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1. Shy Nag Code Opera

   Co-teaching an online course at UnderAcademy College, Chris Funkhouser and Sonny Rae Tempest co-authored the libretto Shy nag by applying a series of intensive digital processes to a piece of hexadecimal code (derived from a .jpg image). Shy nag, after a year of intensive deliberations with regard to media application in a performance setting, is now a multimedia, “code opera” that transforms (repurposes) the same piece of code to add visual display (scenery) audio component(s) to the work. In Shy nag, Microsoft Word and numerous other programs and processing techniques have a non-trivial presence in the composition. Software serves as a type of interlocutor that sustains the writers’ experimental objective – a time-consuming process blends creative and uncreative. The exercise also contains destructive qualities as the code migrates to language, image, and sound – although the authors prefer foregrounding its multi-level transformative properties.

   Hannah Ackermans - 30.11.2015 - 10:43

2. The Lips Are Different

   The Lips are Different  is about the Canadian citizen Suaad Hagi Mohamud — born in Somalia — who was accused of not being a Canadian citizen when she tried to return to Canada from Kenya in 2009. The work links over-surveillance, racial discrimination, photography, media representation and issues of identity. It comprises real-time video written in Jitter; improvised music based on a comprovisation score and both performed text and screened text.

   An article about the piece Creative Collaboration, Racial Discrimination and Surveillance in The Lips are Different  containing the piece itself can be found here.

    

   Hazel Smith - 20.03.2021 - 08:28

3. Time the Magician

   Time, the magician (2005) is a collaboration by Hazel Smith and Roger Dean written in the real-time algorithmic image-processing program Jitter. The piece begins with a poem, written by Hazel, on the subject of time:  influential on the writing of the poem was Elizabeth Grosz’s The Nick of Time.  The poem is initially performed solo, but as it progresses is juxtaposed with live and improvised sound which includes real-time and pre-recorded sampling and processing of the voice. The performance of the poem is followed (slightly overlapping) by screened text in which the poem is dissected and reassembled. This screened text is combined in Jitter with video of natural vegetation, and the sound and voice samples continue during the visual display.

   Hazel Smith - 26.03.2021 - 11:49