Jan 30, 2013
angela

Exposition

On January 22, 2013

self-portrait-1

self-portrait-2

see

So the most important thing to me would be

THE SIMPLE TRUTH

It’s that fundamental idea that I’m just here.

There’s nothing more to say about that.

 

Then there’s something I have to deal with:

THE IMAGINARY ADVERSARY

Then there’s

LANGUAGE ITSELF

which is that it is a filter.

Then we can talk about

WHY

This can be broken up

—as far as I know, or have thought about it—

into MY MOTIVATION and THE CONDITIONS

 

Then there’s

METAPHOR

 

That is called the Homunculus, and this is called the Cartesian Theatre.

homunculous

Memories! That’s weird…

 

Then it will be the end of our species.

Again, I need to focus on right now.

So some of my MOTIVATIONS are fear-based

 

Maybe you’re just me.

Maybe you’re just me out there.

fuck-your-ugly-bones

[At this point I should have written

PROCESS

This occurred to me only later that day.]

 

capsule

the-sight-of-an-object

 

How-we-see-things

How-we-build-things

 

 

 

probably the most

legible manifestations of that communication

Aug 25, 2012
angela

Locative Audio

Ricardo Climent asked me to document the locative audio event hosted by Novars at the University of Manchester. This is the result. I gathered footage over two days–the practice/set-up day and the actual day. A lot of cool stuff that gave me ideas for my own cool stuff down the line–and specifically from having seen Atau Tanaka’s performance. Also Alex Allred’s essay was really poetic (here’s a link to that text in full). If you would like more information about the event there’s this from NoTours.

Locative Audio – a film by Angela Guyton for locativeaudio.org from NOVARS Research Centre on Vimeo.

 

Aug 25, 2012
angela

Human Seeking

Takahashi’s Shellfish Concern performance at Human Seeking:

Human Seeking from Rodrigo Constanzo on Vimeo.

HOSTED BY MEeeeeeeeeeeeeee!

Friday May 25th / 8pm / Kro bar on Oxford Road M13 9PG (across the street from The Academy)
Free Entry

Let’s explore sonic and visual information through improvisation.
The role of technology is considered, with each artist prioritizing it differently with regard to their own practice and human creative potential.
Performances . Talks from the artists . Q&A
Oh…and I’ve made this all tie in with my MA assessment, which means you will probably see me get grilled by my tutors (Helmut Lemke and Louise Brookes) at the end — but I welcome it!! Should be a really great night.

FEATURING

HELOpg
HELOpg (the Huddersfield Experimental Laptop Orchestra postgraduate group), established since October 2009, is a laptop ensemble based within the music department at University of Huddersfield. Interested in exploring the use of the laptop as a performance tool, HELOpg performs, records and tours experimental laptop composition and improvisation with a diverse mix individually created instruments. HELOpg currently consist of Samuel Birkhead, Julian Brooks, Sam Freeman and Scott Hewitt.

Takahashi’s Shellfish Concern
Takahashi’s Shellfish Concern is Angela Guyton and Rodrigo Constanzo (And on this night, sound diffusion artist Sam Salem will be working with us). We try to create moments where the boundaries between visual information and sonic information get muddied. We do this through performance. We do this through improvisation. We are trying to receive and transform information. The result is a feedback loop of interaction between two disciplines and three humans, hopefully yielding subtlety, grit, focus and beauty.

Richard Knight
Raised in the surroundings of conflicting natural beauty and industrial decay of northern England, many of Knight’s primary influences are based around the clash between organic and electronic. He began producing music and playing in diverse experimental bands/projects in and around Leeds, but had always been motivated by the the possibilities of encapsulating avant-garde stylings within more immediately unassuming mediums. In addition to using computers as artistic tools, Knight often utilises specifically controlled feedback as an instrument. The unique method uses mixing desks as sound sources: a typically passive audio device subverted to become an expressive instrument. Of most intrigue is the tenuous area between feedback and feedforward – the hazy and perplexing cusp between order and chaos.

Kate Freeborough
The artist highlights idiosyncrasies by merging with gathered items whilst responding to the space around her.

and a virtual appearance by
Danishta Rivero
Danishta Rivero is a musician and sound artist who resides in San Francisco. She performs solo improvisations on the Hydrophonium, a water-based electro-acoustic percussion instrument, with which she has toured the Pacific NW. Danishta also does vocals and digital processing in Blood Wedding, a just intonation noise duo with Chuck Johnson on steel guitar and modular synth.

 

Aug 20, 2012
angela

Push Pull Pony Film

I do film work (documentaries, tutorials, promotional videos, etc.) Click on the pony and gallop away to the official Push Pull Pony webpage. It has information such as pricing and packages offered.

Jun 17, 2012
angela

Erwin #6 – The Middle Ages

 

Erwin #6 - The Middle Ages

Written by Sergio Gato / Drawn by me

Jun 9, 2012
angela

TSC at the ICMC

Update June 9, 2012:
We’ve just gotten the video footage of our performance at the ICMC (International Computer Music Conference). I had originally felt bad about this performance (even though I thought, and still think, the painting turned out great) but after watching it back, I think even the performance was good. I barely remember any specifics from the performance itself. Watching this back is like watching someone else–its nice.

Originally post below – from August 3, 2011:

ICMC

August 2, 2011 – We performed at the ICMC held this year at Huddersfield University. We attend the Unconference where the use of gesture and visuals were discussed with some interesting people (These are some of those people: Freida Abtan, Adrian Freed, and David Wessel.).
We hung out with Scott Hewitt. One of the things we discussed was the tool Rod and I want to build that’ll allow me to live sample & synthesize sound via the gestures I already make while painting. He encouraged us to build the hardware, just hunker down, and figure out some of the programming so we’ll have a better understanding of what the thing will do.

The concert was really well attended. It was held at The Graduate, the university’s on-campus bar. Believe it or not, this crowd of academics got a little rowdy! I really liked seeing this one guy do some live coding, projected large on a screen, so you could see what he was doing. It was fun to watch.

Our performance went so-so. Rod and Anton think it went better than I think it went though. I just couldn’t get into it and kept repeating myself. The venue itself was really hot (Miami hot). After 15 minutes I was dripping sweat and black paint. Niiiiice and griiiiity.

The painting is now owned by P.A. Tremblay and can been seen in his office at the university.

You can listen to the performance here:

TSC @ ICMC2011 by Takahashi

Jun 7, 2012
angela

Erwin #5 – Erwin Confronts Newly Minted Baby

Erwin #5 - Erwin Confronts Newly Minted Baby

Eritten by Sergio Gato.
(Who I wish had a website I could link to.)
Drawn by me.

May 19, 2012
angela

A Greater Horror

I made this video for A Greater Horror. This is their very loose re-imagining of Tyler, the Creator’s “Bastard”. While filming, I decided to try to hold a camera in each hand so there would be a bunch of different angles, since I’d be moving the whole time. It was good. I had to stabalize a good shot with one hand before moving my other hand into another good position–and the whole time leap frogging like this. Since the majority of this song is improvised its not like I could just use shots from other takes willy-nilly. This video is edited from mostly one take though I do sneak in a few seconds from other takes for the chorus.

Rodrigo Constanzo – electronics + keys
Mauricio Pauly – electric guitar
Alex Tod – drums

May 11, 2012
angela

Reverb

Reverb
Owned by Kathryn Miller.


On March 30th, 2012 TSC performed as part of Reverb, an exhibition event at Bankley Gallery hosted by the MACFA students (of which I am one). Prior to the performance I had asked my peers on the course to record the performance. I let them know that they could film as much or as little of it as they wanted, and also let them know how I was planning on editing the footage together. This is the result (above).
The video itself is downloadable from vimeo (though there is an HD version on youtube, as they allow for a higher file size, but its read-only), and you can also download the sound file from the [free] downloads section of this site. Everything’s under a CC-BY license.

I find it really rewarding when other artists want to expand on the work I create. What contributes to that attitude is the notion that these performances are just me trying to put forward the best possible performance for the version of the work as it is at that time (and I’m speaking for myself there–“I” vs “we”–because I can best express my own thoughts, in my own words, when I’m not trying to democratize them or mediate them to try to encapsulate what Rod and Anton might also think.)

Expanding on that idea: Not in any kind of grandiose way, but I think some ideas are too big, or full of potential, to belong in just one person’s care. And I’m not saying that this performance is ‘a big idea’ or anything like that. These are just some of my thoughts on the free flow of ideas. I think its really arrogant for one person to presume they should be an idea’s sole keeper. There can be so many directions that a single idea might take, one person might not be able to actualize every strand even if they devoted their entire life to it. As far as I’m concerned, this is the only way to move forward when weighted against the disservice and harm that the alternative would suggest. We need evolve our idea of ownership so it doesn’t stunt humanity’s own evolution during this time of increasing technological and creative wonder.

Needless to say I got a very excited email from my friend Mauricio Pauly saying [really excitedly] that its rocked him out of a blockage he’s been having regarding a piece he’s been writing. Its beyond awesome that something I made is useful in that way.

Reverb Red

(Skip ahead in the video to 5:14 to see the moment the still above was taken.)

(left) This is a picture of the painting as it was exhibited post-performance and for the duration of the exhibit. I had decided that I would make the decision how [and IF !] to represent my work in ‘object’ form only after I had performed (though I had planned for each eventuality.) Right after the performance on the night, I transferred the audio onto my ipod and mounted it along with headphones, so that it was available to the audience immediately. I think this seemingly improptu installation spoke to the improvised nature of the work. On this occasion I decided to leave the canvas stretched, as I had decided to give it away as a gift and it was still stretched during that transaction. I feel that at that point, ownership was transferred and I was able to “let it exist out in the world” absolved of any involvement in transforming it further. In my mind this was the perfect resolution since for me the performance, in all its transience, is the true form of the work, though there is an actual physical object that I’m left to contend with.

Reverb flyer

This is one of the flyers I designed for the event (above). The text is inspired by a drawing that Cristine Brache made once upon a time.