In the Liminal Space (2019) is a multi-channel electroacoustic piece for live spatialization utilizing the composer’s bespoke hardware controller for spatialization (Byzantine) in conjunction with custom software written in Max/MSP. The Byzantine controller is a tabletop tactile interface utilizing capacitive touch that allows the performer to navigate various spatialization systems in Max/MSP during performance. The custom system allows for spatialization across 2-16 channels. The sound sources are various analog synthesizers from the MESS (Melbourne Electronic Sound Studio) collection that were recorded from 2018-2019. The GRP A8 analog synthesizer is the primary sound source, with additional samples from the Serge ‘75 Paperface and the Transaudio Procase 6. The piece is improvised with fixed stems in addition to samples chosen by chance procedures during performance. The chance procedures are driven by NASA ephemeris data. The analog instrument’s short-circuit artifacts are highlighted to craft a sound world that crosses acousmatic and noise music genres.

In The Liminal Space StereoMixdown

Commissioned by the Arizona State University, this piece premiered at the Listen(n) Symposium in the USA, 2014.

Program notes: Ground Interference draws on short recordings from the Southwest Deserts of America with a particular focus on Joshua Tree National Park, Jornada Biosphere Reserve, Mojave Desert, and Death Valley National Park. These fragile desert environments are inhabited by thousands of species all part of a delicate ecosystem that is in a state of flux induced by changing climates. The transfixing acoustic ecologies of the southwest deserts demand a stillness that encourages a deeper environmental awareness and engagement. The recordings were made during preliminary field research for the Listen(n) Project, a new initiative I have been developing with Garth Paine at Arizona State University. In many instances during our field trip we struggled to find locations without human interference. The distant hum of highway traffic and relentless airplanes under the flight path from LAX were expected, yet we also encountered unexpected sounds interfering with the acoustic ecologies of the land. These range from an obscure reverberating vending machine in Death Valley National Park to rattling power lines in the Jornada Biosphere Reserve that were so loud I could feel the vibrations through my feet. This made me consider the effects of anthropogenic sound on these fragile ecosystems, particularly the local species that are so reliant on sound to communicate and survive in their natural habitat.

From a bioacoustics perspectives, it is interesting to note how little we know about the auditory capabilities of some species and the detrimental effects of our often oblivious sonic interferences with these landscapes. This composition draws on recordings that subtly highlight local species such as birds and insects, but also attempts to capture the sonic characteristics of the landscapes and the way in which other species might experience anthropogenic sound. Ground Interference opens with the sound of my foot steps at dawn on a desolate salt lake in Mojave Desert and gradually traverses an abstract exploration of the ecosystems we encountered.

http://leahbarclay.com

NFSA Title No: 1329476
Image: NFSA Title No. 1329477

About Lateral Listening: Curated by Tessa Elieff for the NFSA, each episode presents an Australian artist for your auditory delight. Primary focus for this series is genres associated with/including sound art and experimental musics, with the intent to bring to light the extraordinary caliber of Australian artists who work within these realms.

Enjoy,

Leah Barclay - Ground Interference (2014)

Betty and The sensory World (Live)

off "ritual protest music" lp forthcoming on urbsounds/bratislava end of 2017.

full title: "once humans turned their thinking over to machines in the hope that this would set them free but that only permitted other humans with machines to enslave them". title is a quote from frank herbert's "dune"

ritual protest music

once humans turned their thinking over to machines in the hope that this would set them free...

Insiders will know what this is all about...

Recorded 'LIVE' in the bedroom, no post-production.

Black Cactus - Homotopy to Emma

composer. performer. sound designer. builder.

In The Liminal Space StereoMixdown

n0izmkr

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