I've had the privilege recently of working with a talented composer and musician,
Kate Cheuffer. Strangely, she falls into a bizarre line of artists/writers/dancers I know that are/were computer and even modem savvy at some point in the nineties, but have no real internet presence. It's interesting that some people can be so brilliant yet introverted or misanthropic enough to avoid the great anonymous playground that the Internet can be.
I did a few installation sound pieces for Kate's small music conservatory. I'm listening to one now that...I don't know how I feel about it. It's a beautifully minimal piece, done with Kate herself, a droning organ and wildly misshapen guitar strings. They're synthesized in this version, but it's all based on an actual event. It's fascinating to listen to - it's all programmed using
Supercollider 2, a real time audio synthesis language for Mac OS. The modeling of some of the string plucks came out really well. Part of me wants to take it and craft it into a real track, somehow. Kate says to just keep it minimal.
Being geared towards installation instead of headphones and computer speakers, the design dynamics of the pieces I'm going to release online shortly are quite different than a lot of
EUCCI material released in the past. There's even less structure. A piece can be any length, and are almost best left ongoing...
There's going to be a big loss of perceptive quality as the delivery mechanism goes from conservatory/gallery to MP3.