Visual Elements

Version History:

This project explores the technical, design, and aesthetic possibilities of 2-D, flexible audio speaker technology. The premise underlying this exploration is the idea that sound can be thought of as a physically immediate, transparent and embodied material. The end goal for me is the use of this material for my art practice: Sound Art, Installation, and Composition.

Why do we create art and what do we expect it to do? This is the question posed in 68. In the beginning we witness the creative act: a poet, writing and speaking out the earliest fragments of his poems; discovering through experiment his voice, both physically and figuratively.

whatWALL? (2003)

For alto saxophone and quadraphonic tape
Written for and dedicated to Brian Sacawa.

Roberto Morales, Cenzontle

Skilled improvisers are able to shape in real time a music discourse by continuously modulating pitch, rhythm, tempo and loudness to communicate high-level information such as musical structures and emotion.

“Lumen” is an hour-long composition in three movements. Using shadow screens, precise mime-like movement, and a unifying musical language, the movements work together to create a narrative form inspired from both Javanese shadow play and early silent cinema. The three movements can also be performed individually.

I. Lumen Prelude -- in which we are introduced to our

Hysteria (2000) for trombone and electronics.
music by Cindy Cox.
text by John Campion.
trombone performed by Abbie Conant

The large-scale form for ME mirrors the classic seven yogic steps as follows:

1. Preconscious ME, Open Vowel Space
2. ME Builds the Language Wall
3. ME Sings His Narcissistic Canon
4. ME Sings His Greatest Song
5. ME Speaks to the Crowd.
6. ME Speaks to His Prompter
7. ME Is Cast Into the Future and Dies

Edmund Campion, music
John Campion, text and concept

2001-02 Persistent Vision , interactive computer music with dance