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c.v. english (pdf)
c.v. francais (pdf)
see also chaikana.org
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sound files
Love Your Enemy (2004)
I started out by extracting the transients from the piece "Love Your Enemies" off the Dead City Radio album by William S. Burroughs (music on this piece by John Cale). The transients, in this case, are partials that have an average change of greater than 40 hertz per analysis frame, where an analysis frame is about .0174 seconds. From that point I pulled anything out that sounded interesting to work with and pulled out the bass frequencies a bit.
Working Girl (2003)
Working Girl was created in 2003 for the Chapel of the Chimes concert in Oakland CA. Working Girl is comprised of 60 recordings of women working on various tasks. The women recorded include firefighters, mothers, beauty pageant winners, zookeepers, welders, musicians, baristas, activists, train engineers and warehouse workers women from all walks of life doing every kind of job.
55 of the 60 sound files used in Working Girl were recorded on a Sony Mini-Disc recorder and a set of binaural microphones. The remaining 5 were recorded onto DAT with two SM-57 microphones. The original version was 4 hours long."
IX Pieces for UPIC (2003):
I, II, III, IV, V, VI, VII, VIII, IX
These pieces were all created using a UPIC - (Unite Polyagogique Informatique du CEMAMu) A UPIC allows you to "draw" your music - the sound waves, the envelopes, the timbres, and how all those things fit together. The sound wave in this piece is from the sound of a breaking glass.
Ambient Symphony (2001)
Resonance Loop (2001)
Sound is played out of the speaker on one side of the hallway. It is picked up by a microphone opposite it, and played back out through the speaker. The microphone once again picks up the sounds, and once again sends them back out through the speaker. The result is a loop where the original sound gradually fades away.
The sounds in the hallway and throughout the museum also get picked up - voices, other exhibits, etc. In addition, sound played out of the speaker bounces all over the rooms before getting to the microphone, so the sounds being picked up by the microphone are not quite the same as what is being played. As the piece is played and recorded, and replayed, and re-recorded, the sounds start to disappear, and you can just hear the resonant frequency of the hallway.
Resonance Loop is derived from Alvin Lucier's I am Sitting in a Room (1972).
Sheet Music (1998)
Sheet Music was written and performed in 1994. The piece is for cello, voice, percussionists and oboe.
Progress (2003)
Waltz (2003)
Trimpin commissioned 30 of us to write 1-2 minute pieces for these toy pianos that are all MIDI controlled - via MAX - to run like a jukebox. This was all set up in a gallery in Seattle and kids would feed quarters in the jukebox to hear songs composed by John Cage, Liberace and, well, me. I was working on an orchestral piece at the time that was in 6/8 + 1/4 time - which works out to be 4/4 time so I wanted to see if I could make the MIDI sound like 6/8 + 1/4 time instead of 4/4 time... which ends up sounding like dancing in three with someone with a peg leg.
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