Jim Murphy, Machine Song: Gesture 3 (detail), metal and electromechanical components, 2000 x 2000 x 100 mm. Installation view The buildings notice me, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka—Victoria University of Wellington, 2024. Photo: Ted Whitaker.
Photo Credit
The temporal essence of a sound may be thought of as a single grain. These essential, atomic grains may be combined, looped, and blurred together to craft new timbres and to drastically alter existing sounds. While much of the conceptual and technical thinking around sounds-as-grains focuses on purely virtual and digitally realised audio, there exists an emerging trend of real-world instruments and artworks that extend these concepts into the physical spaces shared by instrument and audience.
This event features new live audio works by Jim Murphy, Bridget Johnson, Dugal McKinnon and Nathan Carter that respond to – and activate – one such instrument: Jim Murphy's Machine Song - Gesture Three, on display at Te Pātaka Toi Adam Art Gallery.
The temporal essence of a sound may be thought of as a single grain. These essential, atomic grains may be combined, looped, and blurred together to craft new timbres and to drastically alter existing sounds. While much of the conceptual and technical thinking around sounds-as-grains focuses on purely virtual and digitally realised audio, there exists an emerging trend of real-world instruments and artworks that extend these concepts into the physical spaces shared by instrument and audience.
This event features new live audio works by Jim Murphy, Bridget Johnson, Dugal McKinnon and Nathan Carter that respond to – and activate – one such instrument: Jim Murphy's Machine Song - Gesture Three, on display at Te Pātaka Toi Adam Art Gallery.
