"Small Movements" is a sound performance using tuned microphone feedback, modified amplification techniques, and kinetic elements.
Using controlled feedback techniques refined over a series of sound installations between 2014-2016, this performance is a meditation on the instabilities of sound production; the quiet, fragile and delicate phenomena resulting from the intertwining of sonic technologies.
During the performance, sounds are always created through collaboration between the performerʼs actions, the tendencies of sound production equipment, and the modification of acoustic and spatial relationships between various technologies. Microphones and speakers are hand-manipulated to create delicate, low volume, harmonic feedback melodies and chords; jars are placed on top of speakers as physical sonic filters; cassette tape recorders record their surroundings and play it back in phased loops.
The performance relies on small movements, small changes in the relationship between performer and technologies, and technologies to one another, creating a sense of mystery and wonder as to how the musical results are achieved.
The performance was commissioned by Vancouver New Music for the 2016 edition of their annual festival (October 2016, Vancouver BC), under the theme of “mechanical music”.
Sound and mixed media installation. 2016.
Variable dimensions. Acrylic, microphones, speakers, found objects, cable, electronics, sealant, silicon, 4 channel sound.
"Sectioning" takes form through a series of spatial interventions in which particular three dimensional volumes of the exhibition space are "sectioned off".
Occasionally cutting through an arrangement of objects which have seemingly been left behind, each intervention creates a self-contained acoustic ecosystem which is independent from the remainder of the room: an inside to an outside previously indistinguishable from one another.
The transparent enclosures - a series of re-configured acoustic spaces - transform familiar sounds with an uncanny resonance. With each newly formed space amplified and sequenced in the nearby hallway, the listener first encounters the transformed sounds before understanding the process by which they are transformed. One can attend to the shift in their own listening as contextual details are revealed.
Commissioned by POP Montreal Festival with the assistance of Canada Council for the Arts.