Mock Tudor No.2 (Why doesn’t someone get him a Pepsi?)

Saturday 7 June 2008

Now that my work is on display in the Redrawing exhibition (plug!) I’ve started a new page about my art exhibitions on the main website.
I’ve mentioned before that:

Rather than try to be original, I have worked for some time with the idea that each of my works should be consciously modelled on another composer’s works or techniques, and so instead of attempting an original work that unwittingly imitates an older one, I might create an imitative work which, in its divergences from the model, allows some genuine originality to emerge.

This has already happened with String Quartet No.2 (Canon in Beta), which is on show at Redrawing, where people have been remarking on the differences between my work and the original it seeks to imitate, as much as on the similarities.
I recently discussed how David Tudor was forced by material circumstances to recompose his live electronic work Microphone. In 2002 I made my own homage to Tudor’s work, in an installation at Bus gallery in Melbourne.
I wanted to try to create for myself, using only the sound equipment I had readily to hand, a live sound installation that worked along the same principles as Microphone. The sound would have to be generated live, caused by feedback between two loudspeakers and a microphone. Furthermore, the sound had to continually change, without falling into stasis or obvious, repetitive patterns.

Mock Tudor No.2 (Why doesn’t someone get him a Pepsi?) differed from Tudor’s piece by producing a constant stream of sound, which produced varying patterns by splitting the signal from the microphone into two streams, each of which were treated to a series of interacting processes such as flanging, phasing, modulation. The two different types of rather broken loudspeaker acted as filters, as did the cheap microphone used, which selectively picked up sounds to recombine into the feedback signal. Any sounds made in the room were quickly subsumed into the feedback hum.
Mock Tudor No.2 was another work of radical amateurism, producing distortion away from a pre-existing model by trying to copy it as closely as possible. The piece functioned as a tribute both to Tudor’s compositional thinking, and his general, practical approach to his work.