noise / radios / tape / fake masters
live performances from
The sounds of elctro-magnetic fields around highly charged devices are relayed, with the help of induction coil microphones, to a multi track looper and digital delay where they are manipulated to resemble coherent sound patterns. This enables the audience to find a relationship to what had previously been inaudible. With these tools the secret sound waves of different electric devices are discovered and exploited and made visual in the moment.
The source materials from which the electromagnetic fields radiate are not all that is important. The procedure that their sounds are put through in the act of creation, sonification and impromptu re-interpretation give an intriguing insight into the invisible, inaudible world around us. With this in mind the work process is an inherently open one. The frankness of the techniques shown in the work enables the audience to easily understand the relationship between the physical, the sonic and the visual. And so enhance the subjective perception of the moment.
In 1998 a Brandenburg Gate out of cardboard was erected at a courtyard in Berlin Prenzlauer Berg. The house was a building site and everywhere there was scaffolding.
The Fake Masters were drumming and playing the building site and recorded loops on which they build their empires, like later in Leipzig, Kairo , in Kosovo and the easter Sahara in Poland, everywhere they recorded sounds to extract notes and build rhythms.
The result is an abstraction, with lyrics caught from the air, about nature, religion, superstition, politics and other madness.
The fake master's empire is Invading by assimilation. It's so fake because it's no fake.
In recent performances Dunning uses a selection of tapes, pre-recorded by other people, discarded to be found at car boot sales and charity shops. Live-sampling these tapes using cheap delay units, walkmans and home made electronics, he creates a lo-fi college of rhythm and drone. The sets are punctuated by 'ghost-in-the-machine' recordings of conversations and thrown-away memories, and manipulated electromagnetic interference via tape-head.
Graham Dunning's working practice deals with temporality, memory and narrative through sound, performance and installation. He is interested in people’s discarded memories and the function of archiving. Found objects, photographs and recordings feature in the work investigating notions of the artefact and implied narrative. Experimentation is fundamental, and his practice is often informed by scientific or archaeological protocol.
In this video, Dunning explains the process and techniques involved in a recent project called “music by the Metre”, an audio homage to Situationist Giuseppe Pinot-Gallizio's industrial paintings.
What happens when the sound of a room travels through the internet?
:: Performance for room, light bots and the Net ::
This sound piece investigates the effect of time lag and delay of the sound of a room sent on different servers and replayed on a local machine and on the metamorphosis that these changes in substance imply. Through experimenting and analyzing the impact of translocal navigation through space, Tempus Fugit attempts to find phenomena generating the emergence of aesthetically interesting sound.
Thursday 4th October
8 - 11pm
Unit 73a, Regent Studios, 8 Andrew's Road, E8 4QN