ID#: 577

Sonic Amalgamations (2025) ; 7:42

by John R. Ferguson & Nicole L. Carroll

Queensland University of Technology, Queensland Conservatorium Griffith University

A growing range of tessellating boxes evolve along a surface; some produce electronic sound directly via the infamous 40106 CMOS chip, others function as custom controllers with knobs, buttons, and accelerometers connected to Ableton and Max software to create a unique instrument that is both “hands-on” and modular. The boxes are performed utilizing physical controls and sensors as well as through placement of the boxes in proximity to others. The act of considered placement adds a performative dimension to the system, as the gestures manipulate ambient and direct light to affect sonic textures and rhythmic patterns. One clear motif that emerges in this work is the melody in the second half that is created when computer-controlled LEDs elicit melodic elements from the light sensitive synthesizers. Some of the boxes thus function as controllers, some as receivers, the overall goal being the creation of a data, visual, and auditory feedback system.  This project foregrounds digital fabrication, custom code, and an interactive approach to performance and composition. The authors have developed technologies, techniques, and interactive practices that highlight the role and functionality of their instruments and, as the guitarist Derek Bailey put the idea: “The instrument is not a tool but an ally. It is not only a means to an end, but also a source of material, and technique for the improviser is often an exploitation of the natural resources of the instrument (1993: 99).” We note that creating music with electronics and code involves few predefined constraints and therefore implies “a disposition towards processes, connectivity, and relationships—how things [and people] may or may not interact with each other” (Richards 2017: 246). We concur with Jef Chippewa (2016), who suggests “DIY audio and sound art practices celebrate the unique visions and practices of the individual artist” and whether programming a microcontroller, soldering electronics, laser cutting wood, patching digital sound in Max, all of our work revolves around making. Finally, the notion of craft is important to us; refactoring this in digital contexts, especially in regard to DIY and maker communities, is of particular interest.  The compositional workflow involved capturing improvisations with our instruments/systems and then editing/layering these recordings and composing into an initial form. Close-captured source sounds (paper, balloons) were then performed and captured while listening to the edited improvisations. Once these were incorporated, additional overdubs using a Postcard Weevil by Bugbrand were also recorded. The final outcome blends edited recordings of our improvisations with highly manipulated source sounds and a range of processing to facilitate successful sonic amalgamations.