saxophonist, musician, artist, chaos maker, lecturer and chelsea fc

Project Anywhere Jan 2018

Added on by annie morrad.

Project title: The Grid

 

Artists:

Annie Morrad: Artist/Senior Lecturer, University of Lincoln, School of Film and Media, Lincoln, UK

AMorrad@lincoln.ac.uk

 

Dr Ian McArthur: Hybrid Practitioner/Senior Lecturer, UNSW Art & Design, UNSW Australia, Sydney, Australia

ian.mcarthur@unsw.edu.au

 

Annie Morrad is a London-based artist and musician and senior lecturer at the University of Lincoln, UK. Dr Ian McArthur is a Sydney-based hybrid practitioner, working in the domains of interdisciplinary design and sound art. These two musicians work together in a telematic digital structure formed from open source and proprietary software platforms.

 

Project Locations(s): London (continuous), Sydney (various months), Chongqing (various months), New York (via monthly Wave Farm Radio broadcast).

Dates: 2018

Duration: 12 months

 

Aims: The Grid is a preliminary study exploring sound and cities to forge a triangulated performative and intermittently participatory digital space linking London, Sydney, Chongqing, and New York through experimental composition and telematic improvisation using live and recorded saxophones, coding, field recordings, found sounds, electronics, processed guitars, and piano. The project’s construction of “city-ness” (Sassen, 2005) through the building of structured assemblages of experimental sound and music involving the artists Morrad+McArthur, collaborators and participants underpins the ongoing testing of telematic ecologies of improvisation and collaborative composition as a means to generate newness and new sonic spaces. The cities in “The Grid” are chosen for their specific experiential, personal, and professional links to the participating practitioners. The project addresses the lack of comprehensive understanding about the potential of telematic digital spaces as performative and generative. Within the project we aim to:

 

1.  describe these cities through a juxtaposition of sonic interpretations of the grid.

2.  interpose experimental and interpreted grid structures on the selected cities (chosen for their connection to the artists).

3.  generate composed and improvised sonic structures that offer potential for new performative and participatory forms of urban sound and musicality drawing on philosophical and theoretical ideas of rhythm through polyrhythms and view of society, rhythm (Lefebvre, 2004) and social space (Lefebvre, 1991) together with the understanding of 'time' as instantaneous moments (Bachelard, 2000).

4.  weave interpretive and intersectional structures that break these structures using music theory influenced by Prevost’s notion of the “search for sound” to challenge accepted notions of latency held by performance artists working in distributed and networked contexts (Pévost, 1995). 

5.  produce collaborative improvised and site-specific performances, experimental radio broadcasts, an interactive/responsive installation, comprised of sound, video, photographic and drawn material.

6.  develop and apply site-specific strategies to each city (1) London via ordinance survey maps and staves) (2) Sydney via structured sound, drones, (3) Chongqing via participatory urban media design and New York via our monthly live improvisation and experimental radio broadcasts (Wave Farm Radio: Morrad+McArthur https://wavefarm.org/ta/artists/x8grjs).

 

Research Contribution: The sonic, performative, and musical improvisations produced in “The Grid” by Morrad+McArthur address questions in the discourse of telematics and live performance and the challenge latency presents to performers working in distributed and networked contexts. Although the focus of the work is the nature of telematic improvisation and not the “glitch” itself, inevitably, interference, frozen screens, delays, echoes repeating back and environmental sound sent from the original source are typically seen as negative elements of the listening experience. However, in the live improvisations of telematic (Oliveros,) collaborators Morrad+Mcarthur these otherwise undesirable and unpredictable ‘accidents’ and interruptions are all utilised. In doing so the work reformulates accepted approaches to musical and performative creativity in telematic communication and artistic contexts.

 

Hypothesis: This collaboration rethinks improvisation as an emergent networked, telematic art practice, simultaneously leveraging traditions of instrumentation (eg. sax, piano) but embracing generative and digital networks to forge a new globally dispersed affect. The study tests the theoretical assumption that artists working in diverse global cities brought together in a distributed digital space via simple accessible technologies, can produce a new, textural, transcultural, sonic language through a combination of disruption, composed, improvised, recorded and broadcast sounds augmented with imagery. The study will demonstrate how this dynamic real time interaction can emerge from collective, collaborative engagement in a complex weaving of sound, urban environments, new technologies, and performance when investigated within the context of regular experimental radio broadcasts, installations and performances, and participatory workshops conducted “in-the wild”, in the form of a program of experimental explorations presented simultaneously from diverse networked global urban sites. The use of the grid in the title of this proposal refers to the underlying structures of audio software and its inherent timelines, the layout of cities and urban and spaces (particularly in London, Sydney and New York, and the role of hierarchy, arrangement, and structure in visual communications. In the context of this project ‘the grid’ should not be construed as pertaining to the nodal, networked relationships and vectors of the distributed sites across which the work connects and manifests.

 

Research Significance:  The significance of this research is its’ contribution to knowledge about distributed, networked, and participative performance practice and the positive deployment of interruptive processes that examine and exploit its virtues to expose productive insights that go beyond abstract theorization (Campbell, 2016). The applied practice-led nature of this research reveals the relevance of the networked sonic realm to a wider interdisciplinary context where our respective and different creative practices reveal trajectories that link public art, experimental radio, architecture, urban mapping, digital design, and visual art.

 

Research Method: These particular cities have been chosen for their tangible connections to the participants; London (Morrad) and Sydney (McArthur) are native cities, Chongqing (McArthur) is a work place, and NYC is where each month Morrad+McArthur have an hour long program on Wave Farm Radio https://wavefarm.org/ta/artists/x8grjs 

 

“The Grid” utilises experimental approaches to investigating creative engagement with notions of underlying grids, generative sound, music, improvisation, and cities. The method of practice-led research applied within this study interposes grid structures on (1) London: via an ordinance survey map with an overlaid hand drawn stave creating a 'music' score based on various intersections. This includes the boroughs of Hackney, Camden and Islington, also providing images still and moving from which to generate a video; (2) on Sydney via structured sound drones rendered in open source and proprietary software platforms where underpinning time-based grids predominate and influence perceptions of time and modes of composition; (3) Chongqing, China via field recordings where the grid is implied through duration; and (4) on NYC via live improvisation, on Wave Farm Radio, where the durational format using an interwoven network of noise, saxophones (alto, tenor and soprano), creates structures that offer pretention for new and efferent forms of sound. Although NYC is not visited physically in this work, this is the location where the sound elements are presented either with live improvisation or pre-recorded. Should this project be chosen, a dedicated piece will be devised and performed at the Project Anywhere conference in November 2018.

 

This methodology draws on philosophical and theoretical ideas on rhythm structures that include polyrhythms (Coleman, 2010), Lefebvre’s society and rhythm (Lefebvre, 2004), and the understanding of 'time' as instantaneous moments (Bachelard, 2000).  This facilitates performative, 'liveness' (Auslander, 2008), and experiential (Merleau-Ponty, 2002) improvised practice that is based within an understanding of 'western music theory'. The initial concept and idea are the main focus; the practice within western music theory is disregarded (Prévost, 1995) when it is felt that 'sound', incorporating field recordings (Demers, 2010) or noise (Thompson, 2017) reflects and relates to the city in a more creative or conversant way. This is informed by its embrace of defective elements; some of which arise through playing live saxophone, the use of deficient internet connections, software that changes patterns, and the playing location, that provide effective responses.

 

The aim of this project: This project interweaves sounds that are located or inspired from the three main cities, London, Sydney and Chongqing. The aim is to produce a number of sound pieces that utilise diverse sounds from different disciplines, including field recordings, noise, traditional music theory, improvisation, (Peters, 2011) (Bailey, 1992) (Toop, 2016), the digital and electronic. This is to create soundscapes that explore 'the city' from two practitioners who live at opposite ends of the planet, only producing work via a digital space.

 

Dissemination of the results: Live and recorded outputs documenting the research outputs will be regularly broadcast on ‘Itinerant Mind’ our long-standing monthly experimental radio broadcast on Wave Farm 90.7 FM New York. In addition to co-work either through file sharing or live improvisations performed and played each month on NYC’s Wave Farm Radio station: https://wavefarm.org/ta/artists/x8grjs will be published through blogs, social media, and online links to repositories at the University of New South Wales, Australia and the University of Lincoln, UK. Students from these universities will be invited to contribute to the blogs, sound and image gathering. In particular, fieldwork in Chongqing (2018) involving art, design, computational design and architecture students in collaborative experimental urban and mapping studies (cf. mad.lab https://vimeo.com/190416240) will generate and exhibit research outcomes related to the participatory components of this experimental study.

Installations of the research outputs will be exhibited in Australia (UNSW Galleries, Sydney), UK (Documents, Alternatives (# 1) touring group exhibition: Morrad+McArthur work titled 'Lack of Chairs', Airspace Gallery (Stoke on Trent): 17 November – 16 December 2017, B-Side Gallery (Bath Spa University): 20April – 11 May 2018 and ONCA Gallery (Brighton) as part of Brighton Digital Festival: 21September - 8 October 2018), and China (mad.lab showcase, Chongqing, and at the Media Architecture Biennale, Beijing 2018). The work will be disseminated via a dedicated web links with video and sound files through the online Research Catalogue www.researchcatalogue.net

 

 

 

 

 

References:

 

Auslander, P., (2008)  Liveness.  Routledge, London

 

Bachelard, G., (2000). The Instant.  (Edited: Durie, R. Time and the Instant)  Clinamen Press, Manchester.

 

Bailey, D.,  (1992)  Improvisation. De Capo Press .

 

BBC Radio 3 Documentary: Sunday Feature, (2017) 'Grid'

 

Campbell, L. (2016). Lee Campbell's Tactics of Interruption [audio visual]. Toynbee Studios, 28 Commercial Street, London t E1 6AB.

 

Coleman, S., (2010) Regarding the Sonic Symbolism of Where and When. Hips Road, NYC

 

Demers, J., (2010) Listening through the Noise, Oxford University Press

 

Lefebvre, H., (2004). Rhythmanalysis: Space, time and everyday life. A&C Black.

 

Lefebvre, H., (1991), The production of Space, Blackwell, Oxford.

 

Merleau-Ponty, M., (2002) Phenomenology of Perception. Routledge, London

 

Oliveros, P., Deep Listening Project

 

Peters, G., (2011) The Philosophy of Improvisation. University of Chicago Press

 

 Pévost, E., (1995).  No Sound is Innocent. Copula, Harlow

 

Sassen, S., (2005). City-ness in the Urban Age. In Urban Age, Bulletin 2, 2005.

 

Thompson, M., (2017) Beyond Unwanted Sound, Bloomsbury Academic

 

Thompson M. and Biddle, I.,  (2013) Sound Music Affect, Bloomsbury

 

Toop, D., (2016)  Into the Maelstrom: Music, Improvisation and the Dream of Freedom. Bloomsbury

 

 

Morrad+McArthur links:

 

https://wavefarm.org/ta/artists/x8grjs

 

https://morradandmcarthur.bandcamp.com/

 

https://soundcloud.com/morrad_mcarthur

 

https://soundcloud.com/jardin-des-oiseaux

 

http://annie-morrad-soudandimage.com/

EP release Oct 2015

Added on by annie morrad.



https://morradandmcarthur.bandcamp.com/

Morrad+McArthur quickly follow up their debut digital album 'Itinerant Mind' with a new work titled '2.0'. It's an expanded EP of three improvisational compositions recorded and presented during October 2014 as a live installation at GNARL Fest the East Midlands International Festival of Live and Video Art. The work was featured in the context of the SoundSpiral program at the festival.

 

 

The musicians Annie Morrad and Ian McArthur live at separate ends of the planet, composing and playing live performances through the use of digital software Mixlr and Skype. Mixlr is a stable internet radio platform through which Ian McArthur broadcasts electronic sounds, field recordings and live mixing. Annie Morrad plays live improvised alto and tenor saxophone against these. 

 

The duo's approach seeks to enhance the understanding that live improvisation is a never repeated experience, one that adheres to the philosophical view of time as an instantaneous event, a moment never repeated. This video (see link) documents a live performance by Annie Morrad (UK) and Ian McArthur (Aust) on September 9 2015 at the Carbon Meets Silicon conference and exhibition at Glyndŵr University, Wrexham, Wales: https://vimeo.com/139037938

 

Morrad (London) and McArthur (Sydney) began working together in 2014 exploring their interest in sound art, rhythm in the urban environment, improvisation, jazz, crowds and the city.  


For more information, images, press contact Morrad+McArthur at morradandmcarthur@gmail.com

Morrad+McArthur on Soundcloud: https://soundcloud.com/morrad_mcarthur 
Morrad+McArthur on Vimeo: https://vimeo.com/album/3210653
Morrad+McArthur on Facebook: https://www.facebook.com/morradandmcarthur

Album release Sept 2015

Added on by annie morrad.

https://morradandmcarthur.bandcamp.com/

Available as a digital download on Bandcamp, ‘Itinerant Mind’ by Morrad+McArthur gathers together 12 compositions representing a year exploring of the potential of remote networked collaboration and telematic performance.

Annie Morrad (Alto and tenor sax, field recordings) and Ian McArthur (Electronics, guitars, field recordings) collaborate to produce interwoven sonic structures that seek to regenerate intervallic forms and define architectural spaces in sound. Their compositions are developed and refined through online conversations between Sydney and London, the artists speaking through this dialectic and their personal approach and style of expression to produce each piece. They utilise urbania - in mood, in content, and in flow and understanding.

Morrad (London) and McArthur (Sydney) began working together in 2014 exploring their interest in sound art, rhythm in the urban environment, improvisation, jazz, crowds and the city. To date Morrad+McArthur have produced a body of experimental audio-visual work that has been exhibited and performed at the GNARL Fest, the East Midlands International Festival of Live and Video Art in 2014 and more recently in September 2015 at Carbon Meets Silicon in Wales.

For more information, images, press contact Morrad+McArthur at morradandmcarthur@gmail.com

Morrad+McArthur on Soundcloud: https://soundcloud.com/morrad_mcarthur
Morrad+McArthur on Vimeo: https://vimeo.com/album/3210653

 

 

Projectspaceplus 6th – 10th January

Added on by annie morrad.


Projectspaceplus   6th – 10th January

  

Title: metaphoric senses

 

'Negotiate the unexpected' Wayne Shorter   Jazz on 3, 30-12-13

 

This is a continuation of the experimentation started in December 2013, based around the ‘mischievous wind’, an artwork carried out by three artist: Annie Morrad –sound, sound and image installation artist- Emma Osbourn -film-maker and artist- Beatriz Cantinho -choreographer and movement artist -.

 

We found starting points for collaboration though a process of improvisation. In this sense our collaborative practice is as much about collisions and differences as it is about agreement or compromise. 

 

By using improvisation in this way, we created 'moments', or perhaps we can call them ‘intensities’, that were constantly changing and never repeated’.

 

The ‘famed’ Mistral is used here as a metaphor for those unseen forces that have an effect on our lives; for example, laws, governments, history, culture and structures in society.

 

This process forms a significant part of annie morrad's PhD and practice.

 

Gallery Week 2:

Working with the gallery; a response to the 'space'

 

Day 1

 

Setting up using tonic triads and triads and triangles.

Working with the two acoustic spaces. Two separate triangles

The another triangle from one space to the other, and then coming from the opposing space.

In each triangle are placed three microphones, one at each corner. All at the same recording level.

Walking around each triangle three times playing a three note triad, often starting on the tonic, using D minor.

Mixing three of theses.

 

Day 2

 

Using the mix from day 1 and choosing one triangle, improvising using D minor tonic triad and the sub-dominate. This is recorded 9 times.

 

Day 3

Very tired and used the time to reflect on Day2

 

Day 4

Improvised and refined the previous days work. Starting and ending with a Bflat but going back to the tonic throughout.

 

https://soundcloud.com/jardin-des-oiseaux/bbdmin-response-to-space-day4

 

 

Day 5

Working on the original material from France with the film-maker and artist Emma Osbourn. Worked with Emma with the video from France and played with the sound recorded from there.

 

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University of Lincoln Gallery Space week 1 dec 2012

Added on by annie morrad.

Gallery December 2013

 

Day 1.

Playing alto saxophone in the gallery space.

Just spending time.

Setting up the equipment, with the help of Rob, Richard and Steve.

Together they found cables, help moved equipment, set up a projector. At first nothing seemed to work...but this enabled me to listen to the space and the space to witness me.

I recorded the sound and played within the space, to hear the reverb and the echoing sound. To understand the space through audio, through listening. I also filmed the space.

Then I played with the sound from France, echoing and playing against various parts.

 

 

Day 2

More setting up issues-cables, But because my computer speakers are weak, it makes me listen.

 

Have been playing the sax with Beatriz's moment sound on headphones

 

My Sound here, not there yet, not feeling Beatrix's movement yet...tooo much in my head. (check the hand written)

 

Am responding to the sound element from the original location in France, as if one creature to calling to another...

Too melodic in this space. Its like I'm calling to the past...

 

Interesting acoustics ...hard space to work with    good train sound.

 

Now working with Emma's films and images...some good sounds starting to happen.

 

Richard is trying to set up the projectors...students have arrived, had to explain the issues with cables and equipment, asked if they can come another time with images...

 

Am taking cables, plus sound box, plus plus tomorrow...

The light automatically came on...must phone estates

 

 

Day 3

Cables worked as did the projectors...odd file system on the projectors and the head phones...hard to read it

Very good listening and playing with the previous French located sound, a feeling of being 'at one'. Because of the base and that I do not have one...i herd the wind and improvised with this.

One playing with the space, two with the 'other' sound and three call and response. A day of listening. Am too melodic.

The man came to fix the lighting, took all day.

 

Kam our Student came with water sounds, she went out with my Hydro mic to do more... and Adam with images. Interesting working with both.

 

 

Day 4

 

Very tiring today. Listening to last nights two recoding's and played along. Strange sound...its the motor of a boiler. Had low levels effecting things...found the speaker culprit. Based played wind sounds all day...

Visuals worked, no film yet. Beatriz's piece need work on.

 

Day5

 

Only used the sound today...was still very tied. Allot of people just came in for a chat. Spent a long time listening and playing to the layers of sound...the space lends itself to a very different method of working, playing with the playing. The sub woofer...interesting.

 

 

 

 

 

University of Lincoln Gallery Space

Added on by annie morrad.

 

Projectspaceplus   6th – 10th January

  

Title: metaphoric senses

 

'Negotiate the unexpected' Wayne Shorter   Jazz on 3, 30-12-13

 

This is a continuation of the experimentation started in December 2013, based around the ‘mischievous wind’, an artwork carried out by three artist: Annie Morrad –sound, sound and image installation artist- Emma Osbourn -film-maker and artist- Beatriz Cantinho -choreographer and movement artist -.

 

We found starting points for collaboration though a process of improvisation. In this sense our collaborative practice is as much about collisions and differences as it is about agreement or compromise. 

 

By using improvisation in this way, we created 'moments', or perhaps we can call them ‘intensities’, that were constantly changing and never repeated’.

 

The ‘famed’ Mistral is used here as a metaphor for those unseen forces that have an effect on our lives; for example, laws, governments, history, culture and structures in society.

 

This process forms a significant part of annie morrad's PhD and practice.

 

Annie Morrad Jan 2014

 

 

The Mischievious Wind

Added on by annie morrad.

The Mischievous Wind. (working document-start) July 2013

Proposal for improvisation with the Mediterranean/North African winds

This will use data from the prevailing winds that give positive irons into the atmosphere. These winds create negative reactions in the people who live within their paths, some are said to be ‘evil’.

The Location:

The position of the start and end of these will be used to locate points from which to improvise, either with myself (mixing the ‘sound’ later) or with musicians, through satellite connection (using the pauses due to data transfer as a part of the work)

The Improvisation:

The basis of the improvisation will be framed in a mode/scale (define) could be triad, pentatonic, diatonic et cetera.

The structure/framework of the mode is both base on the scientific data of the individual wind; speed, force etcetera and uses the longitude and latitude of several points of the location and using the technical data of the wind

The Shaman:

The repetitious sound, using rhythms, moment

A shared experience, profound, that links the human condition with a force of nature.

Working with filmmaker/artist Emma Osbourn and Portuguese dance/performance artist Beatrix Cantinho