#noisepatterns

[elephantcastle]

#noise #noisepatterns #pattern #elephantcastleclub #elephantcastle #eleohantcastleclothing #palletcleanser

[thejass]

"NOISE PATTERNS" by #tristanperich 2016 #noisepatterns #physicaleditions #pe010 @physicaleditions

[lprnyc]

In advance of Tristan Perich’s performance, we asked him a few questions about his background in music, the history of Physical Editions, and more. He’ll perform live at LPR on June 23.

5 Questions with Tristan Perich

1. You come from a classical composition background, and many of your early works dealt in traditional instrumentation like pianos, violas, and soprano voices.  What prompted the integration of 1-bit sounds into works like 1-bit symphony?

I grew up composing, but also coding. But at first they didn’t overlap, mostly because I didn’t find anything tangible with electronic sound. Compared to composing for acoustic instruments, where the sound production is intimately connected to the instrument and the performance, electronic sound was too abstract. But when I first started designing and programming circuit boards, initially to explore creating kinetic art, I found that computation itself had a physical presence in these simple chips and circuits. Happening upon 1-bit sound was nothing too special, connecting a speaker to the output of a chip, but I fell in love with its sound, and I found its simplicity interesting on a mathematical level. So the microchip and the speaker came to be part of my musical vocabulary like pianos and strings and winds. 1-Bit Symphony, and now Noise Patterns, are the result of focusing on stereo sound. 2. Some of your past work, like Microtonal Wall, integrates both the sonic and the visual. When you make music, is your process very visual? Do you believe there to be as firm a boundary as we might think between what we see and what we hear?

Actually, yes, I think of music very visually, in terms of patterns, interference patterns, harmony, etc. A lot of that comes from playing the piano, where each pitch and chord has a specific shape in my hands. And rhythm is a visceral thing — and even if the movement of ones hands is not specifically visual, it is done through space and involves more dimensions than just a sound wave. And then scores and code have a visual component too that illuminates the structure they encode. But I do think there is a boundary, and I rarely overlap musical and visual works, unless I find the original artistic idea has equal expression in both, and that is very rare. 3. When did the idea to start your label, Physical Editions, emerge, and why?

Lesley Flanigan and I started Physical Editions in 2014 as a vehicle to give us the space (in multiple axes) to release our projects exactly the way we wanted to. The word “label” doesn’t quite represent it, more imprint, or production house, since we create books and it supports the fabrication of our installations and objects as well. The project list is huge, and we are just getting started. 4. On the Physical Editions website, a description of Lesley Flanigan's Hedera explains her piece as existing "halfway between the equally hallowed spaces of the experimental music hall and the dance floor". Do you see overlap between experimental electronic art music like Hedera or your own works and experimental house and techno music? Yes, both Lesley and I have both listened heavily to electronic music of all kinds since we were kids, alongside contemporary music. I grew up on Underworld, Aphex Twin, Autechre, Chemical Brothers, DJ Shadow, Portishead, Roni Size, µ-Ziq. I believe the listening interests of people who listen to electronic music are extremely similar to those who listen to “classical” music, as both audiences are interested in sound, in texture, in shape, in transition, in composition. I find a lot more overlap there than with indie rock. It’s funny timing, since both Lesley’s recent Hedera and my new Noise Patterns are our first albums that have specific “beat” elements in them. 5. Robert Henke, aka Monolake, also draws inspiration from the digital and the visual in his experimental techno works and his work in developing the popular production software Ableton. Do you find similarities between your projects? Robert Henke is one of a small handful of artists with whom I find an artistic kinship. He is interested in technology as a deeply meaningful medium, and creates thoughtful works with it, both in music and as installations. That’’s quite evident in his new body of work for the vintage 8032 computer, which he is programming in assembly language. I have programmed in assembly since 1-Bit Symphony, and he’s the only other artist I know of who does so! At least for me—and I believe for him too—working in assembly gives me a direct connection to the hardware itself, removing all the layers of technology we usually have to wade through that shield us from the actual raw processes underneath all the technology around us.

Tickets for the June 23 performance are available here: http://bit.ly/1TzdK3g