Between 2000-2003 I primarily performed, curated, and installed sound-based work in my home; The Silverlake Area of Los Angeles — Los Angeles was not so cool yet and my backyard provided all that was needed to experiment with performative agencies. My first attempts at what I now call Electroacoustic Ecology organically arose when my neighbor Michelle Tritten ( who more recently started something called Goat Yoga) brought her nonhuman companion, Clark. It became the local joke at the time, an artist that happens to be a goat.
Michelle simply asked, “Can Clark play with your sound installation?”
Having found nothing but disillusionment with performing on a stage at “noise venues” for a niche audience of mostly male chin-scratchers expecting me to beat my chest in a Viennese Aktionist-type way or to play the concentrated performer card by standing very still — I was looking for something else—anything else really.
(Don’t get me wrong I still love attending and support Noise shows — I’m just done with the theatrics of exclusively human performance. Hey if anybody wants to book me for another sound event in complete-pitch-darkness-in-a-Francisco-Lopez-type-way SIGN ME UP (Thanks for the Tapered Lid, Leticia Casteneda).
Clark was my new collaborator! How excited I was. No one would expect the outcome of the following:
Roll the VHS!