The Indirect Animal
Farahnaz Hatam Laptop solo Supercollider Programming environment performed live by evaluating code that is preprogrammed with a time based score, allowing a window of time for each evaluation.
NOTES: This algorithmic composition was written for a performance at Able Gallery
it was a room recording in which there were some sounds from the audience, such as coughing and so on, therefore I performed the score in the studio to get a recording without audience noise.
I started as a visual artist and molecular biologist. I am still working as a molecular biologist, but I have moved more in the direction of working only with Sound.
I started doing interactive sound installations about twelve years ago, which I think is a practice. I will go back again some time in the near future, but in the last four years or so,
I have been working mostly as a performer in the concert situation.
I co-founded NK 3 1/2 years ago with Julian Percy, previous to that we worked together with a larger artist collective
in which decision making processes were incredibly difficult and lengthy, so we decided to start a smaller collective with a more concentrated interest, i.e. experimental music.
Recently Manuela Benetton joined us as an independent curator.
My practice has changed radically over time through involvement in different mediums but one aspect that has always been
the corner stone for my artistic practice has been the desire to provoke thought in the audience.
And conceptually as curator, and for the events and performers you present at NK?
Conceptually I am always looking for underlying sound structures that shape the sound over time these structures are often audible in the submitted works.
I think at this point in time, its not the invention of a new sound that is important but the choices and mix of choices that artists make from the wide field of auditory practices through
out our history, from primitive to modern synthesized sounds.
Our favourite question. Advantages and disadvantages of independent curatorial spaces as NK?
The advantages of running a space like NK are that you can contribute to culture in the way that is independent of certain market decisions, mostly ones that dictate the art world,
this is not applicable to sound art practices necessarily but tangentially. The importance of having artist run spaces in the landscape of government funded institutions allows artists
the freedom to shape culture as they see it, and to create the space for its reception.
As an artist, how do a space as NK affect in your life, and why you decided to run the project?
As an artist I come into contact with a lot of different mind sets approaches and practices and this has been tremendous, to be surrounded by incredibly talented people who are absolutely
excited about what they are presenting in the concert situation and its reception. The one draw back of working at NK has been the amount of time it takes to run this space,
this takes a lot of time away from my own practice since I also have a full time job.
The reason behind creating NK was to open a venue for experimental music in which it was also possible to have
theoretical discussions about the practice, approaches and perspectives on experimental music.
Future challenges for NK?
Future challenges for us are to improve the quality of the concerts that we showcase to our audiences. Our motto has always been its not the number of concerts that we organize that matters but more the quality of the concerts. Also some structural improvements to the space itself as well as acquiring better equipment are some of our future goals for NK.
Any recommendation for young curators and common mistakes to avoid?
As Curator - the only thing that I can highly recommend is to follow your vision, produce the things that excite
you as an artist and listener.
The mistake if it could even be called that, would be not to have a vision but to be open to all proposals
just as art practices require discernment in the choices we make, so do curatorial practices.
Any other thing you want to add?
No, sorry, I am pressed for time.
Farahnaz Hatam, December 2011
[ar059] FARAHNAZ HATAM
The Indirect Animal
Farahnaz Hatam, Laptop solo Supercollider Programming environment
performed live by evaluating code that is preprogrammed with a time based score, allowing a window of time for each evaluation.
Recorded directly out of SuperCollider. December 2011. Special thanks to Sergio Luque. Picture and design by Aniana Heras.