Pierce Warnecke’s Textures is a live audiovisual performance that uses found objects, field recordings and video samples. Each performance is unique in that the material is collected on spot, then re-composed in realtime. Richard Garet will be presenting Perceptual an audiovisual performance piece that proposes immersive reception to moving image and sound and that examines the processes of luminosity, color, movement, and light phenomena.
Pierce Warnecke: Textures
Richard Garret: Perceptual
Mon, Oct 1, 2012 at 7pm
596 Broadway, #602 | New York, NY 10012 | Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker
Pierce Warnecke’s Textures is a live audiovisual performance that uses found objects, field recordings and video samples. Each performance is unique in that the material is collected on spot, then re-composed in realtime. It is an exploration of granular surfaces, aged objects and deteriorated materials that have been collected because of their rich textures. Materials selected for the piece are man-made items that have undergone sufficient deterioration to no longer be recognizable. These decontextualized objects have lost any signified meaning, usefulness and identity: they are in fact ideally abstract. The result is an audiovisual study of the effect of time on matter: modification, deterioration and finally disappearance.
Richard Garet will be presenting Perceptual an audiovisual performance piece that proposes immersive reception to moving image and sound and that examines the processes of luminosity, color, movement, and light phenomena. The sound will be carefully constructed and utilized to effect, intervene, disrupt, and modify further the visual parameters of the projected images. The techniques employed to make the imagery incorporate real-time computer processing and visual-constructs established from the permutations and the brilliancy generated by the media itself and by systematically breaking apart and over-layering algorithmically the outcome in order to create the viewing experience. Garet’s sonic construction for this project will hover from material explorations, recordings of studio experiments, and digital processing while also articulating subtle sonic movements that modulate and fluctuate overtime.
Whether focus is on the purity of digital forms or the chaotic grit of natural objects, large scales of time and space or microscopic detail, the goal of Pierce Warnecke’s work is to readapt existing materials into a parallel context where their signified meanings, symbols and cultural connections have become residual ghosts.
Sound works explore combinations of pure synthetic sounds, electronic interferences, field recordings and manipulations of found objects. Textural, drone, noise, electronic and improvised music are areas of interest, explored through solo works and collaborations. Video is created in real-time, recorded, or generated and uses found items and moments: data sets, organic matter and microscopic textures to create dense patterns and contrasting forms.
Born in California, Pierce studied and worked for 10 years in France before moving to Boston to attend the Berklee College of Music. He currently lives in Berlin where he is following a Meisterschüler Program at Universität der Kunst (UdK) under Dr. Alberto de Campo. He works as a programmer and sound designer, and co-curates the Emitter Micro festival and record label.
Richard Garet interweaves various media including moving image, sound, multimedia performance, and photography. In work ranging from modified environments to site specific installations to audiovisual screening works, Garet constructs intimate spaces and immersive situations that draw attention to the processes of perception and cognition, and which activate sensorial, physical, psychological phenomena that reflect on the nature and experience of time.
Garet’s pieces, whether conceptual in origin or stemming from his investigation of complex systems and algorithmic translations, are informed by the background noise established by mass media culture and the collective arena that surrounds him. Garet’s reductive process seeks to invert the normative function of this background noise, drawing it up from subliminal status to an active presence. He finds further inspiration from material interactions that incorporate problems of context, technology, defunctionalization, commodity, and environment.