T. Gowdy

Experience
MUTEK 2019, spain

Antigua Fabrica Estrella Damm - Maquinas
09/03/2019

Ambient audiovisual atmospheres merge with industrial noise and distortion, exploring the thresholds where time distorts reality, memories fade and new experiences blur our perceptions of what we once knew. T. Gowdy's music oscillates between featherlight mediation and brooding heaviness, his visuals channel video tape decay, merging colour tones and fading signals.

T. Gowdy performs a live set interrogating “time-distorted reality” by electronically warping experimental musique concrète into states of asymmetry and rhythmic equilibrium. Meanwhile, live video streams on CRT screens from a surveillance camera, fragmenting the stage and audience in flickers and surges of colourful light.

Presented with the support of the Government of Québec as part of the 101010 project, the Embassy of Canada in Spain and the Bureau du Québec à Barcelone.

           

 

Nocturne 2
MUTEK 2018, montreal

Société des arts technologiques [SAT] - Espace SAT
23/08/2018

Ambient audiovisual atmospheres merge with industrial noise and distortion, exploring the thresholds where time distorts reality, memories fade and new experiences blur our perceptions of what we once knew.

As T. Gowdy's music oscillates between featherlight mediation and brooding heaviness, his visuals channel video tape decay, merging colour tones and fading signals. Also a sound engineer for film and music, Gowdy has worked with artists Parc X Trio, Coral Egan, Odyssey Works and blues singer Dawn Tyler Watson. His self released album B-Stock explores emotional turmoil through unknown, passive environments and incorporates the sounds of the spaces where he made each piece of music in Berlin. In a recent performance at Montréal culture hub Never Apart, he processed urban noise through a live stereo microphone wired to resonators, pitch and distance modulators—a deep-listening study in how we channel the present moment.

At MUTEK, T. Gowdy performs a live set interrogating “time-distorted reality” by electronically warping experimental musique concrète into states of asymmetry and rhythmic equilibrium. Meanwhile, live video streams on CRT screens from a surveillance camera, fragmenting the stage and audience in flickers and surges of colourful light.

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