The Turing Test

7 September, 1999.Part of M.A.A.P. 99.
An experimental performance in sculpture, spatialised physical soundand ritual to create a sacred space with 8 individually tuned and vibrating electronic organs positioned in the Towers (N,S,E,W) and the Stations (NW,SW,SE,NE). Concocting a subtle, ascending drone employing weights that progress along the keyboards during a marathon cycle. "Drones cleanse the area and purify the suspended audience in preparation to spiritual ascendancy". Each organ was purchased through the trading post for an average of $50, capturing the spirit of re-interpretation. This performance was the prelude to Drone 9, performed on the 9/9/99.
'The Speed of Zen', an article reviewing the organ performance appeared in the national arts magazine, Real Time, Dec/Jan 2000 edition.

Order from Chaos CD launch

The harsh drone performance (December 10, 1999), at the launch of the 'Order from Chaos' CD compilation, [A benefit CD for permaculture aid in East Timor by Brisbane’s electronic music community], employing 4 toy keyboards with 1 key taped down, 2 in each speaker, for 30 minutes. During performance 4 plastic baby dolls where surgically dismembered, the pieces dipped in bright red liquid dough, placed in ‘Glad’, resealable, sandwich bags and thrown into the audience. This performance received strong audience reaction with attacks on stage and to the mixing desk, whilst other listeners where gratefully enlightened. It was an expression of my angst for East Timor, it’s media translation for Australian audiences, and the excessive consumerism of christmas shopping in comparison.

Drone 9

A Singular Drone Performance encompassing treated electric organ, electronic modulations and modifications of live found sounds, CD, ‘Brainwave generator’ software producing subliminal synchronising waveforms and sculpted electricity; accompanied with repetitive projections of an alchemical ascendent nature. Performed in the MetroArts Carriageway as a ‘Sound Gallery’ for ADAPT 99, part of MAAP 99. Commencing at 9pm on 9/9/99 for a duration of 9 hours.
The Date, Thursday, 9th of September, 1999, was instrumental in raising concern for the future of computer technology. This date was believed to tally errors in simply micro-processors and other digital calculating systems. Whilst the ptolemaic Y2K dynamic had gained wide publicity; the 9999 has equal concern for timers, dates, counters & calculations. 0000.
The foresight of a Brisbane Sound Artist, Andrew Kettle with the assistance of Australia’s Leading electroacoustic sound sculptor, SEO, created an atmosphere in which an audience was suspended in tranquillity over the change of date and the approaching possiblity of technological doom. Local mythology associated the carriageway as a major meridian point in the global network; the energising drone strengthening the grid at the essential moment to save and sustain the cultural system of the earth!

Beautiful Noise
Ambient Explosion
Soundcheck
Test Pattern

‘Soundcheck’ (Live 2 Air Radio Show on 4ZZZ, FM 102.1, Brisbane, February, 1999); Ambient Explosion,(12 June, 1999. celebrated the birthday of ‘Atmospheric Disturbances’ Experimental Music Radio Show on 4ZZZ), Beautiful Noise (31 Oct., 1999) and Test Pattern (Electrofringe, Newcastle, 3 October, 1999) where all composed & performed resonance performance. using inexpensive or broken electronic equipment: Organ, skipping CD player, Hand-made White Noise Generator, Broken Zoom 9006, Zoom 1201 Effects, Minidisc. Whilst the Cd was randomly skipping the broken Zoom effects unit was creating and then effecting earth hums and static, with the casio keyboard establishing sustained tones, and the occasional instrument looped through a feedback circuit of the Zoom 1201 unit.

Qld Arts Week

Pouring modulating frequencies and morphed beats by A Short Journey (Matt & Daniel Gordon) onto spoken word poetry by Junia Wulfe; 'sour'-ing and confusing the communication with digitally mutilated sentences (pre-recorded with J. Wulfe) by Andrew Kettle to achieve a new language & relationship with sound art, digital poetry and spoken word.
Whilst the voice is digitally captured, the reproduction is limited by its origin yet can achieve structures that the human voice cannot; organically the same sentence can be repeated across a whole spectrum of expressions. Explorations of influencing Poetry with MIDI, " ... take a sentence from a poem, sample it, program in to the midi keyboard and play with it... fantastic patterns emerge from repetitively layering single words or short sentences." This performance digitalised 5 sentence scripts and used them as a backing vocal texture.
Performed in Brisbane’s CBD, Queen St., Mall at 12:30pm on October 11, 1999. ‘Public Space’ excerpt has been published by ABC music.
Part 1

Play: [19:01]

AIMIA Awards

Space & Place

29 September, 1999. Metro Arts, Brisbane. Part of M.A.A.P. 99.
Mixing a live soundtrack using variety of instruments including computer, turntables, minidisc field recordings and bells to David Cox’s ‘Telescape’, 6 similtanious projections. A previous collaboration of this performance was 'Feed me weird things' (.6 May - 24 June, 1999) a residency at The Vinal Room, Brisbane.

ADAPT 99

8 - 11 September, 1999.
Metro Arts, Brisbane.
ADAPT MasterClass, 'Noise in Composition'. An hour multi-media presentation presenting concepts and explorations of incorporating noise as a compositional element.
Video available on Cd-rom.
ADAPTED.Digital Poetry Performance. Utilising samples from popular culture that referred to place and awareness of space a collage poem was constructed.