cyberBanshee // hannebird/s atop bowmore // easter at the piano mill

one of seven improvised flute-movement performances in collaboration with three "decoy hannahs" recorded the previous day and several local birdcalls, performed atop a formation of three enormous granite boulders (bowmore) carpeted with moss, lichen, ferns, and other beings, in the mist and rain of easter sunday april 4, 2021. other collaborators and contaminators included ants, leeches, spiders, tendrils of mist, wet sclerophyll forest, treecreepers and currawongs, ghostly apparitions of jodie rottle, my movements and footsteps, aching thighs, a longstanding love of birdsong and especially the practice sessions and mimicry of juvenile butcherbirds and magpies, and the groups of listeners that came by and lent their ears.

this performance took place on the land of the Jukembal, Kamileroi, and Bundjalung nations. Githabul, Kambuwal, and Keinjan nations are also known to have history in the area.

easter at the piano mill is a situated performance by a collective of musicians and artists on the property of jocelyn and bruce wolfe, on harrigan's lane, willson's downfall, nsw. it is artistically directed by vanessa tomlinson and erik griswold, with jan baker-finch and renata buziak. thank you to all of these wonderful people for a great renewal of my spirit.

photo by jodie rottle.

more : https://hannahreardonsmith.com/2021/04/07/multispecies-collaboration-easter-at-the-piano-mill-2021/

hannebird/s atop bowmore

intuitive/improvised/algorithmic musicking in the sounding company of my friendly neighbourhood cicadas
december 2021

~ Jagera & Turrbal Land ~

Nice Try

Live performance at SMOG, Projection Room, Brussels - 18.6.16
G.A.M.E. (Game Advanced Master Ensemble)
Performers: Hannah Reardon-Smith, Hanna Kölbel, Rubén Orio, Sara Baldini, Carlo Prampolini, Heather Roche, Primož Sukič, Rowan Hamwood, Pieter Pellens, Kaya Kuwabara, Susanna Hood, Tom Jackson

Richard Barrett // codex V

warped passages (2015-2017) by Liam Flenady, performed by Hannah Reardon-Smith. Recorded 11 Feb 2017.

Liam Flenady: warped passages

Moon in Aries (2018) by Hannah Reardon-Smith
Bass flute + electric guitar + live electronics

Performed by Richard&Linda at Spectrum East, Belgrade | 25. Jan 2018

Richard&Linda | Moon in Aries

Thirteen Changes.
After the 1986 text score by Pauline Oliveros. Performed by Hannah Reardon-Smith, 14 March, at First Coat Studios, Toowoomba Q.

Thirteen Changes | Pauline Oliveros

Miyama McQueen-Tokita | koto
Hannah Reardon-Smith | flutes
Ryan Williams | recorders

Live performance
Make It Up Club, Bar Open, Brunswick VIC | Wurundjeri Land
Tuesday 29. May 2018

Improvisations

Miyama, Hannah, Ryan | MIUC: 29. May 2018

Structured improvisation around Audre Lorde's "A Litany For Survival" (1978) read by Phoebe Bognár. Live performance at "Dare To Speak" concert, presented by Mat Klotz and GUPSA at the Queensland Conservatorium, Griffith University in support of Minus18 for IDAHOBIT (International Day Against Homophobia, Biphobia, Intersexism, and Transphobia).

Hannah Reardon-Smith: concert flute and live electronic processing (Ableton Live)
Phoebe Bognár: voice
Text: "A Litany For Survival" by Audre Lorde (1978)

Dare To Speak
May 14, 2019 | 7.30pm
Ian Hangar Recital Hall, QCGU

When We Speak Ft. Phoebe Bognár

tarot-guided improvisation
fleecey in the yard # 3 -- run by lily tait
22 sep, 2019
northcote vic

actual fluting starts around 1'55"
cards i drew: ix of swords / emperor rx / queen of cups rx / ace of swords

tarot-guided improv @ fleecey in the yard 3

(headphones recommended)

“A Reading For Dark Times with cyberBanshee”, by Hannah Reardon-Smith.
 
cyberBanshee uses Ableton-expanded flute/s, in conjunction with a structure drawn from Tarot cards pulled at the start of the performance and the astrology of the moment, to improvise a sonic spell of reckoning with these dark times on stolen land. In so doing, she is co-creating a performance along with the entire ecology of the cards, the immediate environment, her instrument/s, her own history, and the moment in which we find ourselves—a sympoietic entanglement of forces and influences. Less an oracle for what is to come, the performance aims more at an honest engagement with the immediate moment and environment, drawing histories and futures, presences and absences, knowns and unknowns into the present space.

Live recording from the Creative Music Technology 2020 welcome concert at the Queensland Conservatorium, Griffith University, 2 March 2020.

Banshee illustration by Jana Heidersdorf: https://www.behance.net/gallery/25732953/Banshee-Kelpie

A Reading For Dark Times w cyberBanshee 2.3.20

cyberBanshee

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