musical symbols Tag

New Work for Hamilton Children’s Choir

 

On June 25th 2016 I will be premiering new biosensor-driven work created especially for members of the Hamilton Children’s Choir.  This performance work will be presented in conjunction with my solo exhibition Vocales Digitales at Hamilton Artists Inc, thanks to the support of the Canada Council for the Arts.

The Hamilton Children’s Choir is a nationally competitive choir of youth  accompanied by pianist Daniel Añez.  Áñez is a renowned pianist in the musical milieu of Canada and Latin America, an active performer of contemporary and experimental music, a touring soloist, and a chamber musician.

This new work will allow me to explore a highly personal composition process with the choir, featuring the sonification of group empathy as seen through physiological markers of emotion such as heartrate, respiration and sweat release.

For more information

Hamilton Children’s Choir

Daniel Añez (Spanish Biography)

Hamilton Artists Inc

Canada Council for the Arts

 

 

Erin Gee - Larynx Series

Larynx Series

Larynx1, Larynx2, Larynx3, Larynx4 (2014)

Epson UltraChrome K3 ink on acid-free paper.

Edition of 5.

86 x 112 cm.

Communication is a collaborative process between listener and speaker that implicates both their sensory bodies. In consideration of what Roland Barthes called the “grain” of the voice, I think about how contemporary technological tools listen to and reproduce this naturalized, sonorous voice, concretize it, compress it, amplify it, and sometimes distort it. What we consider our voice in a technologically mediated environment is a visual-vocal-technological assemblage that implicates amplification, scale, human and digital bodies and networks. The multiplication and proliferation of voice on someone else’s device happens in asynchronous ways, much the same as a vocal score is a vocal performance that lay crystalized and dormant until activated by human action. 

This series of printed works is a set of vocal quartets created from the original material of the human voice, the larynx, which was amplified/reproduced/echoed through visual perception processes in machine and human cognizers and re-performed by multiple human singers. In endoscopic photography the flesh material of the larynx is extended through the sensory mechanisms of a machine. Light bounces off the flesh of the larynx and is interpreted by a camera as pixel data. This digital image is made of raster pixels faithful to their fleshy origins but limited in detail. If one amplifies the raster image of the voice (zoom) the image reveals its materiality as a technical assemblage. I transformed the raster image into a vector in order to continue playing with bouncing machine processes off one another to “voice” how a machine might perceive this human larynx. While the rasterization process I used eliminated the fleshy details of the original larynx, the image emphasized original architectural structures of the larynx, which now more closely resembled a topographical map, or circuit board. This technologically processed version of the larynx could be infinitely amplified or diminished without loss or distortion. At this point I detected an unexpected feature: my associative, human perception could see markings that resembled Western notation at the edges of this transformed image of the human voice, complete with staves, bar lines and notes. My transcription process included dividing each bar into four equal parts, and then transcribing rhythms in a linear relationship to where the small note-like marks were present horizontally in common 4/4 time.  Pitches were interpreted as they appeared vertically on the abstracted staves. 

Since there exist four sides to each two-dimensional image, there were four staves for each representation of the larynx in the series. I set this music into four separate vocal partitions for choral song: returning this technologically amplified process of voicing back into multiple human throats.

Exhibition/Performance history:
(Performance) Tellings: A Posthuman Vocal Concert. Toronto Biennial. Curated by Myung-Sun Kim and Maiko Tanaka.
Vocales Digitales – Solo exhibition. March 26 – May 14 2016, Hamilton Artists’ Inc.: Hamilton, Canada. Curated by Caitlin Sutherland.
(Premiere Performance) Rhubarb, Rhubarb, peas and carrots. July 17-September 5, 2015. Dunlop Art Gallery: Regina, Canada. Curated by Blair Fornwald.
Erin Gee and Kelly Andres. August 25 – October 24, 2014. Cirque du Soleil Headquarters: Montreal, Canada. Curated by Eliane Elbogen.
Collections
Larynx3 (edition 1/5) was purchased by the Saskatchewan Arts Board for their permanent collection in 2019.

Exhibition/Performance history:

Toronto Biennial (upcoming) November 2019.

Vocales Digitales (Solo Exhibition), 2016. Hamilton Artists’ Inc. Hamilton, Canada. Curated by Caitlin Sutherland.

Rhubarb, rhubarb, peas and carrots, 2015. Dunlop Art Gallery. Regina, Canada. Curated by Blair Fornwald. Larynx Songs premiered with singers Erin Gee, Carrie Smith, Kristen Smith, and Kaitlin Semple.

Erin Gee and Kelly Andres. Cirque du Soleil Headquarters, Montreal Canada. Curated by Eliane Elbogen.

Voice of Echo (Solo Exhibition), 2014. Gallerywest. Toronto, Canada. Curated by Evan Tyler.