Conveyance is a "sound art" documentary on water policy in Los Angeles.

Conveyance (Excerpt 1)

One of the sound mandalas created live for the 4th China Onscreen Biennial in Los Angeles, 2018, as part of the Dunhuang Projected sidebar. This performance occurred after We The Workers by Zeng Jinyan.

The performance occurred inside the Billy Wilder theater at the Hammer Museum, using quadraphonic spatialized sound, and combines recorded audio from the Q&A with ambient sound.

As with mandalas, each performance reprises similar elements but changes configuration each time.

The Dunhuang caves, filled with Buddhist art and once a key gateway along the Silk Road, are echoed in this work as dark, resonant spaces where voices and imagery from several cultures come together, much like the modern space of the movie theater. The theme of replication (as reflected by the use of stencils in cave paintings, or the creation of replicas of the Dunhuang caves for conservation purposes, for instance), is explored through the use of variegated "copies" of musical fragments dispersing in the space, changing echoes, and sampled voices from the night's Q&A passed through different filters.

Sound mandala 1 Oct 27

One of the sound mandalas created live for the 4th China Onscreen Biennial in Los Angeles, 2018, as part of the Dunhuang Projected sidebar. This performance occurred after Leto by Kirill Serebrennikov.

The performance occurred inside the Billy Wilder theater at the Hammer Museum, using quadraphonic spatialized sound, and combines recorded audio from the Q&A with ambient sound.

As with mandalas, each performance reprises similar elements but changes configuration each time.

The Dunhuang caves, filled with Buddhist art and once a key gateway along the Silk Road, are echoed in this work as dark, resonant spaces where voices and imagery from several cultures come together, much like the modern space of the movie theater. The theme of replication (as reflected by the use of stencils in cave paintings, or the creation of replicas of the Dunhuang caves for conservation purposes, for instance), is explored through the use of variegated "copies" of musical fragments dispersing in the space, changing echoes, and sampled voices from the night's Q&A passed through different filters.

Sound mandala 2 Oct 27

One of the sound mandalas created live for the 4th China Onscreen Biennial in Los Angeles, 2018, as part of the Dunhuang Projected sidebar. The performance occurred inside the Billy Wilder theater at the Hammer Museum, using quadraphonic spatialized sound, and combines recorded audio from the Q&A with ambient sound.

As with mandalas, each performance reprises similar elements but changes configuration each time.

The Dunhuang caves, filled with Buddhist art and once a key gateway along the Silk Road, are echoed in this work as dark, resonant spaces where voices and imagery from several cultures come together, much like the modern space of the movie theater. The theme of replication (as reflected by the use of stencils in cave paintings, or the creation of replicas of the Dunhuang caves for conservation purposes, for instance), is explored through the use of variegated "copies" of musical fragments dispersing in the space, changing echoes, and sampled voices from the night's Q&A passed through different filters.

Sound mandala 3 Nov 10

One of the sound mandalas created live for the 4th China Onscreen Biennial in Los Angeles, 2018, as part of the Dunhuang Projected sidebar. This performance occurred after a screening of Dead Souls by Wang Bing.

The performance occurred inside the Billy Wilder theater at the Hammer Museum, using quadraphonic spatialized sound, and combines recorded audio from the Q&A with ambient sound.

As with mandalas, each performance reprises similar elements but changes configuration each time.

The Dunhuang caves, filled with Buddhist art and once a key gateway along the Silk Road, are echoed in this work as dark, resonant spaces where voices and imagery from several cultures come together, much like the modern space of the movie theater. The theme of replication (as reflected by the use of stencils in cave paintings, or the creation of replicas of the Dunhuang caves for conservation purposes, for instance), is explored through the use of variegated "copies" of musical fragments dispersing in the space, changing echoes, and sampled voices from the night's Q&A passed through different filters.

Sound mandala 4 Nov 11

One of the sound mandalas created live for the 4th China Onscreen Biennial in Los Angeles, 2018, as part of the Dunhuang Projected sidebar. The performance occurred following the screening of Wang Chao's River's Edge.

The performance occurred inside the Billy Wilder theater at the Hammer Museum, using quadraphonic spatialized sound, and combines recorded audio from the Q&A with ambient sound.

As with mandalas, each performance reprises similar elements but changes configuration each time.

The Dunhuang caves, filled with Buddhist art and once a key gateway along the Silk Road, are echoed in this work as dark, resonant spaces where voices and imagery from several cultures come together, much like the modern space of the movie theater. The theme of replication (as reflected by the use of stencils in cave paintings, or the creation of replicas of the Dunhuang caves for conservation purposes, for instance), is explored through the use of variegated "copies" of musical fragments dispersing in the space, changing echoes, and sampled voices from the night's Q&A passed through different filters.

Sound mandala 5 Nov 3

One of the sound mandalas created live for the 4th China Onscreen Biennial in Los Angeles, 2018, as part of the Dunhuang Projected sidebar. The performance occurred following the screening of Liu Jie's BABY.

The performance occurred inside the Billy Wilder theater at the Hammer Museum, using quadraphonic spatialized sound, and combines recorded audio from the Q&A with ambient sound.

As with mandalas, each performance reprises similar elements but changes configuration each time.

The Dunhuang caves, filled with Buddhist art and once a key gateway along the Silk Road, are echoed in this work as dark, resonant spaces where voices and imagery from several cultures come together, much like the modern space of the movie theater. The theme of replication (as reflected by the use of stencils in cave paintings, or the creation of replicas of the Dunhuang caves for conservation purposes, for instance), is explored through the use of variegated "copies" of musical fragments dispersing in the space, changing echoes, and sampled voices from the night's Q&A passed through different filters.

Sound mandala 6 Nov 18

Sound Mandala 1

INSIDER is a live stock trading environment modelled on high-frequency trading, algorithmic trading, and complex financial instruments. Participants make simulated trades by depositing tokens into black boxes fitted with coin sensors.Each deposit triggers and influences sounds occurring continuously in the space; the resulting trading algorithm and its effect on stock value are displayed in a live stock-quote video projection.

INSIDER - excerpt 1

INSIDER - excerpt 2

INSIDER - excerpt 3

Inouk Demers is a sound artist, media artist and composer living in Los Angeles. His work has been shown and broadcast in Germany, France, the Netherlands, England, Scotland, Wales, Belgium, Switzerland, Italy, Hungary, New Zealand, Mexico, Canada and the United States, commissioned, funded, recorded, presented at international festivals, and exhibited at galleries.

Inouk Demers

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