Swan Reeds (2017)

for voices, field recordings, 8-speakers, mobile phone playback, and electronics.

I run through the Berringa Park wetlands area. It has become a route for me; close to home, close to the river, to excercise, to show to others. Headphones are plugged safely into my ears now, and the doctor on the end of a podcast speaks about false memory and eye witness testimonies. I take a shortcut, skip over stray pieces of bitumen that are being reworked. My headphones fall out of my ears and I look around. 

This work was built upon "intentionally disturbed" ecostructural field recordings of the Berringa wetlands. It investigates mimetic techniques for electro-acoustic composition, and relies upon a variety of spatialisation methods, including roaming-mobile phone audience playback. 

collaboration 

composition

Brute & Brut (2020)

​Site responsive sound work using GPS triggered audio. Presented in Kings Park, Perth as part of The Blue Room Theatre Winter Nights program.

Co-created with James McMillan of Fugue.

French Over (2020)

Site-specific theatre work staged in 3 cars parked in the State Theatre courtyard. Part of The Blue Room Theatre Summer Nights at Fringeworld Perth.

Written by Izzy McDonald and produced by Geordie Crawley of Rorschach Beast.

Quokka Apocalypse (2020)

Theatre work for The Blue Room Theatre Summer Nights at Fringeworld Perth. Supported by Propel Youth Arts WA's Drug Aware Y Culture Grant.

 

Written by Zachary Sheridan of public service announcement.
 

media: 1 2 3

Desire Lines (2020)

Dance & physical theatre, installation and live electronic work [40'] for The Girls School at Fringeworld Perth. 

Choreographed by Lauren Catellani of 
Fonder Physical Theatre. Performed by Jessie Camilleri-Seeber, Mani Mae Gomes, Sarah Sim and Mitch Spadaro. 

Illawarra Flame studies (2019)

[open duration]

A ritual performance / installation, co-created with Be Gosper. This piece responds to the Black Summer 2019 Australian bush fire season. What community action and preventative measures within the pyrocene looks like. Raising concern to colonial ideas of fire stewardship and land management in Australia. 
 

For Illawarra flame tree flowers, needle and thread, pedestal fan and stringed instruments.

Commissioned by Kelsey Diamond for the exhibition Found at Paper Mountain.

Rerail (2019)

[open duration]

A site-specific performance and installation

co-created with Scott Galbraith for In Situ at Cyril Jackson Senior Campus. 

For bed slats, resonating containers, plastic sheets, tape and portable speakers. 

Supported by TURA New Music and STRUT Dance. 

Watering (2019)

A dance & physical theatre / installation work with live electronics and objects, performed at Old Customs House for FRINGEWORLD Perth. 

Supported by Ausdance grant. Awarded WA Dance and Physical Theatre Award.

Choreographed by Lauren Catellani of Fonder Physical Theatre. Performed by Ellen Broadhurst, Mani Mae Gomes and Sarah Sim.

Bande passante/Bandwidth (2019) [open duration]

with Claire Veysset 

 

site-specific performance for 2 performers and portable speakers, created as part of Phonurgia Nova Radiophonic Workshop with Alessandro Bossetti (Arles, France)

Bande passante/Bandwidth 
(2019)
Connectivity (2019)

Connectivity (2019) [11']

Rikki Bremner

 

dance work for STRUT Dance Company's Short Cuts at King St Arts Space with live electronics.

Untitled (2019)

Untitled (2019) [10']

Mel Tan and Logan Rimshaw

 

performed in STRUT Dance Company's Short Cuts at King St Arts Space.

Moulding (2019)

Moulding (2019) [15']

Felix Palmerson

 

dance / installation work for Melbourne Fringe Festival.

Desire Works (2018)

Desire Works (2018)

tape, released on Second Iteration. 

nine (2018)

nine (2018) [1'] 

co-created with Be Gosper, released in the collaborative album EX / IN (responses to Dan O’Connor’s IN / EX), Tone List

Reverb of the
Perth Town Hall (2018)

Mapping the reverb of the Perth Town hall in collaboration with Elliott Bennett. 

Ada (2018)

Ada (2018) 

Noemie Huttner-Koros

 

theatre work, presented at The Blue Room Theatre, Perth.

ID (2017)

ID (2017) [variable']

for ensemble of any size and instrumentation.

 

ID was written for and premiered at the Breaking Out concert as part of Tura New Music’s Totally Huge New Music Festival (2017). This concert was recorded by ABC Classic FM and featured on their New Waves podcast

ID was selected by ABC Classic FM to represent Australia at the 2018 International Composers Rostrum in Budapest, Hungary.

notes

It is only through the digital domain that artists & practitioners gained complete access to sound & its acoustic components, with electronic technologies enabling the manipulation, modulation & precise editing of sounds on minute scales of time and frequency. ID explores the intricacies and evolution of four loops by taking structural and workflow concepts of electronic music production, and recontextualising them in a live acoustic ensemble setting.

Ada (2018)

Ada (2018) 

Noemie Huttner-Koros

 

theatre work, presented at The Blue Room Theatre, Perth.

Lemons (2018)

Dance work for Here. Moving at Perth Town Hall as part of Fringe World Festival, Perth.

Choreographed by Lauren Catellani of Fonder Physical Theatre

 

Sunbank (2016)

Sunbank [3']

electronic

composed for the WAAPA Composition concert series.

We Exist Elsewhere (2017)

We Exist Elsewhere (2017)

Lauren Catellani, Fonder Physical Theatre

Ban Tham Lot (2016)

Ban Tham Lot (5')

electronic

Sitting underneath hundreds of thousands of bats and swifts, as they wake up/return to roost in the Tham Lot caves in Soppong (a Shai tribe town on northern borders of Thailand). 

It was first performed as part of the Mandurah Fringe Festival. 

Crystalised (2016)

for field recordists, wind quintet and electronics.

Something Lemon (2016)
Sookie (2017)

Sookie (2017) [45']

research driven electronic project that uses perceptual grouping theories (specifically the psychoacoustic notions of stream segregation and stream fusion introduced in Albert Bregman's Auditory Scene Analysis) to investigate the notion of perceptual ambiguity in music. With this project, I was interested in developing a set of compositional tools that could help ride the transitory state between fused and segregated 

perceptual organisations.​​