"Brakin' (Remix 3--Get Me to Lee Miles But Not So Fast Mix)" [mp3 removed].
This is the same as "Brakin' (Remix 2--Get Me to Lee Miles Mix)" except the second theme doesn't fade in quite so fast. It is a collaborative effort between John Parker and me.
"Dance of the Nematodes/Calypsum (John Parker Mix)" [mp3 removed]. John Parker remix of a couple of my Mac SE tune(s). Work in process--Parker says this will change. Some interesting textures and a nice backwards bit I've been humming.
"Speed Too" [mp3 removed]. My remix of John Parker's remix of my Mac SE tune(s). Work in process--still editing this piece, but give it a listen!
The show we're in in Toronto, curated by Sally McKay, is called "Mods and Rockers." The work will be video displayed on two screens (separated by several feet in a public hallway) with a music soundtrack accessible through headphones hanging between the videos.
Don't know what the other invited artist teams are doing, but rather than have some kind of face-off, or rumble, we're merging sensibilities. The collective inner Mod is the high tech influence in the form of some sophisticated audio software and newish laptop used to edit and burn the video, and the inner Rocker is the low tech source material: 8-Bit-style tunes on old Mac (some originally composed in the 80s) and animated GIFs based on MSPaint versions of John's flat work.
We're trying for some sort of parity between the audio and visual material. Pixels and square waves as both medium and subject.
This is just my dashed off statement, issued with John's more or less approval based on an earlier email. Like the music and video we've been posting, it could be Modified. Or I could be off my Rocker.
"Brakin' (Remix 2--Get Me to Lee Miles Mix)" [mp3 removed]. John Parker remix of my Mac SE tune (and my mix of his mix, etc.--this has been traded back and forth a few times). Still work in process--we're still composing and editing this piece, but I like this stage.
"Godzilla Scales" [mp3 removed]. John Parker remix of my Mac SE tune. The original tune was a four note chord ascending and descending the scales over the Mac's entire octave range (maybe four octaves? I forget). The computer couldn't keep up with all the changing pitch information so interesting percussive artifacts developed. John has employed some kind of time-stretching algorithm so the chord speeds up and slows down as it changes pitch. The result is exhilirating and strange.
