Live Electronics Concert

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mouthfeel for voice, modified megaphone, and light bulbs by Alex Christie (2018)

Sound speaks into a space shaped by light. Light presses on sound. Space presses on sound. Performer inserts themselves into space.

mouthfeel is an interactive environment that reassesses the way we think, act, speak, and move in our surrounding worlds. The performer is forced to deal with the physical space around them and use only the (broken) tools of communication that are readily available. They reposition their body in order to find states of stability and instability, clarity and noise.

"mouthfeel" challenges the way we use technology and privileges processes that must be re-practiced and re-discovered over those which grant immediate gratification.

Hold Still for drawing and live audiovisual media by Becky Brown (2015)

A multimedia self-portrait, 2015. Pencil, copper, and Arduino on paper, poetry and video in Max/MSP/Jitter. Drawings anchor my memories far better than photographs; poetry tells my stories better than prose. This piece is more true to me than I am to myself.



Greed for violin and audiovisual media by Christopher Biggs performed by Negar Afazel (2012)

Greed was commissioned by and is dedicated to Abderrahman Anzaldua as part of the La Rueda de los Pecados (The Wheel of Sins) project. This project consists of seven pieces for violin and multimedia, each of which reflects upon a specific sin.


still motion b, or things a mouth does for performer and electronics by Ted Moore (2017)

still motion b, or things a mouth does is a work for mouth and live video sampling. Every sound we hear (and make) happens in a space because of some introduction of energy into a physical system. This piece highlights the physical systems of the performer and the spatial (and temporal) relationships between these energies.

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System Blocks Signal Blocks System performer, electronics, and light bulbs by Alex Christie (2017)

System Blocks Signal Blocks System explores the spectra between composition, instrument design, and performance practice. The piece creates a sonic and visual ecosystem in which control/power shifts between different forces (human and computer). Some musical decisions are made by the computer, based on randomness and probability, and some musical decisions are made by the human performer. The performer has access to several means of interfacing with the electronic system, but these means can be interfered with by the computer. The performer must constantly adjust to system-controlled sonic action. They react and respond and rethink their role in the piece.

The lights’ most important function is to physicalize (or at least make visible) the shifting dynamic between the human performer and computer system. This is realized through the illumination of architectural space (representative of the digital system space) and the distortion and accenting of the performer’s physical gestures. This exaggeration, illumination, and concealment of physical gesture accentuates the unstable cause-and-effect relationship between the performer, instrument, and sonic output. The human performer may be able to guide the activity contained within and produced by the systems and signals, but they are never in complete control.

Audience participation is optional, but encouraged. Audience members should yell, cheer, boo, comment loudly, etc. during the performance of this piece.


Tomorrow, When I Grow Up for voice and electronics by Becky Brown (2017)

Somewhere between watching the whole day pass from under the covers, the future a thing that spits the pause button out of my throat; between rich dreams that I am wading through, gripping whole handfuls, watching them pour between my fingers, a few pocked pearls rolled by my burning palms; between the steps that push me forward, and backward, and forward again, progress built with footsteps built with words that walk their plosives and fricatives and sibilance, delicately, over the steps of the tips of my teeth.