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Crisp

for objects and live processing
29. 3. 2006 MIBEM Festival

Found objects from Australian urban and rural landscapes (dried twigs, cones, plant seeds, little bottles, a stanzed metall sheet, squashed and corroded cans, bottle tops etc.) were placed on a table. One by one, they were made to sound by being 'played' (i.e. touched, scratched, moved close to etc.) with a miniature microphone. The sounds were processed in realtime. A camera recorded the movements of the performer, and this data also transformed the sounds electronically. Crisp becomes a miniature 'table theatre', with the amplified sounds projecting into the large performance space.

Berlin sound artist Kirsten Reese's contribution was a short piece in which she sat at a table gently touching a variety of very closely miked glasses, bowls and other everyday objects. These sounds were processed via a laptop using morphing and delay to layer the sound. The work makes the most of a brilliant PA that can convey every nuance of even the lightest fingering of an object, creating a haunting intimacy that negates the physical distance between listener and performer and makes music out of the ordinary.
Chris Reid, RealTime issue #85 June-July 2008 pg. 45

>> sound exerpt Melbourne Iwaki Auditorium