RICHARD GARET has employed photosensors to control a particular audio signal through the erratic nature of a violently pulsing abstract film; he has also flooded a performance space with fog to disperse multi-channel video work into an ephemeral yet sculptural mass, accompanied by an equally diffused sound design. His ongoing research in interference continues here with electromagnetic disturbances through radio: the process of transmission and reception is treated as a routing system for the audio signal, while the nodes that direct the course of that signal are deliberately agitated and distressed. For example, an electrical motor might be situated near a radio's antenna, disrupting its ability to properly receive a transmission. Through the controlled use of electro-acoustic techniques (some rough and volatile, some refined and delicate), he organizes the signal distortion, the crackling static, and the ever-present tendencies for feedback into swarms of chiming resonance, electrically sourced harmonics, tactile bricolage, and impressionist din.
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