Was performed at:
This iteration of Brickwork explores destruction as something that has the potential for regeneration. Live coding using TidalCycles, Hydra, and incorporating live vocals, this synthesis of the digital and vocal expands on the relationship between technology and performer as something that is symbiotic, playful, erroneous and against notions of rigid control. In exploring the physical space away from the laptop screen, Brickwork uncovers the potential for performance in-between live coding and live instrumentation.
Challenging the relationship between artist and tool as one that seeks to fulfil technological idealism by playing with visual, spatial and sonic dynamics, 'Destroy' seeks to simultaneously build and destroy structures of sound and textures in attempt to capture a moment that embraces paradox through playfulness. It is in this frenzy of live improvisation and costume-fueled expression that Brickwork seeks to destroy the impulse to resist destruction itself – please dance!
The abstract is displayed here for proof-reading and will only be part of the published proceedings, not of the final version of this web catalogue.
Using TidalCycles to simultaneously build and destroy repeating patterns of sound, this iteration of Brickwork titled 'Destroy' embraces chaos as a positive allied force, serving as a line for escape. The artist uses both Tidal and Hydra to live code the sound and visuals, also incorporating live vocals to add dynamics physically present within the space. In fusing these contrasting, yet perhaps equally 'raw' forms of instrumentation, the intent is to create a moment charged with sensitivity and intensity, one that feels precarious and authentic in its plight to build chaos and destroy the impulse to resist it.
Live coding has encouraged Brickwork to explore live performance in a hybrid dimension; as something that explicitly hinges on the possibilities of spontaneity, playfulness, and creates a working relationship between artist and tool in real-time. The performance will build a structure that exponentially brings in layers of sampled and synthesised sounds, building to a climax wherein the elements strip back and the vocals and join in with instrumental textures. The performance expands on the act of live coding as something that does not happen purely behind the screen; it is this relationship between the digital and the physical that interests Brickwork as something that is mutual rather than opposed. In resisting technological idealism, this performance's intent is to reflect the margins of chaos as a disruptive force - an upsurgence of the DIY, fun and erroneous that may challenge our overwrought desire for order.