multisample
just did a couple of test featuring 4 different samples running at the same time
stay tuned.
codenamehk
Category: composition
Link | October 29, 2014
official archive of the performance of codenamehk: man of a crowd
http://www.cmhk.org/sonic-anchor-2/sonic-anchor-online-archive/
Virtuosic Electronica
By Samson YoungHow does one listen to one’s native language as shapes – that is to say, to consciously mask the meaning of language, so as to hear utterances not as words that convey meaning but as discrete sonic objects? Artistic experiments in the last several decades – including musique concrete works that sought to reconfigure recordings of speech, decades of exploration in sound poems, and extended vocal compositions including Berio’s epic Sequenza for voice – have demonstrated that acousmatic listening is indeed entirely probable. That acknowledged, whenever speech is used in a sound work there are often moments of slippage when I find myself succumbing to the desire to ascribe meanings, even if I’d been signaled not to, and even if it is in a language that I am not familiar with. So the more interesting question for me is always this: what are the sets of conditions that make acousmatic listening easier?
Bjorn Ho began his set at the last edition of Sonic Anchor with a field recording of the Shum Shui Po area. The soundscape, the conversations and the cacophony of irregular rhythm were soon overwhelmed by a rather more regular and melodious groove, consisted mostly of metallic sounds that for me occupied an entirely different sonic space. I found myself first growing impatient with the distance that these materials consistently maintained. As my mind wandered, I occupied myself with eavesdropping on the conversations. But then out of nowhere, a violin track that functioned like a musical quotation is thrown into the mix. For a brief magical moment, the awkward disjointedness was rationalized, aestheticized, and given form. From that point on I found myself listening cinematically, as if to the sound track of a wonderfully non-sensical movie. A minimal electro-dance groove closed out his set, conjuring the image of a chase scene at the Apliu Street that ended abruptly. I didn’t feel like I was always in good hand – but it was most certainly a fun ride.
Link | October 24, 2014
Codenamehk_Jihen
this is a collaboration between me & VV, while i’m doing a scratching track, she’s doing a visual projection at the same time. the video is not yet posted on the internet since i have no idea whether the performance is suitable to be shown.
my scratching is based on one LP only which is, the national anthem of the People’s Republic of China.
and the performance date is 30th September 2014, one day before the national day of PRC, and two days after the tear gas @ Hong Kong. for more information of the umbrella revolution, plz refer to http://en.wikipedia.org/wiki/2014_Hong_Kong_protests
Link | October 6, 2014
Sonic Anchor #18 Virtuosic Electronica 聲音下寨 #18 電音旅行團
Sonic Anchor #18 Virtuosic Electronica
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Performer: Vvzela Kook (China) + Bjorn Ho (Hong Kong)
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CMHK prides itself for being a platform for homegrown emerging talents, and artists who deserve more attention. This edition of Sonic Anchor will feature two names in laptop electronica we think you should definitely get to know: Vvzela Kook and Bjorn Ho. Bjorn Ho is a guitarist, interactive designer and sound artist. His high-pitched, seductive and tone-rich electronica samples the noises of Sai Yeung Choi Street, and transforms them into a strange and beautiful chill-out groove. Vvzela Kook – a protégé of the legendary Chinese sound artist Yao Dajuin – received her training as a media artist at the China Academy of Art. Her superbly crafted, highly detailed and carefully tuned soundscape speaks with poeticism, a sense of structural balance, and an impressive virtuosity – if one could indeed be virtuosic with the laptop.
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Post-performance Discussion will be held. Approx. 30 mins.
Tickets are now available at URBTIX outlets
Credit Card Telephone Booking Hotline:
2111 5999
Audience members are strongly advised to arrive punctually. Hong Kong Arts Centre reserves the right to refuse admission of latecomers.
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Administrative Support
Flower Music
Contemporary Musiking
http://www.cmhk.org/
聲音下寨 #18 電音旅行團
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演出者︰曲倩雯（中國）+ 何謙信（香港）
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「現在音樂」以提拔新晉藝術家的使命而自豪。「聲音下寨第十八擊」推介兩個於電腦音樂領域嶄露頭角的名字︰何謙信、曲倩雯。擅長結他、互動設計及聲 音藝術的何謙信，會以高亢而富有魅力的電子音樂演繹旺角西洋菜街的喧鬧繁華，並將之重組成優美獨特、令人放鬆的節奏。曲倩雯，中國傳奇聲音藝術家姚大鈞的 得意門生，曾於中央美術學院接受多媒體藝術訓練。她將會透過精巧細緻的聲音光景與詩情畫意來一次現場對話；平衡的音效結構，配以超凡技藝，為電子音樂的擁 躉帶來嶄新的藝術體驗。
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設演後座談會，約30分鐘
門票現於各城市電腦售票網公開發售
信用卡電話購買服務:
2111 5999
觀眾務必準時出席，香港藝術中心有權拒絕讓遲到者進場。
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行政支持
Flower Music
現在音樂
http://www.cmhk.org/
May 15, 2014
codenamehk: heteroglossia
On 8 May 2014, the piece codenamehk: heteroglossia finally performs in front of audiences
it is held @ 6/f study area, CMC, School of Creative Media, City University of Hong Kong.
it is part of the project codenamehk, which features a series of artwork made by HO Him Shun, Bjorn.
The objective of the series is to make use of art practices as a form of metanoia, so as to turn the negative energy of my everyday life towards a driving force for me to carry on in the city Hong Kong.
For codenamehk: heteroglossia, my focus is on the public transport we tackle everyday. for most hk people, the transportation system is something we cannot escape from everyday life. while each of the vehicles are filled with TV screen for brain wash advertisement, announcement in different languages or news repeatedly every 15minutes. i would like to look for a special sonic experience within the vehicle, maybe, to focus listening on the motor sound. i try to acquire a set of electromagnetic microphones so as to make some experiment on the listening exercise. by spending a couple of months doing the recording practice in different vehicles, finally i take the double-decked bus as my sole subject matter in this work. i try to make some field recordings on the bus and then i try to do a composition on the materials i got. the final outcome is later revealed as a live performance, while much more possibilities are welcomed.
when i do the composition of the piece, i try narrow down the number of sound clips i have in the beginning. i had only 8 tracks of sample for my to play with, and i try to apply a couple of filtering to the sound. i mainly use eq, reverb, delay and resonance filter. for the live, i start by bring up all the clips at the beginning, and then try to do the filtering, shaping the sounds, bringing them in & out & so on.
the results at that day is satisfactory and i would like to look for any chances for doing this performance more. also, more feedback will be welcomed.
Video | May 15, 2014
1st presentation_video
video by tsehiuyu
codenamehk 