A microphone is physically exposed to the consequences of breaking the distance limit that conventionally separates it from the subject of the recording. The video is a metaphor about the search for interaction and confrontation.
keyword - microphone
The microphone is placed in the foreground and is shot from behind. It becomes the alter ego of the recordist.
1) The performer is outside with a microphone in his hand.
2) The audience is inside and is listening to the performer from a loudspeaker that is connected to the microphone outside.
3) The performer tries to throw the microphone through the window and reach the inside where the audience is listening.
4) When the microphone enters the inside, the high gain volume (excitement) and the reduced distance (encounter) between microphone and loudspeaker produce an acoustic feedback.
5) In this way, the performer, who is metaphorically embodied in the microphone, finally meets his audience.
1) A performer swings a microphone in the air.
2) At each turn the microphone cable is stretched a few inches more.
3) The performer continues in this way until the cable length becomes unmanageable and the microphone goes crashing to the ground.
The performance is a metaphor about becoming aware of each one’s individual limitations. The cable length represents the point of maximum extension beyond which each one meets his own fear and force. The impact of the microphone to the ground represents the breaking point, the realization of each one’s personal limit, character and vulnerable nature.
Video – Research Material: https://vimeo.com/114553487 (password is “ciao”)
Video – Live Performance: https://vimeo.com/119807144 (password is “ciao”)
What happens when we stop thinking that the primary function of a microphone is to capture sound and translate air pressure into electronic signal? What happens when we violate the basic rules and principles of audio engineering and recording technology?
Mike the Drums is a series of audio recordings where, rather than a pair of drumsticks, I play drums with a pair of microphones. The project explores the physical properties and affordances of the microphone and presents a more intuitive and analog way to approach audio technology. By giving a body to the microphone, the project reﬂects on the physical affection and corporal aspect of material culture and how this sensual attraction subverts the conventional modes of consuming technology.
Mike the Drums is part of a series of works that investigates the practical materiality of audio technology. My interest is to go beyond technology’s vocational functions and set a new kind of relation with it. Here are the links to the other works: Leicester, Beyond the Yellow Line, Wind Sign, Marebello Beach, How Far Can I Get, Slingshot.
A body moves in space modulating the acoustic feedback that occours between microphone and loudspeaker. According to the position occupied, the body can block or activate the feedback.
Starting from the exploration of the physical nature of sound waves (frequency and wave lenght), the performance reveals the capacity of the body to filter and alter the propagation of sound in space.
Video 1 – Rehearsals: https://vimeo.com/118521780 (password is “ciao”)
Video 2 – Live Performance: https://vimeo.com/119800367 (password is “ciao”)
photo by Luca Ghedini
A thrower, equipped with a slingshot, tries to hit a microphone.
The impact of the hit is amplified and diffused at high volume from a loudspeaker.
The amplification of the hit allows the thrower to experience the “sensitivity” of the microphone, or in other words: to understand and share the feelings of another body.
Watch the DOCUMENTATION VIDEO here (my piece is at 17′:18” of the video).