Urvogel was presented in 2010 at the Irish Chamber Orchestra (ICO) building in University Limerick as part of Contemporary Music Ireland: New Music Marathon and again in 2011 at the Music Under The Influence Of Computers (MUTIOC) Visions Festival in San Diego. The composition of Urvogel utilises many strategies but has as its focus a use of sonic objects as gestural sonic tokens that create counterpoint. Gesture in music stems from a generic level of perception, where it is tied to gestalt perception, motor movement and mental imagery.
Gestures, accordingly, are rich gestalts, that combine auditory information (hearing and sonic 'movement') with implied visual information (imagining and movement in the visual field) and somato-sensory information (sensation and bodily movement). At a higher level of cognition, gestures are organized in groups and sequences, leading to musical form and narrative. Urvogel was composed through exploring the potential of gestural counterpoint in
contiguous sonic objects and thus investigating how sonic objects perceived as gestural sonic tokens become foretokens that present possibilities and prospects in the development of narrative, in both the micro and macro levels of composition.
This work was composed using Logic Pro's sculpture and heavy processing of found sounds. The two main sound sources used were the recording of a Moth trapped behind a Venetian blind and a man trying to get out of a wet leather jacket. "Urvogel means "First Bird". Originally mixed to 4 channel (48k X 24 bit), mixed down here for stereo. For best listen in Stereo not headphones.

Urvogel 2010_HD

This work stems from ideas loosely based on an artistic expression of 'the mechanics of phone sex'. Nexus Licentiosus in this context means a promiscuous connection. The proposition developed in this work concerns how sonic objects as sonic tokens and gestural sonic tokens connect and form narratives. This involves looking at how micro elements connect to become more significant motifs, how motifs become movements, and, moving up the structural scale, how movements
connect to become macro structures, for example; the piece in its entirety.

Originally mixed to 4 channel 48k X 24 bit. Adopted here for stereo. Not headphones.

Nexus Licentiosus 2011_HD

A meandering of sounds in a mindset of loss.

Ode Michelle McLoughlin 2009_HD

This is a live recording of Palimpsest 2014

Palimpsest, was a technologically ambitious and methodologically innovative audio-visual installation,in Dance Limerick from Aug 31st to Sept 14th 2014.
Created by John Galvin (Visual Artist), John Greenwood (Sonic Artist) and Mark Carberry (Choreographer), Palimpsest, comprised both a large-scale multimedia installation and four unique choreographed performances.

The architectural space of Dance Limerick (St. John’s Church) was re-imagined as a recording device – one that stored traces of the memories and experiences of the inhabitants of Limerick City over the centuries. The title of the installation, Palimpsest, conceptualises the walls of the architectural space as being composed of densely layered traces of the ‘lived moments’ of those who have used the space throughout its existence.

These fragments of memory are then ‘released’ from the walls through an immersive and multi-layered audio-visual experience. The interior of the church has been transformed through large scale visual projections and a constantly evolving soundscape. Both the visual and sonic elements have been specifically designed for the space. The intention was to create a space that is both meditative and immersive – a slowly evolving installation that encouraged the audience to spend time with the work: echoing the building’s original purpose.

The performances introduced a human presence to the work, allowing the multiple layers of the installation to interact with each other: the imagery, soundscape and the performer. These performances were the result of a collaborative dialogue between the artists and the London dance artist Alexandra Baybutt.

Post performance week, Palimpsest was contextualised in to a series of video works that are not available here on SoundCloud

Palimpsest_Live Set 2014_HD

Python in a Toy Box was premièred at a Soundings concert in Limerick, Ireland in association with the CCMCM (Centre for Computational Musicology and Computer Music, University of Limerick). This piece was composed Using C-Sound/Cecelia and Found sounds. Processing using Ircam Paris products and mixed in Logic Pro. This was the first piece in a Body of Work completed between 2009 and 2011 as part of a PhD program in Electrocacoustic composition at University Limerick and was for 4 channel. The mix here is for stereo (not headphone).

Python in a Toy Box 2009_HD

Raw Nerve is a collection of short Electroacoustic works composed on a boat, on the Nile river, during the initial weeks of the Arab Spring in Egypt 2010. The composer was unaware of the significance at the time.

Raw Nerve Three 2010_HD

Raw Nerve One 2010_HD

More on the 720th weekly Disquiet Junto project, One from Two — The Assignment: Combine a pair of your recent tracks — at https://disquiet.com/0720/.

Twinkle (disquiet0720)

Audio artist living and working in Limerick.. and loving it.

Python in a Toy Box 2009_HD

raw nerve noise