larynx ::/ear ::/time ::/self ::/space ::/
field recordings and music, songs, images, dances, poems with sound, voice-studying, performing.
london, uk.
field recordings and music, songs, images, dances, poems with sound, voice-studying, performing.
london, uk.
singing in childhood, on car journeys with my mum.
making songs with friends, laughing a lot in the small children's choir in the village where we lived...
singing songs was first, followed years later by a chance discovery of free improvisation.
discovering free improvisation = beginning a conscious exploration of a metaphysics of interaction.
[becoming aware, at precisely the same time,
of quantum physical world-views,
and the ancient wisdoms of universal interconnectedness]
in improvisation the intricacies of sonic exchange and expression stepped sideways from, and outside of, language and harmonic form, uncovering a world where i could try to connect the activity of the voice with
an extremely careful listening,
enough to try to trace the details of the thought // feeling trajectories of self // other.
// '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' //
when i came to london to seek out free improvisation i was first so afraid to make a sound that i would overcome the anxiety by imagining an intimate embrace of love with the other sounds.
// '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' //
in the past i have felt an urgent desire to make the voice sit not like a voice... this is a somewhat impossible task, though sometimes worth pursuing... to alter its human-narrative implications within the ensemble.
// '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' //
making songs with friends, laughing a lot in the small children's choir in the village where we lived...
singing songs was first, followed years later by a chance discovery of free improvisation.
discovering free improvisation = beginning a conscious exploration of a metaphysics of interaction.
[becoming aware, at precisely the same time,
of quantum physical world-views,
and the ancient wisdoms of universal interconnectedness]
in improvisation the intricacies of sonic exchange and expression stepped sideways from, and outside of, language and harmonic form, uncovering a world where i could try to connect the activity of the voice with
an extremely careful listening,
enough to try to trace the details of the thought // feeling trajectories of self // other.
// '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' //
when i came to london to seek out free improvisation i was first so afraid to make a sound that i would overcome the anxiety by imagining an intimate embrace of love with the other sounds.
// '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' //
in the past i have felt an urgent desire to make the voice sit not like a voice... this is a somewhat impossible task, though sometimes worth pursuing... to alter its human-narrative implications within the ensemble.
// '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' // '' //
(as a result of these alternatives of interpretation) the process is, in a sense, very different from the process of songs.
but also influential. this listening has entirely liberated the fashioning and singing of songs for me.
the weave becomes more continuously its own voice moment from moment.
lyrics can come about through transitory reflections and remembrances,
and the fabric of the songs combine happy hours playing sculpting sounds
with happy hours of passing moments of improvisation into a microphone for vocal melody.
the dig for the material happens
fast
+
s l o o o o w . . .
•
the feedback of our cells becomes a point of importance.
•
working with film makers and dancers brings another kind of pleasure, at once separate from pure singing and, at the same time, pulling on the experiences developed in the close listening of free improvisation, and using the same tools of voice, computer, and various additional sound toys.
•
field recordings and 8channel work
eye-opening explorations... brought through resonance fm and goldsmiths EMS.
•
singing and studying and exploring songs and free improvisation, and the breath, + the body, with two of the world's greatest vocalists::
gatherings+performances in london and wales with the extremely talented and inspiring friend maggie nicols, the UK’s finest female improvising vocalist::
masterclasses in paris, 2013, with pioneer of extended vocal technique and interdisciplinary performance, meredith monk::
•
learning about the physiology of the voice as well as the expressive primacy of it, and teaching singing for adults and children // a music degree in performance from the beautiful and magical dartington college of arts in south devon, and a music masters degree in creative practice from goldsmiths, in london //
but also influential. this listening has entirely liberated the fashioning and singing of songs for me.
the weave becomes more continuously its own voice moment from moment.
lyrics can come about through transitory reflections and remembrances,
and the fabric of the songs combine happy hours playing sculpting sounds
with happy hours of passing moments of improvisation into a microphone for vocal melody.
the dig for the material happens
fast
+
s l o o o o w . . .
•
the feedback of our cells becomes a point of importance.
•
working with film makers and dancers brings another kind of pleasure, at once separate from pure singing and, at the same time, pulling on the experiences developed in the close listening of free improvisation, and using the same tools of voice, computer, and various additional sound toys.
•
field recordings and 8channel work
eye-opening explorations... brought through resonance fm and goldsmiths EMS.
•
singing and studying and exploring songs and free improvisation, and the breath, + the body, with two of the world's greatest vocalists::
gatherings+performances in london and wales with the extremely talented and inspiring friend maggie nicols, the UK’s finest female improvising vocalist::
masterclasses in paris, 2013, with pioneer of extended vocal technique and interdisciplinary performance, meredith monk::
•
learning about the physiology of the voice as well as the expressive primacy of it, and teaching singing for adults and children // a music degree in performance from the beautiful and magical dartington college of arts in south devon, and a music masters degree in creative practice from goldsmiths, in london //