Anemone Anomaly
  • me.
    • bio.
    • vitae.
  • news.
  • sounds.
    • soundscapes. >
      • => 'One Single Sheep Bell' (2022).
      • => 'The Hights' (2021).
      • => in 'Future Cities Project' (2020).
      • => 'Yoshiwara Soundwalk' (2016).
      • => 'Summer in Snow Country' (2014).
      • => 'Finding as Making // Singing No Songs' (2014).
    • electrovocal. >
      • => 'renatured' (2022).
      • => 'Mirror Morrow' (2020).
      • => w/ Akaihirume (2019).
      • => w/ Rich Rath (2018).
      • => 'touching barad' (2015).
    • for dance. >
      • => Nina Haft's 'Precarious Pod' (2019).
      • => Peiling Kao's 'Integral Bodies' (2019).
      • => Christy Funsch's 'MSDM' (2018).
      • => 'Des-Echoes' (2015).
    • for film. >
      • => 'Free Chol Soo Lee' (2022).
      • 'Midnight Traveler' (2019). >
        • => on sound-making in Hassan Fazili's Midnight Traveler (2019).
      • => Karen Day's 'Bamboo and Barbed Wire' (2019).
      • => Em Mahdavian's 'Intangible Body' (2016).
      • => film music samples.
  • albums.
    • => 'Thirsty Afternoon' (2022).
    • => 'On Cypress Ridge' (2021).
    • => 'music for going nowhere' (2020).
    • => 'hirakito' (2019). >
      • => review.
    • => glou glou 'fey flight founders' (2016).
    • => glou glou 'hymn her hum' (2014).
    • => 'songspaces' (2013).
  • objects.
    • visual scores. >
      • 'Song Cycle for Symbionts' (2020).
      • postcard musics. >
        • Canessa Gallery (2015).
        • 'Post-Score' (2023).
      • 'Paris Blancheur' (2011).
      • => 'Tree_Score' (2010).
    • instructional scores. >
      • 'For Voices in Distant Landscapes' (2022).
      • 'Body / Tech / Overflow' (2021).
      • 10'15"x (2017).
      • I Clean the Stage (2009). >
        • => video.
      • 'News Piece' (2006).
    • sound art & poetry. >
      • => in Orion Magazine (2019).
      • 'As Distinct From Humming' (2007).
      • Stein Phase (2006–2009).
    • artist books. >
      • => 'Sonic Meditation for Immersive Ecological Entanglement' (2018).
      • 「古」
      • "Paris Arthaud" & "ou ou".
      • "an e and a me".
      • "Michel Foucault's 'Minor Perverts...'"
    • instruments. >
      • => photo-koto at NIME13, Seoul (2013).
      • => photo-koto on Maddow (2010).
  • others.
    • => JuDai (2019–2022). >
      • => live & distant on People, Places, Things (2020).
    • => electroViolet (2016–2021). >
      • => body electric 5.2 (Island Circuit 2021).
      • => body electric 3.1 (Oahu Fringe 2019).
      • => body electric 2.0 (Honolulu 2018).
      • => body electric 1.3 (Berlin 2017).
    • => Eat The Sun (2013–2018). >
      • => March 2018.
      • => November 2015.
      • => April 2014.
      • => March 2014.
      • => October 2013.
      • => July 2013.
    • => Gestaltish (2011–2014). >
      • => more w/ Gestaltish.
    • => Candy Acid (2009–2013). >
      • => in conversation.
      • => on Susu Ultrarock Records.
    • w/ Ted Apel & breccia (2006– ) >
      • => Black Friday 2015.

10'15"x
Commissioned by Dr. Owen Marshall for his series on site-specific sound, Music For Concrete.

The duration, as indicated by the title, must comprise a whole-number multiple of ten minutes and fifteen seconds–both as a record of the date the composition was completed (October 15) and as a nod to John Cage's groundbreaking durational works.
The location for 10'15"x must be chosen by the performer(s) in advance, with an ear to the site's unique acoustic (and other) qualities.
This practice of interactivity in/with a space as it changes over time allows multiple iterations of the same piece to be distinguished, each performance evincing the singular signature of space-time. 


Picture
UC Davis SSH, aka the Deathstar (click for sound).
10'15"x 2 (Deathstar)

Performed by Gretchen Jude & Kevin Corcoran (voice & percussion) around sunset on April 11, 2018, at the University of California, Davis.

In the piece's premier iteration, the performance space–the Social Sciences and Humanities Building (SSH), called the Deathstar due to its complicated floor plan and imposing facades–possessed widely indeterminate qualities. Passersby and unplanned environmental sounds acted as countless additional performer(s) that Gretchen and Kevin had to attend to as they improvised together.

Prior to performance as part of their preparation, the performers mapped out a procession between two acoustically resonant portions of the building's outdoor spaces. Thus, the premier consisted of two repetitions of the eponymous duration, with an untimed interlude during which the performers formally led the audience between performance sites.

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