IT’S ALIVE!
Philip Mantione in Santa Fe

A collection of music created in Santa Fe including work for experimental video and live rercordings of multimedia performances, a kinetic sound installation and experiments with improvisation-based ensembles.

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A collections of work based on field recordings, filtered noise, and various other samples.

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Music derived from field recordings of two peace demonstrations in NYC and the Macy's Thanksgiving Day Parade. (2002)

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In July of 2001, One Night Stand, an art show, was curated by Tamara Fites and Michael Lewis Miller at the Farmer’s Daughter Motel in Los Angeles. In this show, I set up a 3-hour live telephone connection from New York City to one of the motel rooms, and recorded comments and/or sounds made by anyone who chose to pick up the receiver. Conversational fragments were later dissected, recontextualized and warped into droning and rhythmic sonic backdrops to create motel.

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A collections of pieces that are part of an ongoing series in which I randomly juxtapose discrete sections of equal duration in time... a sort of equal form. Each section is drone-like or homogeneous in timbre or rhythmic content, and is abruptly interrupted by the next. Paradoxically, it is within this seemingly rigid architecture that I believe the listener is free to experience time on their own terms.

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John Cage treated musical form as an “empty container” and in many of his pieces used a structure based on a series of proportionally related sections. The work found here also focuses on the idea of temporal “containers” but instead of enforcing a proportional scheme or macro-rhythm, they allow for a listener-derived form. Sections of equal length but usually varied textures are juxtaposed in time. The reality of temporal space becomes a function of the perceived interestingness of the material at any given moment. Translation: Time flies when you’re having fun...or not.

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SCATTERED CD 103

This is music based on the sound that a radiator makes as it begins to heat up. Trapped moisture produces a random banging sound, accompanied by the hissing of steam. The first part of the work is comprised of computer manipulated samples of this sound, presented as discrete cells of identical length (20 seconds) and placed adjacent to each other in time. This creates a macro-rhythm dictated by a sequence of mini-drones, in which perceived duration becomes afunction of sonic density and rhythmic complexity. Later in the work, drone sounds from previous works (both acoustic and electronic) are layered over the ongoing radiator samples, further complicating the perception of time.

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SCATTERED CD 102

Random 26 is a collection of pieces that are derived from the manipulation and random juxtaposition of several sound samples including a triangle, claves, un-amplified electric guitar, and recorder. Other source material was gathered from a previously recorded acoustic work called Ochlokratia for orchestra. Section titles were chosen at random from the dictionary.

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