For Piano, projection, electronics and (optional and flexible) ensemble.
Electronics are at the performers' discretion, although I would suggest loopers with programmable feedback settings for a solo performance. The score is generative, drawn in processing through audio/visual anaylsis in MaxMSP/Jitter. The number of instruments, and how their part is drawn by the algorithm, is at the discretion of the performers.
There is something about the flatness and heterogeneity of outer-northern-suburban Adelaide, punctuated with yellow grass and malls and occasional pockets of aspirationally middle class mini-mansions, that feels unknowable in the most comforting way possible. It is irreducible, because it was practically invisible in the first place – unplanned, ugly concrete, lurid 90s playgrounds. The landscape is flat, and the speed limit 110kmph. It is burnt and yellow and the bumps on the train from Adelaide to Gawler make my cursive even less legible. It is fragments of faces and gestures, thousands of tiny insights into lives and bodies. Olive trees and military bases and abandoned manufacturing plants.
Only five minutes of the footage used A20 was shot in this stretch of the drive it documents – from Bateman’s Bay, New South Wales to Adelaide, South Australia – and it was taken long after the sun had set, but the sensation of being from somewhere that only exists as a point of passing through on the way to somewhere else is one that it mirrors. A20 is an endurance piece for solo pianist (/pianists in shifts), electronics and projection that explores the possibilities of engaging with vastness that we can at best pass through. This started out as a piece for my brother, for someone who I admire and love dearly, and how our sometimes polar opposite personalities and lifestyles collide and reach understanding through mutual respect and patience. Indeed, he is present in much of this footage, both as a driver and the person holding the camera. It has come to encapsulate how we deal with the vastness of everything from the agoraphobic driver's seat (and, sometimes, passenger seat) of our own experience. It's about dealing with being overwhelmed by fully embracing it, it's about burning out, it's about driving very fast in one direction and feeling like you're going nowhere at all.
November 29, 2016 :: Reception, Bowden SA
October 25, 2015 :: Future/Retro, Ensemble Offspring, Sydney Conservatorium of Music NSW