Methods for Composing Random Compositions


Arising from my investigations into the social and political implications of audio deterrents, sonic weaponry, and noise music I have inserted myself into these videos involving chance and non-musical objects which generate sound for duration-based compositions.The props employed for the performances were selected for their sonic qualities or ability to produce sound through their usage. Some of the props have more sonic warfare tendencies with explosive qualities such as the bomb bags, rat traps or confetti poppers, while others -- such as soap bottles or wind up teeth -- have less of a violent presence and focus more on the function of the prop and its influence over the duration of the performance.

The performances are determined by setting parameters for the beginning and end. The beginning consists of activating the props and the end happens when all potential for sound becomes extinct. The space in between these two parameters is where the composition takes place. I cannot control how these props function or how long it takes for them to perform their duty in the performance, which is a determining factor in the length of the performance. The objective to be accomplished is a key factor in the duration of the performances and at times is not simply determined by the props but by my physical restraints. I encourage a space of artistic production where failure is welcomed and control is largely ceded to circumstance.