Erin Gee - 7 Nights of Unspeakable Truth at Nuit Blanche Toronto 2013

7 Nights of Unspeakable Truth

(2013)

7-channel audio installation, woven blankets, text work

8 hours duration

It’s a search for disembodied voices in technotongues.

“7 Nights of Unspeakable Truth is a recording that consists of dusk-till dawn searches for number stations on shortwave radio frequencies. Arranged in order, from day one to day seven, the installation allows one to physically walk through seven evenings of shortwave, synchronized in their respective times, in physical space. This spatialization of each night allows listeners to observe patterns and synchronicities in Gee’s nightly search for unexplained broadcasts that consist only of numbers, tones and codes.”

This body of work is informed by my fascination with mystery, symbolic organization and communication. I take on the nocturnal patterns of a solitary listener, connecting to other enthusiasts via online chat in order to share an obscure passion. The patterns of my searching during 7 Nights of Unspeakable Truth are woven directly into blankets, another evening activity partaken during Nuit Blanche 2013 in which I encoded and wove my audio searches into a physical form that you could wrap yourself in while you listen – two different versions of encoded time on radio airwaves.

More on this work:

Gautier, Philippe-Aubert. “Multichannel sound and spatial sound creation at Sporobole: A short account of live performance, studio design, outdoor multichannel audio, and visiting artists.” Divergence Press #3: Creative Practice in Electroacoustic Music (2016).

Anim.OS

(2012)

Generative software choir installation in collaboration with Oliver Bown

Inspired by exerpts of Elizabeth Grosz’s book “Architecture from the Outside”, I made recordings of myself singing text that made reference to insideness, outsideness, and flexible structures. These recordings were arranged by composer Oliver Bown into a networked choral software.

Anim.OS is a networked computer choir developed by Oliver Bown (Sydney) and Erin Gee (Montreal) in 2012. Videography and sound recording by Shane Turner (Montreal).

This is documentation of one of the first tests for improvisation and control of the choir at the University of Sydney.

Erin Gee and Stelarc - Orpheux Larynx

Orpheux Larnyx

(2011)

Vocal work for three artificial voices and soprano, feat. Stelarc.

Music by Erin Gee, text by Margaret Atwood.

I made Orpheux Larynx while in residence at the MARCs Auditory Laboratories at the University of Western Sydney, Australia in the summer of 2011. I was invited by Stelarc to create a performance work with an intriguing device he was developing there called the Prosthetic Head, a computerized conversational agent that responds to keyboard-based chat-input with an 8-bit baritone voice. I worked from the idea of creating a choir of Stelarcs, and developed music for three voices by digitally manipulating the avatar’s voice. Eventually Stelarc’s avatar voices were given the bodies of three robots: a mechanical arm, a modified segueway, and a commercially available device called a PPLbot. I sang along with this avatar-choir, while carrying my own silent avatar with me on a djgital screen.

It is said that after Orpheus’ head was ripped from his body, he continued singing as his head floated down a river. He was rescued by two nymphs, who lifted his head to the heavens, to become a star. In this performance, all the characters (Stelarc’s, my voice, Orpheus, Euridice, the nymphs) are blended into intersubjective robotic shells that speak and sing on our behalf. The flexibility of the avatar facilitates a pluratity of voices to emerge from relatively few physical bodies, blending past subjects into present but also possible future subjects. Orpheus is tripled to become a multi-headed Orpheux, simultaneously disembodied head, humanoid nymph, deceased Euridice. The meaning of the work is in the dissonant proximity between the past and present characters, as well as my own identity inhabiting the bodies and voices of Stelarc’s prosthetic self.

Credits

Music, video and performance by Erin Gee. Lyrics “Orpheus (1)” and “Orpheus (2)” by Margaret Atwood. Robotics by Damith Herath. Technical Support by Zhenzhi Zhang (MARCs Robotics Lab, University of Western Sydney). Choreography coaching by Staci Parlato-Harris.

Special thanks to Stelarc and Garth Paine for their support in the creation of the project.

This research project is supported by the Social Sciences and Humanities Research Council of Canada and MARCS Auditory Labs at the University of Western Sydney. The Thinking Head project is funded by the Australian Research Council and the National Health and Medical Research Council.

Music: Orpheux Larynx © 2011 . Lyrics are the poems by Margaret Atwood: “Orpheus (1)” and “Orpheus (2)”, from the poetry collection Selected Poems, 1966 – 1984 currently published by Oxford University Press © 1990 by Margaret Atwood. In the United States, the poems appear in Selected Poems II, 1976 – 1986currently published by Houghton Mifflin © 1987 by Margaret Atwood. In the UK, these poems appear in Eating Fire, Selected Poetry 1965 – 1995 currently published by Virago Press, ©1998 by Margaret Atwood. All rights reserved.

BodyRadio

(2011)

Four-part score for electronic voices in organic bodies debuted as part of New Adventure in Sound Art’s Deep Wireless Festival of Transmission Art, Toronto, Canada

Body Radio is a composition for four performers that reverses the interiority/exteriority of a radio, which is a human voice in an electronic body. Small wireless microphones are placed directly in the mouths of the performers, who are each facing a guitar amplifier. The performers control the sensitivity of both the amplifier’s receiving function and the microphone’s sending function in accordance with the score. The final sounds are a combination of inner mouth noises, breathing, and varying pitches feedback controlled by the opening and closing of mouths.

Erin Gee - Voice of Echo

Voice of Echo

(2011)

Works for video, audio, and digital images

Propelling the mythology of Narcissus and Echo into a science-fiction future, I translate Echo’s golem-like body into a digital environment.

What is the Voice of Echo?  It exists as repetition – of human voice, of Narcissus, a voice that extends anothers’ voice, this other body is somehow more tangible than Echo’s own body. The voice of echo and other non-human voices are unconscious and environmental, ambient, existing beyond symbolic content, the repetitions. The voice of Echo exists as a bouncing of processes, a distortion, a glitch, born of a love and desire uttered but never really communicated.  In this artistic exploration I performed/embodied Echo as image, in a video intended as love song that seems to be for an absent Narcissus (this is necessary to give Echo presence at all!), however it exists as a perverted gesture towards Echo’s self.

(Description continues below video)

Voice of Echo: Song of Love for Technological Eyes (2011) silent HD video for monitor playback, 18:01 (looped)  Photography by Kotama Bouabane.

Echo is in love with recording technology, particularly the video camera. The mirrors emanating from her throat are her concrete manifestations of her voice – the lovesong intended for the camera’s eye.

I took stills from this love song and translated the raw visual data into an audio editing program, choosing particular interpretation methods to “compose” the echo.  I bounced this data between photoshop and audacity multiple times, eventually coming at glitched sounds of data interpretation, as well as an accompanying distorted image for each “song”.  Echo may only traditionally exist as a re-utterance of Narcissus’ voice, but in this case her cyberfeminist reimagining points at perverse loops somewhere between love, repetition and becoming.

Erin Gee - 2plus2: Prologue

2plus2: Prologue

(2009)

Performed September 9th, 2009 at Prince Albert, SK.

2plus2 is a collaborative work inspired by the 1967 painting of the same title by Douglas Morton, with musical composition by myself and choreography by Robin Poitras. A goal in my composition was to marry volume and weight with the lively colour and joy embodied in Morton’s work, using such reference points as jazz music, as well as the sonic similarities between vintage sci-fi and nature documentary films. The final work is an exploration of opposite forces, partnering, and twinned bodies, exploring the evolution of a species, learned behavior, community, and time.

This short prologue was premiered in September 2009 as part of CrossHatch: Dance and the Arts in three Saskatchewan cities.

NEED VIDEO

2plus2: Prologue, 2009. In collaboration with choreographer Robin Poitras. Trumpet samples courtesy of Mihai Sorohan.

The prologue for 2plus2 was premiered in September 2009 as part of CrossHatch: Dance and the Arts in three Saskatchewan cities. Poitras and I will continue in 2010 to complete the project with a larger work for two dancers.

Erin Gee - Formants - Image courtesy of InterAccess Gallery

Formants

(2008)

Fiberglass, plexiglas, hair, copper, wood, electronics

20” x 49” x 27.5”

Formants is an interactive audio sculpture featuring the heads of two female figures that sing when their hair is brushed: a musing on desire, vanity, absent bodies, morality, intimacy and touch.

Credits

  • (version 1) Pure Data Programming: Michael Brooks
  • (version 2) Electronics technician and programmer: Martin Peach
  • Vocalists: Lynn Channing and Christina Willatt
  • Made with the support of Soil Digital Media Suite