- -multimedia performance & installation- -
as a student at Oberlin Conservatory of Music John explored
multimedia performance and the art of the sonic installation.
eventually focusing on feedback networks, both analog and digital,
he created a number of long running generative works using internal
feedback as the only sound source. this culminated in a continuous
five day long sound installation in a public space, the first of
it's kind at Oberlin.
- philosophy -
a performance must be dynamic on some perceivable scale,
whether that means that it consists of broad strokes or small
clear motions. there is a point where complexity becomes simplicity
and it is best to skirt this threshold and explore it's borders.
a work too complex is made by it's complexity stale and static
an installation on the other hand is like a thing alive for the
participant to behold as they see fit, meaning that it needs not
dynamics on any perceivable scale. the participant is both a
performer and composer because time is a factor under their control.
- -history- -Untitled Sound Installation . 2007
public five day long continuously-running self-contained software
feedback network
excerpt
A History of Direct Hits and Near Misses . 2006
hour long 8 channel sound-scape constructed with guitar and voice
improvisations, Buddy Holly recordings, and live voices
excerpt
Object Permanence . 2006
multimedia installation in three parts
-continuous software feedback network
-3 television video installation
-interactive sculpture with flashlights and light sensors
   
there is no blood in a dying world . 2004
solo live electronic performance with bass guitar, keyboard,
dance pad, and voice
video by Michael P. Geraci
 
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