electronic music Tag

AFFECT FLOW

AFFECT FLOW (2022)
Premiere performance at Orpheum Annex, Vancouver, with Vancouver New Music.
Photography by Garnet Hertz.

2022

AFFECT FLOW is a music performance work of approximately 50 minutes that initiates listeners into a state of “non-naturalist emotion”: emotional manufacture as a technology for survival or pleasure. It consists of ASMRtronica, guided meditation, live biofedback created by hardware synthesisers, and song.

In the first part of the work I perform in a strategically manipulative, first-person address, suspending the listener into a dream state inspired by Tara Rodgers’ feminist description of sonic waves, using aesthetics borrowed from ASMR roleplay in my electroacoustic music. 

In the last half I introduce seven biofeedback performers, who I refer to as surrogates, inviting the audience to participate with us in guided visualization/hypnosis. Each surrogate is equipped with a BioSynth: a hardware musical instrument of my own design controlled by physiological markers of emotion: cardiac activity, respiration, and skin conductance. The mapping of the BioSynths is explained plainly so listeners can listen to how mood shifts in the room during the performance. It is through the assemblage of bodies that affect emerges as an ecological relation rather than a state of individual subjecthood. A light illuminates in front of biofeedback performers when their signals are amplified, allowing for solos, duets, trios, and full ensemble moments. 

Expanding the field of biofeedback music beyond quantification and sonification, I use folk hypnosis, verbal suggestion, clinical psychology methods, roleplay, song, and textural sounds that approximate haptic experience to create biofeedback work inspired by feminist thought. 

Credits

Affect Flow (2022)
Premiered November 2022 at Vancouver New Music.
Music composition and performance by Erin Gee.

Dramaturgy and text by Jena McLean. Poetry by Andrew C. Wenaus.

BioSynth affective hardware synthesizers are an open-source project by Erin Gee. Programming for this iteration by Etienne Montenegro with sonification programming by Erin Gee. PCB design by Grégory Perrin.

Click here for the BioSynth GitHub.

AFFECT FLOW (2022) Premiere at Vancouver New Music, Vancouver.

We as Waves

We as Waves (2021)
Premiere performance at Akousma Festival, Montreal.
Photography by Caroline Campeau.

2020

ASMRtronica is an ongoing project developed in the artist’s home-studio during the novel coronavirus pandemic: a manifestation of a desire for intimacy in sound, when touch was not possible. This is a style of music applied to several works as Gee develops her own vocabularies of psychosomatic performance.

Through ASMRtronica, Gee brings to life a combination of electroacoustic music and the sounds of Autonomous Sensory Meridian Response (ASMR) videos: clicks, whispers, soft spoken voice, taps, and hand gestures inspired by hypnosis, tactility, intimacy, and verbal suggestion. Through ongoing development of this genre, she explores the sonic limits of the sensorial propositions of ASMR, journeying into embodied and unconscious feedback loops in sound.

Credits

We as Waves (2020)
Released August 2021 by Erin Gee.
Music composition and performance by Erin Gee. Text by Jena McLean. Videography by Michel de Silva.

To the Farther (2020)
Released September 8, 2020 by Erin Gee.
Music composition and art by Erin Gee.

We as Waves

We as Waves (2020) is a collaboration between myself and queer playwright Jena McLean. The text in this work is inspired by an essay by feminist theorist of electronic music Tara Rodgers. What does it mean to enter into an affective relationship of touch with sound? The work embodies a dark narrative of sonic becoming aided by hypnosis and physiological relationship to sound and voice, closed by the the following quotes from queer theologist Catherine Keller:

“As the wave rolls into realization, it may with an uncomfortable passion
fold its relations into the future: the relations, the waves of our possibility,
comprise the real potentiality from which we emerge…”

“We are drops of an oceanic impersonality. We arch like waves,
like porpoises.”

We as Waves (2020)

To the Farther

In September 2020 I launched To the Farther as part of MUTEK Montreal’s online exhibition Distant Arcades. It is first a series of music that explore the limits of tactile whispers, proximity, and hypnotic language through ASMR and electronic sound.

To the Farther is the title of the first iteration: A fresh take on texture, form, and the plasticity of reality under digital transformations, also is a “remix” of my ASMR recordings made in Machine Unlearning (2020).

To the Farther (2020)

MUTEK ES/AR

My electronic music in ASMRtronicaTo the Farther (2020) and a preview of new work We as Waves (2021) will be featured in MUTEK Barcelona / MUTEK Argentina : Hybrid Edition 2021.

As part of this edition I was invited to speak at the MUTEK ES/AR symposium “A future without gender” April 21-22. The title of my presentation is Unnatural Emotion: ASMR as feminist gesture in electronic music.

Click here to learn more about getting tickets for the online events

For more information about how to experience the festival online: https://mutek.org/

image of MUTEK 2020 Distant Arcades interface

Distant Arcades: MUTEK Montreal

This exhibition premieres my newest project: “To the Farther” (2020) is a song that combines the aesthetics of ASMR with electronic music. This is part of my ongoing project to produce an ASMRtronica album.  My participation in this exhibition as part of the 2020 Amplify D.A.I. cohort – AMPLIFY D.A.I is an initiative of the British Council in partnership with MUTEK Montréal, MUTEK Buenos Aires and Somerset House Studios in the UK. The programme is supported by Canada Council for the Arts and Fundación Williams.

Distant Arcades