PARTICLES & WAVES
Lee Noyes | Lance Austin Olsen
“In 2013, I was invited to Tijuana and Baja California to produce new audio works with the Mexican artists Roberto Romero Molina and Luis Ituarte. As part of my residency, I was also supplied with the materials to produce a series of visuals works. Although the materials and setup offered were dramatically different than my home studio, I tend to enjoy working with limitations, and quickly developed a way of drawing using handfuls of coloured pencils, tea bags, tea stains, and other simple materials to form multi-threaded lines and marks. These drawings began to resemble circuit diagrams, with particles and waves of current moving back and forth.
When I returned to home to Canada, I sent one of these drawings* to Lee Noyes as a compositional proposition. Lee’s fantastic realization of the visual score, along with my own contribution, were combined to form the album PARTICLES & WAVES.” – Lance Austin Olsen
A nocturne is a composition inspired by, and intended to be played at night. The instrumentation might integrate the sounds of nocturnal nature by being performed outdoors, or with open windows.
In the case of this piece, it was built from several field recordings of landscapes in which the sounds of modern interventions – power transformers, wind through discarded plastic bottles, heat pumps, flapping cardboard, etc – assert their dominance in the night experience. These objects take on the roles of central instruments, while nature attempts to weave around them.
Jamie Drouin & Lance Austin Olsen
This re-mastered Drouin & Olsen recording from 2003 is an intriguing document for two main reasons:
First, as an example of the initial Infrequency experimental music concerts we presented at the Martin Batchelor Gallery in Victoria, BC Canada – even though our audience often consisted of one person, in this case, local artist Jeffrey Allport.
Second, it is a reminder to Lance and myself that, no matter how far we feel our work has shifted over the intervening years, this early recording, made in a time of our relative naïveté (having only recently transitioned from visual artists to sound in 2000), and secluded from the outside sound art world, already contains a remarkable affinity to our current sensibilities.
In these regards, GARDEN_NIGHT becomes a two-way mirror – allowing us to simultaneously look back, forward, and through our oeuvre. We hope you enjoy the process as well.
KICK 1 & 2
KICK 1 & 2 uses the drum machine ‘kick’ to explore iterative sculptural forms in space when played on stereo speakers.
The source sound, a staple of electronic dance music, is detached from its usual framework to become an introspective physical object, interacting and expanding within the listener’s environs through the effects of concurrence of two or more sound events.
As with many of my recent works, KICK 1 & 2 is intended as a repeating sculptural installation for two speakers.
TWELVE SECTIONS FOR DF
Jamie Drouin’s TWELVE SECTIONS FOR DF uses two identical high frequency sine tones in the left & right speakers with variable oscillation rates to create twelve distinct sculptural ‘shapes’ through their shifting relationship. The combination of high frequencies, and relatively low overall volume, places these shapes just on the edge of perception. Even during passages of complete silence the latent effect of the pitches still colour the listening experience.
CAUTION: for your hearing protection, play at average to low volume on speakers only.