About this entry

daniel blinkhorn | descent with modification

pre_release_surround_sound_.jpg

The title of the work refers to adaptive radiation, a term indicating the rapid evolution of a single ancestral organism into numerous other organisms that are each adaptively specialized to occupy particular environmental conditions…

A duality exists in the piece at the intersection of the figurative, where transitory images of sonic miscellany coalesce, and the literal, where the sound transformations function as distilled narrative, combining the physical and gestural characteristics of performance into a series of primal soundscapes, all of which depict the adaptation from one ecological niche to another…

Through transformations applied to recordings of physical gestures generating fret squeaks on the classical guitar, I have sought to create a work that, on the one hand captures the torque click of the machine head, the buzz of wound strings on brass frets, droplets of sweat on the tips of fingers and the squeal and chirp of friction, whilst simultaneously occupying a larger framework encompassing ecological diversity; from the single sound to a rapid divergence of highly specialised sonic environments, as in descent with modification…

14 Euro inclusive shipment worldwide for this pre-release of Daniel Blinkhorn’s surround-sound DVD

dbd.jpgThis piece also exists as an audiovisual work in surround sound…

Resource 14 seeks to bring to the listener’s attention some of the more hidden attributes of sand in a multitude of different environments. Through a combination of field recordings and software manipulation of the field recordings, Resource 14 portrays in both a macroscopic and microscopic sense, the intimacy as well as dramatic intensity that can be generated by sand in a variety of settings…To create the work I recorded a handful of sandstone rocks crashing together, sand trodden underfoot, sand trickling and being scraped on a variety of surfaces and small sandstone pebbles rolling along wooden and marble floors. Through manipulating the recordings via software I have also achieved a sense of sand being immersed underwater at various points in the work, even though no water was used in the composition…

I wanted to create a work that brings to the listeners attention the kinds of intimate yet dramatic and colourful gestures produced by sand as a material that lives alongside side us, accompanying our lives, and yet is for the most part deemed sonically undesirable and so is often overlooked and discarded… The sounds created in the composition are part of sand, from the sounds made when particles of sand rub and jostle together in dunes, to sand underfoot, on floors or in fountains or steams. If we were able to hear the kinds of sounds produced by sand up close, especially when we use a little imagination, I suspect it can be a fulfilling experience…

The piece seeks to reclaim the incidental sounds generated by sand and is a celebration of sand in all its guises…

dbb.jpgThis piece also exists as an audiovisual work…

balanfô is a work centered around the balaphone, a marimba that features in much African music and is of particular importance to people of the Guinea nation, which is often referred to as the ‘province of the balaphone….’ balanfô is essentially an acousmatic celebration of the balaphone via an assortment of auditory icons, seeking to provide feedback about the actions implicit in the creation of the instrument…

Throughout the piece, the sounds of splitting wood, securing calabashe resonators, sawing and shaping of béné slats and hammering frames together have been fused with streams of rhythmic and harmonic material and juxtaposed with chanting, singing, talking, tumbling, crackling, thumping, and spiraling … all of which has been used to emphasize the sonic, as well as experiential significance of the balaphone to the Guinea people. A people who make, play and celebrate the balaphone as part of their collective identity…

Extensive computer processing of the recorded sounds are used to augment the sonifications in the work which, in turn adds to the inherently multidimensional nature of contiguity between the deeply terrestrial, as with the balaphone and the people of the Guinea nation, and the acutely informatic realization via the computer and the numerous processes made possible with a computer ….

I used a balaphone in an advanced state of disrepair as source material for the work, which was dismantled and used to provide all the sound sources throughout the piece (excluding of course the voice, which is largely left unprocessed)…

The project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

dba.jpgsqueak (‘n bubble) is a work celebrating the balloon, an innovation that itself is used to mark occasion and festivity… The only sound sources used in the creation of squeak (‘n bubble) are balloons, a pump and breath, which all coalesce in the piece to create a soundscape that is at times dramatic and startling and others buoyant and fleeting, as is the all too ephemeral life of a balloon…

Often balloons produce dry and brittle sounds that screech, snap, pop and hiss…the work reflects this by conjuring sounds of rampaging herds of balloons jostling, rustling, crackling, squeezing and stampeding their way into the soundscape, producing manifold dimensions of colour, rhythm and texture…

Through various techniques in sonic transformation I’ve also introduced the sounds I imagine to occur inside a water balloon, as waves of bubbling sounds slowly give rise to smaller, circling eddies and currents within the resonant confines of the balloon… Although the life of a balloon is short, it’s also highly animated and often euphoric. The same breath that gives us life also provides life for the balloon…This breath contains not only joy and passion, but intensity and surprise…

All recording and editing of the project took place at the Atlantic Centre for the Arts, as well as in my own home studio in Sydney…

dbe.jpggrumble(r) Rather than focusing on the wonderful, colourful and often virtuosic steel pan material offered as source material from which to draw in this work (provided by the American steel pannist Darren Dyke) it quickly became apparent that the shape of grumble(r) would be governed by my own preoccupation with the numerous sonic relationships forged by the steel pan under construction. That is, the sounds accompanying the numerous physical gestures implicit in the creation of the steel pan, such as hammering, burning, scoring, polishing etc, seemed like they might provide an objective starting point from which to build a work…

Just as the hammer, water, fire and hand were used to construct the grumbler (an early cousin of the current day steel pan), through various computer sound transformation techniques I have morphed the original recorded material into numerous categories consisting of ‘hammered’ sounds, ‘water’ sounds, ‘rolling and scraping’ sounds ‘molten’ sounds and general ‘high tensile’ sounds in an attempt to recreate the initial sonic environments inherent in the creation of the instrument…

Once
the various particles, gestures and phrases had been sculpted to suit my (loosely) codified groups of sounds, I set about organizing, as well as regulating the new sonic material in such a way that I could create a piece of music where the performance is as much in the construction of the instrument as it is in the actual playing of the instrument… One other aspect of grumble(r) that was at the forefront of my mind during the creative process, was the original intentions for the steel drum, which was designed as a vessel to store and transport liquid, more commonly oil. To this end, some of the sounds found throughout the work imply a kind of viscous liquid, acting as a crude historical allegory for the extra-musical life of the steel drum…

The grumbler was an instrument often described as a rough sounding, indefinitely pitched instrument, with a very limited note range…I hope to have extended its proportions…

Daniel Blinkhorn, 2007

daniel_blinkhorn_jpeg_pictu1.jpgDaniel is a composer and digital media artist who was born in the Blue Mountains, just west of Sydney. He studied composition as well as music education at a number of universities including the University of New England, University of Griffith, University of Wollongong and the Australian Institute of Music and has a BMus (Hons), MMus and a MA(R)…

Daniel began lecturing in composition at the Australian Institute of Music in 1999, then, in 2004 as a lecturer in composition in the faculty of creative arts at the University of Wollongong…Further to his preoccupation with acousmatic, electroacoustic and audiovisual works, Daniel has written, performed and produced music in a variety of styles including music for film and television, music for jazz and rock ensembles, and electronic music…

Some of the international events Daniel’s work has been performed and exhibited at include:

ICMC, ACMC, FEMF15, Diffusion 2006, Biennale Music en Scene (GRAME), Unruly Music: Peck School of the Arts, BEAF, International Symposium of the World Forum for Acoustic Ecology, Empirical Soundings, InsideOut, Full Sail, Spark, Mantis: South-North with his works for video exhibited at: Festival Internacional de Vídeo y Artes Digitales, Spain, Cologne OFF II, Cologne, PI5 Video Festival – National Museum Szczecin/ Poland, 2nd Digital Art Festival, Rosario/Argentina, 8th CHROMA, Festival de Arte Audiovisual, Mexico, Victory Media Arts, Dallas, Carnival of e creativity and change and the IPFF…

In 2006 he was awarded 2nd prize at the diffusion 2006 international Electroacoustic composition competition, a joint award from the Centre for CMCM and RTE Lyric FM, Ireland

He was an artist in residence at the ‘Atlantic Centre for the Arts’- New Smyrna Beach, Florida. One of his works was selected as part of the Australian National Selection for inclusion at the ISCM-ACL, World Music Days Hong Kong, 2007. Two of his works were both preselected at the 33e Concours Internationaux de Musique et d’Art Sonore Electroacoustiques de Bourges…

And he received an honourable mention at the XXV Concorso Internazionale di Composizione Originale per Banda, Italia…

Daniel’s music has been published on a number of CD’s, including the ACMA 07 CD, ACMC 06 Conference Concert CD, Quiet Design Records ‘Resonance – Steel Pan in the 21st Century’ Compilation CD, Incidental Amplifications CD and Liquid Architecture 05 CD… As well as lecturing and composing Daniel is currently completing a Doctorate at the University of Wollongong…

Daniel also owns a restaurant called Red Squirrel in the seaside suburb of Coogee, in Sydney, Australia…When in Sydney you’re always welcome…(forgive the shameless promo…!)

please visit Daniel Blinkhorn’s book of sand web page with more samples. This page was designed by Leonardo Solaas from Argentina and Metropolis highly recommend a visit as well.

descentdescentdescent.jpg

descent with modification

The title of the work refers to adaptive radiation, a term indicating the rapid evolution of a single ancestral organism into numerous other organisms that are each adaptively specialized to occupy particular environmental conditions…

A duality exists in the piece at the intersection of the figurative, where transitory images of sonic miscellany coalesce, and the literal, where the sound transformations function as distilled narrative, combining the physical and gestural characteristics of performance into a series of primal soundscapes, all of which depict the adaptation from one ecological niche to another…

Through transformations applied to recordings of physical gestures generating fret squeaks and clicks on the classical guitar, I have sought to create a work that, on the one hand captures the torque click of the machine head, the buzz of wound strings on brass frets, droplets of sweat on the tips of fingers and the squeal and chirp of friction, whilst simultaneously occupying a larger framework encompassing ecological diversity; from the single sound to a rapid divergence of highly specialized sonic environments, as in descent with modification…

Daniel Blinkhorn, 2007

14 Euro inclusive shipment worldwide for this pre-release of Daniel Blinkhorn’s surround-sound DVD