November 23, 2012
Above is an exhibited poster I designed in collaboration with my apprentice Stacey D’Andelet using processes for design outcomes. Around 2008, when I began to collaborate with David Dunn, David and I engaged in conversations regarding our interests, concerns, and processes. I am always eager to move on and employ new found insights during my sonic and visual practices. David introduced me to Autopoeisis; an organization that produces itself. At that time, I was already thoroughly engaged in systems to drive my audio work and during 2006 had begun to employ them to make photographs; see the print below, A Pollinator of The Submerged Peninsula, produced around that time.
Since then my interests in systems, employing processes informed by science, and internalizing experiences into my work has continued to evolve. Autonomous systems, cellular automata, shuffle algorithms are but a few concepts that have entered my complex relays. They are absorbed into my processes to coax my course, arrangements, and find approximate solutions to my idiosyncrasies. Below are examples of emergence in the performative visual scores I am presently using to post-arrange audio recordings I made in the Buena Vista Building, in Miami’s Design District, during a sound installation I was curated into on October 19.
My sound piece was commissioned by SFCA for the Listening Gallery with funding from the Knight Foundation, and with additional support from the City of Miami Beach Cultural Affairs Program, Florida Department of State Division of Cultural Affairs, Miami-Dade County Department of Cultural Affairs, and Sennheiser USA. The event was organized by The Night Club and the guest curator was Gustavo Matamoros. The event was titled Acoustical Transpositions in a Single Architectural Space and it featured a conversation with Vito Acconci centered on issues and ideas about sound, design and architecture. Vito Acconci has been named Designer of the Year by Design Miami 2012; however, for personal reasons, Vito Acconci could not attend the featured conversation for this event.
Below are two photographs of my installation during the time I prepared the sounds for the Listening Gallery using a piano altered by Alison Knowles and processing. In the background are a series of posters by my apprentice Stacey D’Andelet for performances by Jaap Blonk. The posters are unique as a result of glitches employed with my printer.
My performative visual scores, above and below, are for large scale metallic prints, they are documentative and convey information during my present audio processes. They are in the process of changing in form and nature while simultaneously transforming the structural properties of an acoustic body that once was. In the visual scores you will find the evidence of cellular automata I have programmed to use both visually and sonically. You will also find the games I’ve employed, relatively simple interactions, for new patterns to arise. A snippet of the audio work in progress can be found here.
November 9, 2012
Kerry Ware has been processing audio recordings from aerial footage shot by William Kaddell during rides on his powered parachute. The snap shots above are from William’s video footage over Bonneville Speedway Road. William is a multi-media visual artist with an emphasis in stereo-graphic media. He uses his powered parachute to capture his stereograph landscapes. Below are links to the videos with sound by Kerry Ware:
You can listen to additional work by Kerry Ware at his soundsketches.