Following our first play date for All Data Lost, Lisa and I talked about what happened:
Lisa: I thought, “Oh, shit” when I first walked in [to The Wicked Witch] because its so dark I can’t see what I am doing, and then, you know, if someone is talking to me?!….but the energy there allowed it to be OK. You don’t have to interact, you can be alone in the dark with other people and not feel obligated to look at them, talk to them. Which is kind of freeing, actually, its freeing with the music too. Interacting with the audience effects my concentration on what I am doing with the music.
Jude: I really appreciated that aspect of the festival experience. The total focus on what is being created, on what is happening right now in this primal sonic moment! Most of the artists I heard during the afternoon performances could not be classified into any genre and each one was an engaging and unique experience.
Lisa: I also felt the audience was very attentive! They’re not looking at, or talking to, or doing anything else. They are standing there in the dark just listening to what you are doing! Its pretty neat! Even though some styles of music feed off of interacting directly with the audience, this is more experimentation, so I appreciated being able to focus on what we were doing.
When I listened to the recording, I was pleased with it, I thought it was pretty good. There was enough variety, without being too way out there. Here (in the SunRa Room) we are experimenting, then when we go and play somewhere, there needs to be more structure. I heard that. I liked the layers, and I think what I am hearing most are harmonics, and the harmonics allows the layers. The layers don’t let your brain get lazy or bored. The layering inspires curiosity!
Jude: Experimental sound art, which is what I feel like we are doing, is just one big surprise after another, and/or an evolving constancy built upon repetition and tiny changes. The layers of the soundscape are made up of harmonics, prolonged repetition, tiny and gigantic changes at a variety of tempos. Some folk’s hearing is limited by their thinking about genre classifications and performer virtuosity/charisma. Experimental sound can be too overwhelming to the codified earbrain.
Lisa: The brain is like that in other ways too. People who believe that everyone should behave a certain way and anything outside of their prescribed way of thinking causes anxiety and tension. The brain is like a muscle, if you don’t use it to the full potential, it is going to wear out and not be able to tolerate much. When you exercise it, it begins to be able to handle more and more and more. Music and math are ways to exercise the brain. Math is completely like that, its exhausting, frustrating. You don’t see it and one day the light bulb comes on, and you are a totally different person.
The biggest difference between playing here (the SunRa Room) and playing at The Wicked Witch was having other people involved in listening. You feel some responsibility to bring a nice experience to them. So I think I listened more! I am controlling this, what do I want to put out there? I am not that experienced in playing for an audience, so I have a small bag of tools. So, in some ways, this lightens my responsibility to a degree.
Jude: I like having a minimal bag of tools cause it makes me go deeper with them. Also, I get overwhelmed by all that can be done to a sound signal and routing the signal to the right places, midi and audio, etc. So minimal suits my style, which is one of constant learning and deep listening.
Lisa: As far as the sound quality, I thought it was great! It was easy for me to hear what I was doing. I knew where I was at, where we were at. Even though this was the first time I played with the spider capo and that extra layer of harmonics (Lisa had the harmonics for the bottom three strings of the guitar in addition to fingering notes.), I didn’t have to do anything extra or anything difficult. Pluck the string and it is there! The reason I would use ANY tool is because it makes things easier. I am allowing each guitar to talk by doing less. I really want to hear the voice of the guitar, each one is different. That is how I decide to buy a guitar is because of the voice.
After we talked through what we each heard in our playing, I realized that Lisa listens for new ways of playing whenever she explores her guitar’s sounds. We are both experimenters, and feel quite free in that arena. We find structure more challenging. I have lots of questions about structure – my interest in modular synthesis comes from the very clear structural forms that are present in waveforms and filters. These forms, coupled with various sound sources, make interaction the essential feature of every sonic moment. How do we structure interactions? What is included in these interactions? When do we apply structured, conceptual thinking and when do we shake it off and realize “it doesn’t matter!!”
The next phase of Playing by Ear, will include Lisa’s guitar into the Neutron routed through Ableton Live and the AAC/EG clip templates created in the Abeju Synth Station. (See https://wp.me/p5yJTY-vL for more info) Here is a sample:
Come hear us at 919 Noise Showcase in October at the Nightlight in Chapel Hill.