transacoustic research performance

PART 1: RESEARCH - WAITING

An hour away from performing with Transacoustic research, currently there is this: in the wooden pool lies a man, Nicholaus on top of projected ground, which is being image manipulated by Natascha - arrows, marks, x, a line. Petter Goldsthine sits at a console contracting deep high synthetic sounds from a bass with the help of 2 speakers like a reiki bow and foot pedals. To his left is Joerg with a microphone at mouth; thousands of leads connecting to many machines, a robot musician or two and a lap top and darkly oscillating imaged sounds…. Over the pile of books, recently dominoed is Ernst the philosopher's installation of typewriters and cardboard record players, in front of him is the lair of Mathieus, potato sound extractor, mouse controlled machines manipulator and industrial design analog machinator. The space s slowly becoming a performance venue for tonight's crowd who will arrive to the sounds mixed by Christina Clar, co-owner of books and participator in the trans-nomadic lecture and fellow nomad.

Aki the caretaker as just waded thru the shallow end of the pool with two large white drums; as I help him thru the door i see Luea wiping down the table.

We are almost set. I will write and upload the performance-outcome tonight.

--------------PART 2: PERFORMANCE---------------------

A few hours after trans acoustic collaboration. It was art, in the making, by and for time and form. I loved it. The Austrian group were all completely in tune with what they did individually; they also had a strong understanding and respect for each others work and played more like continents in shift than a group of musicians; working with a flat hierarchy they manage to pull their ideas and technologies together to fine effect as well as open their work to artists from different media, such as myself. This works in a very loose workshop basis; which s more about possibilities and ideas then outcome or representation. the limitations of technology and time became an issue in that if there was a second night then what was the first nights experiment can be understood for its strengths and tweaked harder for for a resultant cohesive performance work.
My part consisted of taking off my sandal, starting a domino of books shaped as a Y, the Y split occurring around the start of the projected floor rectangle. Then walking forward slowly over books to the spilt. I took out a long scroll of text that I’d taped together and walked slowly covering my body then revealing it up and down, repeating this backwards, then wrapping up the scroll. As this occurred, Christina and Ernst moved through the books and slowly read theoretical discourse on performance, acoustics, space etc in three languages as the other sound artists sampled and tweaked and turned audio loops and text bloops into sonic weirdnesses. As I finished the scrolling, I turned on 2 radios 10 metres apart and an mp3 player in my pocket connected to a transmitter. the mp3 played a chinese voice story I cut together from bytes recorded in macau…. This was unhearable in the din of audio all around which was quite nice as I went from radio to radio dangling a coily device and people would have thought what the hell is he doing?… not until the other voices and machines stopped though did the audience hear the story that came out of the radio as directed by my position on stage. Leaving chinese whispers fading into the background after an assault of European discourse.
The visual play by Nicholaus was brilliant he took people through a series of dichotimes, contradictions and mappings of thought and atomic life.
The piece ended in a demonstration of 6 mice playing a series of purpose built music machines of Matheius; it brought the every small audience together for a laugh at the end of fluid night of collaboration.