Eric Skytterholm Egan | watch

- although primarily an acoustic composer I do occasionally shift around a pixel or two -

- Fragments | of Shapes | Hewn | in White | Silence - (2015)

Performed by the Crash Ensemble in the National Concert Hall, Dublin (2017)

- VOID II/short i - (2011)

The first of three short film-installations created from the project VOID II/the other room.

- VOID II/short ii - (2011)

The second of three short film-installations created from the project VOID II/the other room.

- VOID II/short iii - (2011)

The third of three short film-installations created from the project VOID II/the other room.

- Smashing Lightbulbs in a Room - (2010)

A side-installation of the larger project VOID II/the other room.

[VOID II/the other room] (2010)

The single screen, stereo version of my new film-installation [Void II / The Other Room]. The complete piece is presented in completely dark room, on six separate screens, in 8.1 surround sound.

The contemporary composer who writes for violin is employing an ancient tool to carve out a piece of modern art. In fact, most acoustic composers alive today are building perspex skyscrapers with a rock that they have precariously bound to a stick with a piece of leather. Cutting edge computer technology allows the composer to use tools that are specifically tailored towards making cutting edge music. Nonetheless, lots of composers chose to keep their old tools. They are familiar with the noises they make.

[VOID II] raises what I believe to be an important issue in western music. What makes the violin a better tool than say, the duduk or the dynamophone. The answer is, of course, nothing. It is simply more convenient, and our ears are accustomed to the noises it makes. Significantly, few people ignore it because it is old. However, when it comes to so-called technology - electrical circuits and their interfaces - what is not recently made is considered redundant.

I like the violin. For [VOID II] I have written for certain so-called redundant technologies because I believe that they can produce equally beautiful images and sounds to the violin. The piece can perhaps be seen as a testimony to the idiosyncratic personalities of technology of the (recent) past. It is an exploration of sounds and images produced by a Panasonic WB1500/B TV Camera and the analogue instruments in Studio 1 at Durham University.

There is no software-manipulation of either the audio or the imagery. What you see and hear is the raw material - untouched - as it was first recorded. All I have allowed myself is to superimpose layers, cut, paste, and envelope. In essence, I have played these redundant technologies as instruments in their own right. I chose them for their individual character and beauty.

Thanks to CultureLab for making this project possible, to Dave Green for teaching me how to put it all together, and to Ron Berry for building the music machines!

[VOID I/over the hill] (2008)

The original mind-map for the film - [VOID I / The Other Hill] - by Eric Egan and Dave Green. It was first screened at Durham New Music Marathon 2008 and has since been shown at Glastonbury Festival 2009. It was intended to showcase the ideas for a longer project which is still ongoing. It may take some time.

The film was conceived in collaboration - Dave directed the film and Eric made the music. It was filmed using a Panasonic AG DVX 100b video camera and the music was composed on the analogue oscillators and filter banks in the Durham University Studios. Eric plays the part of the film's only character.

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