigo residency and only just now entering my first post). I'll save you the kill-my-computer-don't-even-BOTHER-introducing-bootcamp-to-a-mac-yet-if-you-wish-to-use-it-for-sophisticated-audio-processing rant and just say that I suffered a couple of largish setbacks at the beginning of the week.

On the flip side to this experience - I can say that I now have successfully developed my new prototype for live performance and spatialisation. In the past I often used Logic pro teamed with midi controller, sampler and mixing desk. The new design replaces Logic with the astoundingly accommodating software 'Audiomulch' by fellow Australian Ross Bencina. The brilliance of this software (for myself working specifically with multi speaker spatialising) is it's routing capabilities. As a modular, patch-based software (think Max msp in lamens terms) the choices, possibilities and potentials are at the minimum - endless!

At this stage I am working on midi control of the basics

-Play

-Mute

-Gain

-Send

-Panning

-Matrix routing

-basically all the elements that are utilised when exercising the traditional methods of acousmatic performance.

In the future however - I plan to venture into realtime signal processing and effects - unfortunately I doubt I will have time to explore this before the live performance

Speaking of which ...

If you happen to be in Bendigo, Australia this weekend - head to the Old Fire Station for an evening of auditory dazzling.

SeedPod #6

2010-11-06T09:43:00.004+11:00

Immersion Studio
by Jacques Soddell and Tessa Elieff
Sat Nov 13th and Sun Nov 14th
8pm Tix $10 @ door
The Old Fire Station/Engine Room, Bendigo

Sound does not know the rules that apply to us regarding walls, corners and closed doors. It travels through, beyond and around – being in numerous places at once yet existing as a single entity. It permeates our surroundings and impacts on our environment. Under the guise of being unseen it expands and contracts space, pulling and twisting the edges we construct around our perceived reality.

Tessa Elieff is currently completing her honours in Bachelor of Fine Arts (Sound) at RMIT. Her work centres on recordings of natural sonic phenomena. Spaces and places that create their own unique audible environment.

Jacques Soddell is a sound artist producing electroacoustic music, with an interest in deconstructing natural sounds (field recordings) to create new sounds and textures.

During their time in the Immersion Studio Tessa has collected surround and stereo recordings from Bendigo's Sacred Heart Cathedral and Jacques has delved further into methods of manipulation, destruction and cohesion regarding sound. Their final presentation will showcase a work created from their skills combined - one that entwines both the untouched field recording and it's manipulated Other. Listeners will experience a piece that aims to challenge our interpretation of reality, provoking us to question everyday perceptions we regard as being absolute.

The Electric (Quiet) Car

2010-10-04T11:16:00.000+11:00

-was quite excited to hear about the rebirth of the electric car

better late than never...........

One of it's noticable feautures would be the fact that it is

S I L E N T.

Joy of joys we have finally found one solution to one primary culprit in the crime of sonic pollution.

Alas my enthusiasm was to be curbed - but not completely destroyed, at the release of articles such as this one.

It would seem that we have acclimatised to the constant humm of traffic to the point at which a drop in the volume of the sound, generates feelings of unease - even of possible threat to our safety.

While there is no doubt that the sound of a car's engine is an excellent indicator and sensory alarm for those with and without visual impairment I think it would be wise to acknowledge the fact that we now have the luxury of choice. Perhaps a reduction in level could be implemented - encouraging a movement against the belief that 'It must be louder to be heard'.

A golden opportunity to wean ourselves off the barrage of noise we have become deaf to and rediscover the experience of sound?

I hope so.............

It's a wrap.......

2010-09-14T18:51:00.003+10:00

: Day Seven of Live Arts Incubator :

Photos are of the workshop space we setup for our residency. Not only did we have 8 speakers at 1meter height for surround but also four in the ceiling for us to play with. Our final configuration is yet to be decided upon.......

The final day of my residency was spent capturing a Sunday Mass in surround sound. I had setup my equipment the night before, at closing time in the cathedral. (Mass started at 8:30am and I had no idea just how reliable my senses would be in the morning..) Microphones were placed in the middle of the pews with stands alternating between the benches. Care was taken to keep the walk-in pathway clear and to ensure that I was not in the way of the service attendants. Traffic was lighter on Sunday morning (why didn't I think of that before!) and I even managed to capture some sounds of morning birds filtering into the cathedral.

On listening to the recordings I'd say that the sounds I enjoy the most are the 'throwaways' or the ones which occur inbetween the main moments of action. Events such as the dragging of pews or the mixture of random conversations throughout the cathedral. People lining up and moving to the altar for communion - those transitional moments work very well and I look forward to working with them.

The Pages Of A Book......

2010-09-11T22:19:00.007+10:00

: Day Six of the Live Arts Incubator :

Have you ever noticed that psalm books and Bible's have a unique type of paper that is used for their pages? I hadn't consciously noticed it until now - at the moment when I decided I wanted to record the sounds of someone turning the pages during Sunday mass. I then realized that not any book would do - it had to be a book with pages such as those found in the above. A quick trip to the local secondhand book store and I have my mentioned manuscript - a hard cover no less - because we all know the sound a dropped book makes within the reverberant hall or church and it most certainly is not a soft cover or leather bound that we are hearing in our imagination.

Sacred Heart Cathedral Surround Recording

2010-09-09T19:33:00.006+10:00

: Day three/four of the Live Arts Incubator :

Finally have some images to show of the Cathedral and of the setup I used to gather the recordings. As a last minute decision I moved the DPA omni's further out at either end, so as to adequately capture the natural effects within the chamber. Rode's were then positioned behind the DPA's.

The main downfall of the recordings is the traffic noise........

Sacred Heart Cathedral is positioned alongside of the main road Bendigo (it is one block back by definition but you'd never guess from the traffic level). Despite the fact that Monsignor Frank Marriott was generous enough as to allow me after hours access to the space, I was still unable to avoid the relentless hum that plagues cities, towns, and even countryside worldwide. All I could do was work with it as best as possible and hope that I am able to execute some kind of damage control in post editing.

Gathered sounds included creaking pews and doors, footsteps and a wood carved recorder. Despite the underlying constant of car engines I am very happy with the spatialised outcome. The use of the recorder was a last minute carefree decision made in the spirit of the artists 'let's hear what happens' - one that resulted in the discovery of a key sound for the planned composition. The tones and decay of the instrument in the space were audibly astounding and became the primary sound in the formation of the cathedrals identity.

How Do I Record Thee - Let Me Count Thy Ways.........

2010-09-07T21:27:00.033+10:00

: Day two of Live Arts Incubator :

: Enjoying Bendigo and the welcome of Jacques and Fran Soddell :

The last couple of days have sparked what I think will be a sharp learning curve in my surround recording technique. As part of my artist residency at the Old Fire Station in Castlemaine, I will be recording the sounds of the Sacred Heart Cathedral in surround configuration.

I would like to mention for the record, that the body and infrastructure of the cathedral is mind achingly different to that of a six level stairwell.............

After spending a number of hours/days/weeks/months etc researching surround recording setups that are both within my budget and suitable to my own ideals I have managed to decide upon my own recording technique. This setup is a hybrid consisting of the designs of other recordists, interwoven with my own.

The first recording design relevant to my own requirements that I stumbled across was that of Peter Caeldries. (I highly recommend having a look at his website as it is not only informative but also incredibly coherent and easy to understand.) It was via this website that I came across the idea of recording in MS configuration but replacing the cardioid microphone that is traditionally used for the Mid with an omni directional. Selected mic's would now be the Sennheiser MKH 30 and the MKH 8020.

While I had considered this combination of figure 8 polar with omni in the past I has never had confidence in it as an idea. I liked the theory of using the MS technique and allowing it to develop into the surround domain via the use of the omni and on reading Caeldries entries have decided to go ahead with the setup. The second source of information and inspiration came from John Willett, who just happens to have designed his own Rycote shock mount and blimp system suitable for my selected microphones. (Many thanks to Willett for being so helpful with all the details re: equipment list.)

The combination of both these two ideas will form the center of my recording configuration. In addition to this, the front facing side will have an omni directional DPA 4060, headed by a stereo Rode NT4. The rear will also have the same configuration (Omni DPA, with Rode NT4 pointing out).

Spacing between the microphones will be kept tight - I hope to fit the configuration into roughly 60cm length. The body of the cathedral is quite long hence, why I have decided upon a placement of microphones in linear form from front to rear. After listening to sample recordings I gathered within the space using only a spaced pair of DPA 4060 I was surprised to find that the natural reverb and delay at the rear of the building was slightly lost - again, this gave me further reason to place microphones in linear form.

Field Recording @ Puffing Billy

2010-09-04T20:33:00.008+10:00

I spent today gathering field recordings for New Media (projection) artist James Wright's next short film.

Place of recording was the Puffing Billy train station in Belgrave, Victoria.
-and of course, the sounds of interest were of the trains as they chugged 'full steam ahead'.

Selected microphones included a SoundField ST350 Portable Microphone System (thanks Phil), the C-ducer contact microphones and my tried and true Rode NT4 (stereo).

I have not yet decoded the ambisonic recordings from the SoundField set-up and am curious as to what my own opinion will be regarding it's spatial capabilities. The C-ducer were appropriate for filtering out the chatter of other passengers and capturing the brutality of the carriage movement. Thuds and creaks gained the feel of added weight and body mass behind each sound. Sub frequencies rumbled with a delicate intensity that these microphones are renown for capturing. The last recording was made with the Rode. I was pleasantly surprised to find that it's sound was as appealing to me as always - managing to stand strong alongside of the ST350 (through headphones at least).

Many thanks to the Train driver at Belgrave for fitting me into his drivers compartment.....

Artist Webzine

2010-08-11T11:29:00.003+10:00

Recently I was contacted regarding contributing to a new webzine directed by Richard Carr, dedicated to creating a platfrom for discussion and dialogue for students and emerging artists.

Selected artists come from across the globe - from all genres of media.

STUDENTS - have a look here

Issue 1 includes texts by Brian Hand (course director of BA hons @ Wexford campus School of Art IT Carlow) and Natasha Conway graduate of NCAD, one of Saatchi's new sensations and also selected for Jerwood Contemporary Painter 2010. Other contributers include Serena Caufield, Oonagh Latchford, Tessa Elieff, Evelyn Morrison, Andrew Kenny, Fergus Doyle, Tiago Esteves, Joaquin Gasgonia Palencia, Craig Bell, Barbara Smith, Trash DIY, Laura Payne, Dagan Wald and Sanjay K Sharma.

Seed Pod Residency (Live Arts Incubator)

2010-07-23T21:39:00.007+10:00

September & November 2010
Old Fire Station, Bendigo, Victoria

A joint venture of Jacques Soddell and myself into immersive audio via a temporary multi speaker studio. Project will include one week of private studio time for the artists followed by a second week including an open workshop and final performance.

This event was made possible through Punctum and their Seed Pod Sponsorship