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E.O. Sound #1

is a Kunstradio broadcast by artists Tim Jaeger, Civyiu Kkliu, Ilya Monosov, and Josh Russell. The theme is based upon a performance [images] of the same name originating from the Electronic Orphanage in Chinatown, Los Angeles.

The original 4-hour performance involved the 3 artists working from a concept that Tim Jaeger devised, but which was, in the spirit of collaboration, taken  in a completely different direction.

The original concept revolved around the gift economy, and "artistic potlatch", where items (computers, software, records, tables, etc.) are all donated. Surplus/unwanted records to be used as source material were borrowed from popular music stores.

E.O. Sound #1's performance was designed to highlight how surplus goods can be used creatively in an economy where there exists disparities between supply and demand. This concept originates in such things as Felix Stadler's Open Source Intelligence.

Rather than actually playing and mixing the records, however, the artists physically modified them, destroyed them, used them as materials against which to play objects, or didn't even play them at all. The ensuing recordings were incredibly sparse, with long patches of minimal tones, textures, and eventual breaks into various refrains [original recordings].

E.O. Sound #1 is a broadcast involving Civyiu Kkliu, Ilya Monosov, and Josh Russell "handling, playing, and manipulating record players, records, and objects."  Their 22 minute piece is preceded by a 15-minute digital handling of 'Bargain Bin' material by Tim Jaeger. (Tim Jaeger)

Each Artist's Involvement in the Collaboration: 

Civyiu Kkliu:
"Varying the angle, pressure, and point of contact, distinct edges of an object meet or are drawn across an uncut (empty) piece of vinyl revolving on a platter at a determined, constant rate."

The result is the capacity for the physical generation of frequencies and compositional structures most contemporarily arrived at by way of less immediate means.

During the live 4 hour EO gallery  performance, 11 distinct objects were used individually, and in pairs.

The objects included:

• TWO 11.5 cm alloy metal coils
• ONE plastic fork
• ONE alloy metal and plastic wheel with a diameter of 5 cm
• TWO 22.5 cm alloy metal spikes
• ONE 15.5 cm alloy metal spike
• ONE 21 cm copper cylinder closed at one end (resembling something of a test tube)
• ONE 2.5 cm copper cylinder open at both ends
• ONE 10.3 cm metal plate tipped with 24 edges, each the shape of a fountain pen stylus
• ONE medium/soft brush for applying adhesives, (with bristles measuring 2 cm)
• ONE 25 cm whisk
• ONE 40 cm aluminum rod, tipped with 10 cm of wire bristles

This recording7 to be presented by Kunstradio involves 5 of the 11 objects: the coils, the fork, the wheel, the brush, and the metal plate.  The latter 3 constitute the majority of the work, and each is found most often registering within, but not restricted to, a specific frequency range.  The highest frequencies within this recording are generated by the angling of the metal plate.”  

Josh Russell:

"TECHNICAL: The sounds were created by feeding the headphone out of a mixer board to the first channel input.  These were then sampled, and played, and processed, modifying various parameters (duration, volume, cut-off points, etc) in real time.  Additionally, another input contained audio coming from a record player, which was sampled through various devices.  During the EO event, I experimented with the physical aspects of the records, cutting them in half and taping them back together backwards.”

AESTHETIC: I wanted to work such that my sounds never drove the composition, but more just bolstered it by framing with some synthetic sounding textures the rich organic sounds created by Civyiu Kkliu and Ilya Monosov.  By working in this way, I was hoping to allow the audience to perceive their organic sounds as fully crafted sound environments, and not just simply “the sounds of wheels and motors.”  I further hoped that this method would allow the listeners to disassociate the sounds from the physical objects, and to more easily be immersed in the sounds as sound.  In some cases I was trying to make my sounds so that they hang in the background.  By this i wanted to dissuade the listeners from perceiving the quietness of moments in the performance as inactive, and to accentuate the silence as dynamic and something that should be actively listened to."

Ilya Monosov:

"I worked with a violin bow, a metal cymbal, a string (attached to the transcriber) and an old turntable-transcriber.  It was important to avoid looking for beauty; you can never find it and besides it's something you must simply notice and be intelligent enough not to ruin ..."

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