An asymmetrical emblem of balance.
Chrome/Boundaries is an “overtly anti-expert” report of the long distance realities of documentation. Its images assimilate sight and hearing and the mechanics of audiovisual/information frames – relations at times incongruous. Things we see but do not hear, things we hear but do not see-through.
For Coppice, diffused phenomena and the promises of devices to capture them form “an asymmetrical emblem of balance. ” Unlike timestamps and aging technologies, spectatorship is a fluid standpoint, decentralized, perhaps non-isolable, like listening.
Executed, composed, and presented during Syros Sound Meetings’ Sounding Paths Residency (Ano Syros), and in Athens, July 2018.
Read: Imaginary Correspondence (2018)
Post-industrial device music.
A chiral object of memory.
A dream construct.
The music can be found in Green Flame (caduc., CA)
Music for driverless dream cars on their self-driven way to the junkyard.
A construction site.
The music can be found in Open On Occluded Conditions (untitled folder, RU, 2017)
A molten image of songs, falsehood, and deflection.
Sensual music for a folding world in which songs are directions to look.
An object induced by manipulated magnetic fields.
Blueberry is an object induced by manipulated magnetic fields.
Opportunities to receive Blueberry were extremely limited; none remain available at this time.
For more information, please visit suppedaneum.com
Territory sees digitally held air seeing edges holding.
A non-narrative glance.
A story with many holes.
A proposed “idealisation” of experience of parts.
Series of remixes, interventions and interpretations of "Hoist Spell."
Studies, alternate takes, and live versions from the Big Wad Excisions sessions.
Ex includes an excision of the original board photographed for the Big Wad Excisions artwork, a CD-R with studies, alternate takes, and live versions of material revolving around Big Wad Excisions, and a handwritten carbon note. The twenty copies produced were offered in support of Coppice’s Compound/Excisions tour in March 2014.
Accretion, excision, nostalgia.
A navigable composition for software.
Soft Crown Transparencies is a ‘navigable composition for software’ that repositions the listener in a new type of active listening. It provides coordinates for engaging shifts of vantage point (as all sound layers develop in time) through a navigable vertical axis on the screen. Multiple sectors are accessible for close listening of different points of the interior of the prepared pump organ and of the multiple generations of tape processes.
Soft Crown Transparencies isn’t a game or a tool. It invites the listener to figure a porous journey through a listening format that they can intersect as the music unfolds – to obtain finer details of the music’s materialities and to localize additional audio not found in the stereo mix of Soft Crown.
Size: 252 MB
© 2014 Coppice
Compatibility: MacOS 10.6.8 or later
(Currently not available for Windows OS)
Special thank you to Mathieu Ruhlmann, and to Joey Beaver, Cole Friel, Ryan Hogg, Anthony Martinez, Tim Mena, Brad Nayman, Phil Pobanz, Brent Reardon, and Kyle Schroeder for their help in the construction of portions of the Estey Expander Module electronics present in Soft Crown.
Two cordoned-off vantage points.
A summer amalgam.
What is kept in.
Artifacts on tape pulled from cassettes used in a dual tape-processing device.
All index transfers are artifacts on tape pulled from cassettes used in a dual tape-processing device. Side B contains a sequence of trio performances of Seam (2010), recorded between 2011-2012 in Chicago. In order of appearance: Carol Genetti, Sarah J. Ritch, Berglind Tómasdóttir, Julia A. Miller.
Fibrous processing of tabular appearances.
Three perspectival accounts.
Tape split with N.N.N. Cook