"Being Forced to Drop Out" (2010-2013) - Bil Smith Composer
A Work Commissioned by InterPublic Group (IPG) for piano, modified piano, toy piano, piano annointe, and tape.
"Bil Smith's work was ultimately an investigation into the essence of modern life, distilled through notions of synchronicity and dynamism. At the heart of his synaesthetic credo, sound is an aspect of the vibrational continuum; hence no difference is made between music and noise emanating from the intonarumori.
He (Smith) relentlessly cross-references sources, suggests unexpected associations and unearths exceptional archival material."
"Neural Intervals And Barium Infused Automatons" (2014)
Composition for Cello,
Chamber Ensemble, Inverted Equilibrium Sonic Pendulum, Exocyclic Trumpet in B
flat, Schilke b3l Tunable Beryllium Bell Trumpet, Elliot Easton SG Custom OHSC
Electric Guitar, Zildjian 22″ C2 Gong / Cymbal, LP Galaxy Giovanni Tumbadora,
Retrosium Flute and ROLI Seaboard Grand.
From the performance
notes/depiction of the Inverted Equilibrium Sonic Pendulum and the Cello:
We have executed a
control method for maintaining an inverted pendulum in the unstable equilibrium
position. This application is a classic lesson in control science, frequently
utilized in ballistic guidance. In the case of the Cello, the
proportional-integral-derivative (PID) method was implemented in LabWindows and intendulum with test mass. Once optimal parameters for the algorithm were established,
trials were conducted in which individual gain constants were varied while
controlling string and bow pressure to observe changes in instrument behavior.
When applying bow
pressure, vector fields can have several special points: a stable point, called
a sink, that attracts in all directions (forcing the concentrations to be at a
certain value), an unstable point, either a source or a saddle point which repels
(forcing the concentrations to change away from a certain value), and a limit
cycle, a closed trajectory towards which several trajectories spiral towards
(making the concentrations oscillate).
Repostulate in a
alternative tablature system; topological models of morphogenesis.
Commissioned by BHP Billiton Ltd., Andrew Mackenzie
Total = Four Tapes.
The ideas in my work are on a continuum, engaged with the issues of our time but also conceptually and formally evolving out of my earliest encounters with other artists and composers.
This work unflinchingly scrutinizes the effects of age and experience on skin and tissue to invite a deeper reflection on temporality and a more intimate encounter between the listener and the composition.
Toward the end of this work, I attempt to empty original functions and significances, so they may invite new narratives and categorizations.
In this work, I propose a new way of apprehending the
radical formalism of unplayable compositions and seek to unveil the politics of
the score. In doing so, I attempt to expose the mechanics and radical formalism
as a practice that moves beyond aesthetic considerations into the realms of
ideology and materiality.
"My view is that recent attempts at explaining aesthetic ineffability have been unsuccessful. Either they misrepresent what aesthetic ineffability consists in, or they leave important aspects of it unexplained. By creating a new musical language (syntacticon/lexicon) I show how a more satisfying account might be developed, once a distinction is made between two kinds of awareness"