for french horn, trumpet and live electronics
performed by ensemble apparat: Matthew Conley (trumpet) and Samuel Stoll (french horn) in St. Paul's, Huddersfield, February 22, 2016
Immaculate Machine of Liveness is about a machine and a struggle of being inside this machine. The machine could be thought of as a societal construction of class struggle, where certain forces control others without any visible connection as exemplified by rigidity of movement of the two players and the unclear relationship of who's controlling whom. Also the binary relationship of the two players to each other and the two speakers supports this ambiguity of cause and effect which is often hard to locate when one is within a power structure. The invisible control mechanisms are attached to two accelerometer sensors on each players instrument. They sometime control the effect of sound processing from the movement of the player on whom it is acted or the movement of the second player as acted by the first. The piece references processed or arranged sound material from Wu-Tang's CREAM and Kurt Veil's Mack the Knife as opposing poles of similar class struggles from different historical contexts.