generative mechanisms for music, regimes of attraction, local manifestations, structural coupling, phase portraits, testing musical forms, challenging orthodoxy, creating methodologies, establishing new paradigms
I create musical compositions and performances using sound abstracted from a range of environmental, electronic, mechanical and instrumental sonic generators. I'm interested in the musical potential of such sounds, in the complexity of their shapes or morphologies, in their combinatory potential and in their trajectories through time and space. I work to a specific definition of music based on its sound, a definition in which music is considered to be the art of sound over and above concepts, conventions, technologies, trends, (mis)appropriations by the visual art world, design-driven agendas, historical orthodoxies, methods, methodologies, procedures or processes. Of course there have to be concepts, elements of social engagement, technologies and the rest but my interest in them is subordinate to the central focus, which is what the music sounds like. I've come to think of music as an investigation of complexity with deep historical roots common to all human cultures.
My projects at the moment are reasonably straightforward - 2015 will be devoted to live performance and research towards new compositions. In collaboration with Italian composer Giancarlo Toniutti I'm working to develop The Canalisation Project, a durational performance event. We are also conducting a dialogue, an atlas of instabilities, about, ostensibly, sound and music but our research and discussions have taken us into the fields of anthropology, paleoanthropology, musicology, evolutionary biology, semiology, linguistics and cultural theory. We are well into the depths of the dialogue, having exchanged contributions over the past two years or so. The final text will form the basis of a publication.
wynessj3 [at] gmail [dot] com