Draw Agreement

– I drift away listening to it. – A constant feeling like it’s going to stop, resolute, or turn, run out. – That sense that it’s getting a little too slow and then its speeds up to catch up with itself and it overshoots. – You know that something is ending but it’s not winding down. An interlocked sensation of something concluding and growing simultaneously, staggering while also becoming more present. – Iterations, arrivals and plateaus. Is that still what we’re doing? – Are they three features that are constant? – Are we describing our method or composition in general?100



Vinculum (Coincidence) is a composition originally conceived as part of a curated performance series that focused on interactivity between artworks and their audience. Upon approaching the subject of interactivity, we delineated a performance structure in which our movements through space guided and followed the audience around the museum setting, creating constellations of intersecting sound events. The flexibility of the score generates opportunities for the audience to experience sonic connections, whether real or imagined. The moments of “coincidence” suggested in the title emerge from the becoming of events from four channels of aleatoric playback, combined with the performance of scored procedures for two accordions, and the movements and engagement of individuals in the audience. The four100


A Tenuous Attraction (Tricia Van Eck)

What is public space within a museum? We know how it looks, but how does it act, sound, and feel? How do we experience art in public? This question was at the heart of Interactions, a four-month long series of artist and audience activations that occurred within the exhibition Without You I Am Nothing: Art and Its Audience, which considered the experiential relationship between artwork and audience. As curator, I invited Coppice to create a work for Interactions to explore the distinct, visceral relationship that occurs when artists create work in the presence of the viewer. Vinculum (Coincidence) consisted of100


Tape Processes

Since late 2009 we have developed compositions using a modified boombox – a tape loop machine that records and plays back simultaneously. Sounds that enter it are released within seconds, sounding gentle feedback. Our first compositions using this boombox and a shruti box marked the beginnings of our collaboration as Coppice, and a phase of up-close entwinement of both instruments in decidedly quiet gestures. Since then, we have expanded our dynamic palette and range of instrumentation to include more bellowed instruments, custom instruments and other electronic processes. Last Fall we began imagining what has become Pied, a composition for tape,100