Update time!

Listen/Hear Collective have just released the remix album of Motion’s debut album, titled Re: Presence. Shoeb Ahmad, Georgio Magnanensi and myself have remixed tracks from the original stems to result in 5 huge tracks that build and develop on the original.

My contribution morphs the contemplative track here.now, beginning with electronic crackles and extended harmony, then moving into bass and drums-dominated driving patterns. Head over to the Listen/Hear Bandcamp to grab the remix album, or the full original album plus remixes. I am rather happy with this remix and of course look forward to future remix opportunities.

In other news: My album rætina is coming out on Listen/Hear early next year, with a launch planned for Perth with a live band. More info coming soon.

Listen/Hear are doing a 12 days of Christmas feature, giving out free tracks from featured artists.

I recently finished mixing the recordings for my ensemble work lucidity which may see light soon. And many other exciting developments and projects to be mentioned soon…

split mirror planes
electroacoustic composition / audio-visual work

for four instruments, four visual sources and four loudspeakers

Commissioned by Decibel New Music Ensemble
http://decibel.waapamusic.com/

Composed, programmed and realised August 2011 in Berlin, Germany

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// performances
– 28/08/2011 / Decibel / Perth Institute of Contemporary Arts Performance Space / Camera Obscura Concert / Tura Totally Huge New Music Festival

Decibel members : Cat Hope, Lindsay Vickery, Stuart James, Malcolm Riddoch, Tristen Parr, Aaron Wyatt

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// description

Decibel commissioned Kynan Tan to write a piece for their upcoming Camera Obscura concert as part of the Tura Totally Huge New Music Festival. This concert featured works for electroacoustic ensemble that highlighted unusual relationships between sound and image. split mirror planes attempts to disrupt the relationship between audio and vision in temporal synchronicity, quality relationship (symbolic, timbral, texture) and spatial relationship.

The four performers improvise by interpreting scored instructions, notated as gestures or suggestive descriptions. The four laptops generate visuals and sounds. These are kept isolated to the laptop screen and loudspeakers respectively. The acoustic instruments, electronic sound and visuals each progress independently of one another. By doing this the laptops are treated as instruments, while the visuals also constitute a scored performer.

Expectations created by a particular quality of sound are met with opposing, unsynchronised vision, and vice-versa. This spectrum is exploited and navigated throughout the piece, resulting in the space being articulated by dissonances and resonances between media. Throughout the piece the instruments and video develop through different trajectories, eventually reaching a similar rhythmic pace and connected timbre/quality.

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// examples
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/ video

decibel performance / PICA / 2011

excerpt of multi-screen video material

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/ images

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// technical

Length: 8′ (can be extended)

– composition can be adjusted for any four instruments – the original performance comprised of bass flute, bass clarinet, cello + percussion
– scores can be read from paper or from computer displays
– video should be triggered by four synchronised digital video sources
– original performance used four Macintosh laptops
– performance space should be as dark as possible, performers and screens are spread out throughout the performance space
– computer program and patch are available for further performances

WARNING: This work contains visuals that utilise bright, flashing lights.

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// further information

For requests to perform this work please contact
Kynan Tan (contact@kynantan.com)

Work is currently available to be performed