Within eyes on the trio is asked to be staged closely to each other and within close proximity to a variety of small electronics to become, as I think of it, an interconnected “machine.” In this “machine” each performer engages with each other in new and compelling ways. By blending sound from electronics with instruments, use of mimicry, tape playback, and purposeful obfuscation,
the impression of one cohesive unit rather than three individual performers arises. Yet, importantly, each performer keeps their individual identity,
often giving agency to improvise and make decisions regarding the overall soundscape.
This, to me, forms an environment that is at once mechanical but avoids the methodic and encroaches on wonder. Overall, this “machine” merges lo-fi technology with acoustic instruments to form new sound worlds, controlled
unpredictability, and a tape cassette that, by the double bar, will be entirely warped and brand new.
Due to the nature and fragility of the feedback and lo- electronics incorporated in this work, the entire performance hinges on acoustics, prescribed proximity, discovery, and connection. With these aspects at play each action and sound of the trio can be predicted but not assured.
Instrumentation: e. guitar, flute, clarinet, and feedback
commissioned by the Gaudeamus Festival and premiered by Nadar Ensemble.