Historical rooms that are obsolete machines.
Recorded in May 16 and 24, 2018 at the Yerkes Observatory, Williams Bay, Wisconsin.
Composed in 2021 using virtual acoustics of the Yerkes Observatory, through which are simulated the diffusions of the works Circumpass (2013) and Compass (2018), each of which abridges Coppice’s studies in Bellows & Electronics (2009-2014) and Physical Modeling & Modular Syntheses (2014-2018), respectively.
Captions for time and shapeshifting music.
Legend of Passing Time with Instruments and Captions is an abridged account of Coppice’s custom and modified instrumentation since 2009. Ranging from handheld objects and digital models to actual and simulated architectures, Coppice’s instrumentation is overviewed as an evolving idea. Presented from within the documentary space of the now defunct Yerkes Observatory in Williams Bay, Wisconsin, Coppice captions the passing of time and the shapeshifting music within it.
Presented in 2021 for the 10th International Scientific Meeting for Sound, Music, and Musical Instrument Studies in Gardunha, Portugal; and for the Sound Studies Lab at the University of Copenhagen, Denmark.
This presentation is an annex to Coppice’s script for audio paper Stewardship to Obsolescence and Preservation: Listening to Specimen Music through Yerkes Observatory’s Refractor and Reflector Telescopes.
A manufactured sonic frame.
Founded in 1892 and known as the birthplace of modern astrophysics, the Yerkes Observatory in Williams Bay, Wisconsin ceased operations in 2018. That year, its mechanical technologies were captured by Coppice (Noé Cuéllar and Joseph Kramer) to draw parallels between its acoustic signatures and functions, and those of Coppice’s glossary of study since 2009.
Musing on the lack of delimiting frames (Chion, 2016) and vanishing point (Carpenter and McLuhan, 1972) in the auditory, Coppice manufactures a frame out of Yerkes’ architectures and acoustics. Within that frame, Coppice’s creative processes are anecdoted, while pointing to coordinates where conjunctions of its music may be found. Highlighting the intermediary influence of recording and reproduction technologies on perception and perspective – both in limiting and enhancing ways – open-ended questions of actuality and fiction are posed.
In this self-reflexive documentary experiment of music and phonography, obsolescence and preservation are creative resources that span from instruments and devices to shapeshifting spaces. Addressed directly, the listener observes sonic identities in flux, and finds footing through retrospection, projection, and imagination.
Coppice’s sonic artifacts in alignment with Yerkes’ telescopes intersect multiple domains of time, space, and scale. How is experimental music conceived over time and what is seen through it?
Listen to the peer-reviewed audio paper on Seismograf.
Read the script on Issuu.
An asymmetrical emblem of balance.
Chrome/Boundaries reports 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.
Executed, composed, and presented during Syros Sound Meetings’ Sounding Paths Residency (Ano Syros), and in Athens, July 2018.