https://antoniabarnettmcintosh.com ABM Wed, 18 Sep 2024 16:45:18 +0000 https://antoniabarnettmcintosh.com en https://antoniabarnettmcintosh.com/home Wed, 18 Sep 2024 01:23:40 +0000 ABM https://antoniabarnettmcintosh.com/home Menu <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/61ff42d474ffc22e2ca50649e5129ae590eda8c2f645c35aca8014e305bc1ca3/A-FEW-POINTERS-cover-image-copy.png" data-mid="218236909" border="0" src="https://freight.cargo.site/w/1000/i/61ff42d474ffc22e2ca50649e5129ae590eda8c2f645c35aca8014e305bc1ca3/A-FEW-POINTERS-cover-image-copy.png" /> <img width="2551" height="1301" width_o="2551" height_o="1301" data-src="https://freight.cargo.site/t/original/i/333af6d457cc0aa357750b37826f12a5f568d85536c52badf4452bfeb4231f11/ACCENT-youtube-thumbnail-copy.png" data-mid="218236914" border="0" 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width_o="1340" height_o="893" data-src="https://freight.cargo.site/t/original/i/91b420ca0c416c792d05808b0130e248d8faaa5fa2663736b48f4459df98f733/WATER-WALK-Ant-scrubbing-copy.jpg" data-mid="218236966" border="0" src="https://freight.cargo.site/w/1000/i/91b420ca0c416c792d05808b0130e248d8faaa5fa2663736b48f4459df98f733/WATER-WALK-Ant-scrubbing-copy.jpg" /> https://antoniabarnettmcintosh.com/home-1 Wed, 18 Sep 2024 02:52:57 +0000 ABM https://antoniabarnettmcintosh.com/home-1 Projects Collaborations Info Close <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/61ff42d474ffc22e2ca50649e5129ae590eda8c2f645c35aca8014e305bc1ca3/A-FEW-POINTERS-cover-image-copy.png" data-mid="218237583" border="0" src="https://freight.cargo.site/w/1000/i/61ff42d474ffc22e2ca50649e5129ae590eda8c2f645c35aca8014e305bc1ca3/A-FEW-POINTERS-cover-image-copy.png" /> <img width="2551" height="1301" width_o="2551" height_o="1301" data-src="https://freight.cargo.site/t/original/i/333af6d457cc0aa357750b37826f12a5f568d85536c52badf4452bfeb4231f11/ACCENT-youtube-thumbnail-copy.png" data-mid="218237584" border="0" src="https://freight.cargo.site/w/1000/i/333af6d457cc0aa357750b37826f12a5f568d85536c52badf4452bfeb4231f11/ACCENT-youtube-thumbnail-copy.png" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/02b0cf8af7ad5ce6bf3a05452d521898ecd05f5d0d6affe48208b1b1008a2a9d/NONE-SITTING-RESTING-youtube-thumbnail-copy.png" data-mid="218237589" border="0" src="https://freight.cargo.site/w/1000/i/02b0cf8af7ad5ce6bf3a05452d521898ecd05f5d0d6affe48208b1b1008a2a9d/NONE-SITTING-RESTING-youtube-thumbnail-copy.png" /> <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/01b6f0f442e0af2168954d63c0d43b3dffcb72269dbf3c863738cb84baeaaf4a/THE-VARIOUS-DIRECTIONS-OF-SHOULD-thumbnail-copy.jpeg" data-mid="218237590" border="0" src="https://freight.cargo.site/w/1000/i/01b6f0f442e0af2168954d63c0d43b3dffcb72269dbf3c863738cb84baeaaf4a/THE-VARIOUS-DIRECTIONS-OF-SHOULD-thumbnail-copy.jpeg" /> <img width="1280" height="800" width_o="1280" height_o="800" data-src="https://freight.cargo.site/t/original/i/6d6ab7df24c6527158970c5b406f5e094860ab43805e4d0578695b49d22a764d/EARPIECE-thumb-copy.png" data-mid="218237586" border="0" src="https://freight.cargo.site/w/1000/i/6d6ab7df24c6527158970c5b406f5e094860ab43805e4d0578695b49d22a764d/EARPIECE-thumb-copy.png" /> <img width="1426" height="801" width_o="1426" height_o="801" data-src="https://freight.cargo.site/t/original/i/6165d2e7b15781521db16c08801bf0805f2cd447bb1461a0a7780bdbd67be926/DINNER-image-3-copy.png" data-mid="218237592" border="0" src="https://freight.cargo.site/w/1000/i/6165d2e7b15781521db16c08801bf0805f2cd447bb1461a0a7780bdbd67be926/DINNER-image-3-copy.png" /> <img width="1196" height="1198" width_o="1196" height_o="1198" data-src="https://freight.cargo.site/t/original/i/eb8a6d03f8d52eb437c8ec4a1112ffa36dfbdd521e0729da4647febdf8457087/KONTAKLINSENSUPPE-image-copy.png" data-mid="218237588" border="0" src="https://freight.cargo.site/w/1000/i/eb8a6d03f8d52eb437c8ec4a1112ffa36dfbdd521e0729da4647febdf8457087/KONTAKLINSENSUPPE-image-copy.png" /> <img width="1200" height="896" width_o="1200" height_o="896" data-src="https://freight.cargo.site/t/original/i/cfb0b3a80f429c3b0848c24f76809822d198f8fcc0f654c5d31f7fd546af5dc6/DRAWING-ATTENTION-thumbnail-copy.png" data-mid="218237585" border="0" src="https://freight.cargo.site/w/1000/i/cfb0b3a80f429c3b0848c24f76809822d198f8fcc0f654c5d31f7fd546af5dc6/DRAWING-ATTENTION-thumbnail-copy.png" /> <img width="220" height="313" width_o="220" height_o="313" data-src="https://freight.cargo.site/t/original/i/1601028ce9229d1a5ac0ba5882df06cdbf7b08783806e74424c5dfa326c4c799/FLAT-OUT-COLLECTIVE-image-3-ORANGE--NO-ORANGE--copy.jpeg" data-mid="218237587" border="0" src="https://freight.cargo.site/w/220/i/1601028ce9229d1a5ac0ba5882df06cdbf7b08783806e74424c5dfa326c4c799/FLAT-OUT-COLLECTIVE-image-3-ORANGE--NO-ORANGE--copy.jpeg" /> <img width="1340" height="893" width_o="1340" height_o="893" data-src="https://freight.cargo.site/t/original/i/91b420ca0c416c792d05808b0130e248d8faaa5fa2663736b48f4459df98f733/WATER-WALK-Ant-scrubbing-copy.jpg" data-mid="218237591" border="0" src="https://freight.cargo.site/w/1000/i/91b420ca0c416c792d05808b0130e248d8faaa5fa2663736b48f4459df98f733/WATER-WALK-Ant-scrubbing-copy.jpg" /> https://antoniabarnettmcintosh.com/info Wed, 18 Sep 2024 04:21:15 +0000 ABM https://antoniabarnettmcintosh.com/info Menu Antonia is a composer, performer, sound artist, editor, and curator with an interest in working across disciplines. She lives in Tāmaki Makaurau Auckland, Aotearoa New Zealand. Antonia has collaborated extensively with musicians, dancers, visual artists, poets, theatre- and film-makers, performance artists, and software developers. Her performances incorporate slippage, improvisation, and the live space. Antonia's recent works have centred around the materiality and musicality of everyday speech, in varying formats, to loosen expectations around 'final product’: from text piece, transcription piece, installation, live approximation of performance, performance of an artist talk, to instrumental concert, all of which gently tap on the borders of speech and music, performance and rehearsal, authorship and collaboration, composition and writing, and which juxtapose the formalities of presentation and the aesthetics of failure. Her works with words investigate speech as music: the pitches, rhythms, intonations, conversational overlaps of our everyday. And when incorporating elements of theatricality—lighting, images, props, gesture—she notates actions as a means to expose the everyday as sonic/artistic material in musical time.Antonia’s style of working across disciplines raises important questions about audience expectation, the social and professional structures of respective disciplines, and artistic value. She devises moments of tension, surprise, and humour to create communal experiences whereby spectators are welcomed as participants in a compositional process. This implies that listening in itself is active: audience members are not mere recipients of music as finished form, but drawn into the piece’s compositional questions where listening and spectating can be viewed as a form of composition. &nbsp;Antonia challenges notions of hierarchy within the traditional classical music context, and investigates fumblings and failures that occur in relationship and conversation; the question of how to perform a combination of techniques simultaneously; and, how everyday moments can be articulated in exploring ideas of “virtuosity”. How can a performer’s virtuosity be embodied and showcased in very ordinary ways to create a new form of expression, a new relationship with an audience? Antonia has a Master of Music in Composition from the Guildhall School of Music and Drama in London, a Bachelor of Music with First Class Honours in Composition, and a Bachelor of Arts in History from Te Herenga Waka—Victoria University of Wellington. Antonia is founder and co-editor of BLOT. She was on the Committee of Te Rōpū Kaitito Puoro o Aotearoa—Composers Association of New Zealand 2019–2022, during which time she was Editor of Canzonetta (2019–2021), Secretary (2020–2021), and President (2021–2022). Antonia has presented work in Europe, Aotearoa, Australia, and the States: with Aurora Orchestra, Phaedra Ensemble, Bastard Assignments, DieOrdnungDerDinge, Chroma, Red Note Ensemble, Riot Ensemble, NorthArc, SoundPlay, Stroma, and Tudor Consort; at the Wigmore Hall, Barbican, Kings Place, Café OTO, Wellcome Collection, Spike Island Gallery, Robin Howard Dance Theatre, Traverse Theatre, Chisenhale Dance Space, Theater im Aufbau Haus (TAK), DAAD Galerie, ausland, Studio8, Galerie Pleiku, Strahler Berlin, Hannah Playhouse, Thistle Hall, The Pyramid Club, and Audio Foundation; at HOFFNUNG3000, City of London Festival, Taste Festival Berlin, Festspillene i Nord-Norge, Capital Fringe Festival Washington D.C., 4 Days at Arnolfini Bristol, Performance Art Week Aotearoa, Suffrage 125, BIFEM 2019, and as part of Weisslich concert series, Kammer Klang, and BBC Radio3's Hear and Now concerts for 'Why Music?'; as Artist in Residence with Hubbub Group, Wellcome Collection, London, England (2014–16), at Morni Hills, Chandigarh, India (2017), Te Kōkī-New Zealand School of Music (2018–19), Q-O2, Brussels, Belgium (2019), Bundanon Art Museum, New South Wales, Australia (2023), and the Experimental Media and Performing Arts Centre (EMPAC), Troy New York, U.S.A. (2023–24). <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/0109f07667aa8da0b203700596a62dcb6537b80252339a7e4abc480d83dee379/ABOUT-image-1_o.jpg" data-mid="218238371" border="0" src="https://freight.cargo.site/w/1000/i/0109f07667aa8da0b203700596a62dcb6537b80252339a7e4abc480d83dee379/ABOUT-image-1_o.jpg" /> image © Leena Kangaskoski <img width="557" height="130" width_o="557" height_o="130" data-src="https://freight.cargo.site/t/original/i/033e3977b7dff9e48e69eed0d959a756c0ec831a7da78ee92ad5f1d07473ae4f/ABOUT-image-2.png" data-mid="218238373" border="0" src="https://freight.cargo.site/w/557/i/033e3977b7dff9e48e69eed0d959a756c0ec831a7da78ee92ad5f1d07473ae4f/ABOUT-image-2.png" /> i wrote my name with the moonin a desert in morocco https://antoniabarnettmcintosh.com/info-1 Wed, 18 Sep 2024 04:04:51 +0000 ABM https://antoniabarnettmcintosh.com/info-1 Projects Collaborations Info Close Antonia is a composer, performer, sound artist, editor, and curator with an interest in working across disciplines. She lives in Tāmaki Makaurau Auckland, Aotearoa New Zealand. Antonia has collaborated extensively with musicians, dancers, visual artists, poets, theatre- and film-makers, performance artists, and software developers. Her performances incorporate slippage, improvisation, and the live space. Antonia's recent works have centred around the materiality and musicality of everyday speech, in varying formats, to loosen expectations around 'final product’: from text piece, transcription piece, installation, live approximation of performance, performance of an artist talk, to instrumental concert, all of which gently tap on the borders of speech and music, performance and rehearsal, authorship and collaboration, composition and writing, and which juxtapose the formalities of presentation and the aesthetics of failure. Her works with words investigate speech as music: the pitches, rhythms, intonations, conversational overlaps of our everyday. And when incorporating elements of theatricality—lighting, images, props, gesture—she notates actions as a means to expose the everyday as sonic/artistic material in musical time.Antonia’s style of working across disciplines raises important questions about audience expectation, the social and professional structures of respective disciplines, and artistic value. She devises moments of tension, surprise, and humour to create communal experiences whereby spectators are welcomed as participants in a compositional process. This implies that listening in itself is active: audience members are not mere recipients of music as finished form, but drawn into the piece’s compositional questions where listening and spectating can be viewed as a form of composition. &nbsp;Antonia challenges notions of hierarchy within the traditional classical music context, and investigates fumblings and failures that occur in relationship and conversation; the question of how to perform a combination of techniques simultaneously; and, how everyday moments can be articulated in exploring ideas of “virtuosity”. How can a performer’s virtuosity be embodied and showcased in very ordinary ways to create a new form of expression, a new relationship with an audience? Antonia has a Master of Music in Composition from the Guildhall School of Music and Drama in London, a Bachelor of Music with First Class Honours in Composition, and a Bachelor of Arts in History from Te Herenga Waka—Victoria University of Wellington. Antonia is founder and co-editor of BLOT. She was on the Committee of Te Rōpū Kaitito Puoro o Aotearoa—Composers Association of New Zealand 2019–2022, during which time she was Editor of Canzonetta (2019–2021), Secretary (2020–2021), and President (2021–2022). Antonia has presented work in Europe, Aotearoa, Australia, and the States: with Aurora Orchestra, Phaedra Ensemble, Bastard Assignments, DieOrdnungDerDinge, Chroma, Red Note Ensemble, Riot Ensemble, NorthArc, SoundPlay, Stroma, and Tudor Consort; at the Wigmore Hall, Barbican, Kings Place, Café OTO, Wellcome Collection, Spike Island Gallery, Robin Howard Dance Theatre, Traverse Theatre, Chisenhale Dance Space, Theater im Aufbau Haus (TAK), DAAD Galerie, ausland, Studio8, Galerie Pleiku, Strahler Berlin, Hannah Playhouse, Thistle Hall, The Pyramid Club, and Audio Foundation; at HOFFNUNG3000, City of London Festival, Taste Festival Berlin, Festspillene i Nord-Norge, Capital Fringe Festival Washington D.C., 4 Days at Arnolfini Bristol, Performance Art Week Aotearoa, Suffrage 125, BIFEM 2019, and as part of Weisslich concert series, Kammer Klang, and BBC Radio3's Hear and Now concerts for 'Why Music?'; as Artist in Residence with Hubbub Group, Wellcome Collection, London, England (2014–16), at Morni Hills, Chandigarh, India (2017), Te Kōkī-New Zealand School of Music (2018–19), Q-O2, Brussels, Belgium (2019), Bundanon Art Museum, New South Wales, Australia (2023), and the Experimental Media and Performing Arts Centre (EMPAC), Troy New York, U.S.A. (2023–24). <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/0109f07667aa8da0b203700596a62dcb6537b80252339a7e4abc480d83dee379/ABOUT-image-1_o.jpg" data-mid="218238300" border="0" src="https://freight.cargo.site/w/1000/i/0109f07667aa8da0b203700596a62dcb6537b80252339a7e4abc480d83dee379/ABOUT-image-1_o.jpg" /> image © Leena Kangaskoski <img width="557" height="130" width_o="557" height_o="130" data-src="https://freight.cargo.site/t/original/i/033e3977b7dff9e48e69eed0d959a756c0ec831a7da78ee92ad5f1d07473ae4f/ABOUT-image-2.png" data-mid="218238302" border="0" src="https://freight.cargo.site/w/557/i/033e3977b7dff9e48e69eed0d959a756c0ec831a7da78ee92ad5f1d07473ae4f/ABOUT-image-2.png" /> i wrote my name with the moonin a desert in morocco https://antoniabarnettmcintosh.com/collaborations Wed, 18 Sep 2024 04:16:00 +0000 ABM https://antoniabarnettmcintosh.com/collaborations Menu Accent Using extensive transcriptions, close listening and improvisatory techniques, Accent is a duet, conversation and mutual impersonation. It is a composition carefully transposed from hours of casual conversation, serious discussion, drawn-out efforts at explanation, tetchy disagreements and myriad attempts - both lazy and sincere - to impersonate one another's accents.The performance is a loose reconstruction, a formal experiment, a stupid game. We imitate imitations, talk about talking, and mispronounce words. These uncontrollable voice-sounds test the borderline between the intentional and the accidental, opening onto questions of what can and cannot be notated, scored, or repeated with exactitude.As we hear ourselves again, filtered through one another, what emerges is a genuine confusion between imitation and quotation, explanation and demonstration, music and signal, friendship and collaboration, speech and song. Accent is an ongoing collaboration with Emma Bennett, previously known as Lark. Performed at Weisslich Vol.9, 14 January 2017. Filmed by Huw Crowley. A Superficial WayA newer-ish collaboration with Emma Bennett, which arose from a Q-O2 residency in Brussels, which took place during a heatwave. Retreating to galleries and museums for reprieve, we devised this work during a visit to the Musée des Instruments de Musique. Originally titled, “the superficial front-facing way of putting it out there.” <img width="1024" height="684" width_o="1024" height_o="684" data-src="https://freight.cargo.site/t/original/i/7a32aa0d6871f16dee27c52636f555dab1b3df7498d3dfeed8afcb15448c9fec/FRONT-FACING-image-copy.jpg" data-mid="218238936" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/7a32aa0d6871f16dee27c52636f555dab1b3df7498d3dfeed8afcb15448c9fec/FRONT-FACING-image-copy.jpg" /> Performed at Q-O2, 8 August 2019.Made into a video work because Covid. Video by Emma, audio edit by me. A Few PointersA Few Pointers is a dialogue-based practice with artist Leena Kangaskoski. It is a platform which allows us to explore new ways of putting images and sound together, whether we film and record together or in separate locations, we first decide on methods for devising the work. <img width="1426" height="801" width_o="1426" height_o="801" data-src="https://freight.cargo.site/t/original/i/6165d2e7b15781521db16c08801bf0805f2cd447bb1461a0a7780bdbd67be926/DINNER-image-3-copy.png" data-mid="218261113" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/6165d2e7b15781521db16c08801bf0805f2cd447bb1461a0a7780bdbd67be926/DINNER-image-3-copy.png" /> We met in 2010 while studying in London. Whilst creating a piece for the opening of the Surreal House art exhibition at the Barbican, we devised a way of working together involving the exploration of “translations” across our artistic practices.Animated Machine was created as a response to the National Theatre production of Frankenstein directed by Danny Boyle, filmed by Leena Kangaskoski and Ana Minguez. Later on, Leena and Ana developed the topic of life and death further, and the trajectory of a life as a journey, the body as mere flesh like Frankenstein's monster, the cold, the isolation, and electricity. The result was an amalgamation of symbols and sounds of a very abstract nature. Animated Machine Since then, we have collaborated on film, performance, and installation works, which have been exhibited at the National Theatre, Barbican, and Chisenhale Dance Space in London, and Direktorinhaus and Strahler in Berlin. In 2012, with choreographer Nathan Johnston, we were commissioned to create a show in an underground water world in Harstad, for the Festspillene i Nord-Norge (North Norway Festival). Water Walk was an interdisciplinary performance work for three percussionists, dancer, moving image, and lighting. The piece takes place in an underground water world, across two pool areas, in a swimming complex built into the side of a mountain. In honour of John Cage’s ‘Water Walk,’ performed by NorthArc and dancer Matt Lackford at Grottebadet, Harstad Norway, 28 June 2012, Festspillene i Nord-Norge. <img width="595" height="595" width_o="595" height_o="595" data-src="https://freight.cargo.site/t/original/i/c62ef2cf935395637320f4056efec02c1b95151db6a7cf58d6d426c3cf7e3f8a/WATER-WALK-image-1-copy.PNG" data-mid="218239219" border="0" data-scale="36" src="https://freight.cargo.site/w/595/i/c62ef2cf935395637320f4056efec02c1b95151db6a7cf58d6d426c3cf7e3f8a/WATER-WALK-image-1-copy.PNG" /> WHEN I SIT, YOU SCREAMPart One Herr Hermann and Sophia Bumm-BummRecorded, filmed and edited in Berlin, November 2014 Exhibited at Galerie Pleiku, Berlin.Part Two reallyRecorded and filmed separately, Berlin and Helsinki, January 2015.Exhibited at Strahler, Berlin, as part of 5//5: Fleck.Part Three StilleRecorded in London, filmed in Helsinki, May 2015.Effect regardless of distance Recorded in Berlin, filmed in Helsinki, June 2015. ConversationConversation traces the boundaries between musical composition and performance, dance, spoken word and sculpture, and uses elements from these disciplines in order to create a piece that is at once a live musical composition, a gestural performance piece and a sonic artwork.Conversation is a performance piece for two people, small homemade loudspeakers and tape, and is a collaboration with Rebecca Lane. <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/39020ed6d1558e5682b87ad07fce9fbd3c6e3390aaefbfb77bfbec7fdaf7b6bd/CONVERSATION-image-1-copy.png" data-mid="218250336" border="0" src="https://freight.cargo.site/w/1000/i/39020ed6d1558e5682b87ad07fce9fbd3c6e3390aaefbfb77bfbec7fdaf7b6bd/CONVERSATION-image-1-copy.png" /> <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/bc7a3d306374e6f7c9315fc104251b455792b60ec3778e9026a01a2d33ecb186/CONVERSATION-thumb-copy.png" data-mid="218250337" border="0" src="https://freight.cargo.site/w/1000/i/bc7a3d306374e6f7c9315fc104251b455792b60ec3778e9026a01a2d33ecb186/CONVERSATION-thumb-copy.png" /> Performed at Strahler, 3 December 2015. DUODUO is the resulting work of a collaboration with player, composer, and researcher of ngā taonga puoro, Al Fraser. We met up in his workshop/studio and experimented with qualities of sounds, their shapes, and the incidental sounds that occur when beginning/ending/during playing. Drawn from wee films made while devising musical material, then put back together side by side as a sort of duo, using a random duration generator. Commissioned by Music Group with funds from Creative New Zealand. Recorded and filmed in Te Whanganui-a-Tara, March 2021. earpiecean installationThe idea for earpiece came out of the need to block my ears in a busy city, when music is performed too loud, or when sounds are generally just too screechy.I've often experimented with "hearing my ears" and was interested in exploring how this could be made into an interactive installation that playfully investigates how we listen and creates a piece where the participant becomes the instrument, performer and audience all at once.I worked with Tamarin to develop a visual language that would show participants how to hear their own ears as they interact with the piece.The video was projected onto one wall of a darkened studio and the sound played at full volume through speakers placed at ear height.What the speakers play is half of the musical composition. The rest of the sound world is created through audience members following these animated prompts in the video as they listen and watch, supplementing the soundtrack with new sounds and acoustic effects made by moving their fingertips and hands in order to block, unblock, scratch, swipe, tap and cover their ears. <img width="2080" height="986" width_o="2080" height_o="986" data-src="https://freight.cargo.site/t/original/i/9de77163a21c0607f1aace74af9a793597dcc97f62563abd03fc8c3428ce7fab/EARPIECE-image-1-copy.png" data-mid="218250318" border="0" src="https://freight.cargo.site/w/1000/i/9de77163a21c0607f1aace74af9a793597dcc97f62563abd03fc8c3428ce7fab/EARPIECE-image-1-copy.png" />Collaboration with Tamarin Norwood.Premiered at Wellcome's Hubbub Late Spectacular, 4 September 2015. face to face at the time on the time Conversations across distance and technology, bouncing back together. A string quartet reimagined. I was less than a week into a big move home to Aotearoa in 2018 and had phone/video calls individually with four players from Phaedra Ensemble—Chihiro Ono, Phil Granell, Richard Jones, and Sergio Serra. We chatted around time zones, music, work, travel, and keeping in touch, which I recorded, re-edited, transcribed, and scored for them to perform together in London at VOX06, their final concert in the VOX series, which explored ideas of place, nationhood and belonging through works inspired by the human voice. <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/7b2187f798c872985c973a4ce5dda533def0167cec79dfcc30b8ecfccd3ee0a9/FACE-TO-FACE-image.jpg" data-mid="218251187" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/7b2187f798c872985c973a4ce5dda533def0167cec79dfcc30b8ecfccd3ee0a9/FACE-TO-FACE-image.jpg" /> Pictured (L–R): Chihiro Ono, Phil Granell, Sergio Serra at VOX06.Performed at Juju's Bar and Stage, London, 5 July 2018. Photograph by&nbsp;Dimitri Djuric. FLAT OUT CollectiveIn 2010 I founded FLAT OUT Collective, a collaborative group which brings together the shared concerns of four artists, whose backgrounds span visual art, music, performance and dance. Via ongoing dialogue, and a series of collectively-curated performance nights, our aim was to co-create a body of ambitious and cutting-edge performance works that interrogate the borders between disciplines. We put on two shows at Chisenhale Dance Space, 2011–2012: UNSUNG and UNSEEN. With Emma Bennett, Nathan Johnston, Leena Kangaskoski, and friends. <img width="1748" height="1748" width_o="1748" height_o="1748" data-src="https://freight.cargo.site/t/original/i/3032b7ee95e5394e7242b02943b1334869fd10fda0c3f44b00fef254c3f2a301/FLAT-OUT-COLLECTIVE-image-1-Night-No.1-UNSUNG-copy.jpg" data-mid="218251181" border="0" src="https://freight.cargo.site/w/1000/i/3032b7ee95e5394e7242b02943b1334869fd10fda0c3f44b00fef254c3f2a301/FLAT-OUT-COLLECTIVE-image-1-Night-No.1-UNSUNG-copy.jpg" /> <img width="1165" height="1165" width_o="1165" height_o="1165" data-src="https://freight.cargo.site/t/original/i/63671f4779b834813823166155344aa80caa4ad7ca006bdb0ca5eff361c08c16/FLAT-OUT-COLLECTIVE-image-2-Night-No.2-UNSEEN-copy.jpg" data-mid="218251182" border="0" src="https://freight.cargo.site/w/1000/i/63671f4779b834813823166155344aa80caa4ad7ca006bdb0ca5eff361c08c16/FLAT-OUT-COLLECTIVE-image-2-Night-No.2-UNSEEN-copy.jpg" /> In Air We attempted to find a collaborative model that blurred the boundaries between 'writing', 'composing' and 'performing'. We worked closely together, considering compositional concepts as well as Adam's process of interpretation and memorisation, in order to discover a common language.We focussed on the sounds in the mouth: the relationship between a note and a word; music and language; singing and speech. We tested vowel transferral techniques and the discrepancies in our accents, thinking of vowels as the body of the sound, the body of the word, and consonants as the stoppage of air by the teeth, the tongue, and the lips, and then measuring out the extensions and stoppages.We explored ideas of sound and sense: sounds as shaped things in air and the music as a figural space giving form to dispersed verbal objects. Sometimes these facilitate a kind of amnesia—the listener forgets the beginning of a word (the consonant which bounds and shapes the vowel) and the vowel morphs and is funnelled into a different word-ending, so sung-sound hovers between two kinds of sense.Spatial positioning of the text became an important facet of the work and we laid the words out spatially on the page and formulated rules for interpreting this text notation into music notation. <img width="480" height="312" width_o="480" height_o="312" data-src="https://freight.cargo.site/t/original/i/511276ddafa63fd5a25b5a3bd305f9d4662f022342b2e7170fd134fe06eed53c/IN-AIR-cover-image-copy.jpeg" data-mid="218252271" border="0" src="https://freight.cargo.site/w/480/i/511276ddafa63fd5a25b5a3bd305f9d4662f022342b2e7170fd134fe06eed53c/IN-AIR-cover-image-copy.jpeg" /> Excerpt of the text score. Voiceworks collaboration with Emma Bennett and Adam Crockatt.Performed at Wigmore Hall, 20 May 2010. QuintetQuintet emerged out of a desire to create a working environment that enabled music and dance to progress equally in tandem. This allowed us to have an organic process of collaboration, often pushing and pulling in different ways, adding stresses and creating freedoms. Dancers contributed to the sound world and musicians to moving in the space.Intrigued by the concept of imposing musical notions onto dance and “translating” them into movement, we had to figure out a way for dancers and musicians to create togetherness and separateness through shifting sound worlds, states, and energies.Improvisation played a significant role in our process of composition, initially to spark ideas and generate material through the habits of the dancers and musicians, then in the progression of assigned tasks based on ideas of action and reaction, relationship and dialogue. Collaboration with Nathan Johnston.Performed at Robin Howard Theatre, The Place, 25 / 26 March 2010. Sanctuaryan experimental documentary short, original score What do apes do when they’ve retired from lives as lab animals, circus performers and pets? How does their new state of rest relate to the myths and realities of the rural Welsh town they have retired to? A new documentary by Philipp Haueis, Noah Hutton, and Natacha Mendes explores these questions. <img width="600" height="599" width_o="600" height_o="599" data-src="https://freight.cargo.site/t/original/i/ba8dfa0c0cf36dd0d8f7fa2ccef36c3b04cdc0573dc345b29ee966e0deb1c36f/SANCTUARY-image-1-copy.jpg" data-mid="218254104" border="0" data-scale="43" src="https://freight.cargo.site/w/600/i/ba8dfa0c0cf36dd0d8f7fa2ccef36c3b04cdc0573dc345b29ee966e0deb1c36f/SANCTUARY-image-1-copy.jpg" />Hubbub was an international team of scientists, humanists, artists, clinicians, public health experts, broadcasters and public engagement professionals. For two years, we explored the dynamics of rest, noise, tumult, activity and work, as they operate in mental health, neuroscience, the arts and the everyday. We were based in London as the first residents of The Hub at Wellcome Collection from October 2014 to July 2016. <img width="1500" height="2222" width_o="1500" height_o="2222" data-src="https://freight.cargo.site/t/original/i/4919360f14d81b80f046c306c22f8e832728d833b31ba707bf405eada26cb569/SANCTUARY-thumb---image-2-copy.jpg" data-mid="218254106" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/4919360f14d81b80f046c306c22f8e832728d833b31ba707bf405eada26cb569/SANCTUARY-thumb---image-2-copy.jpg" />Premiered at Wellcome's Hubbub Late Spectacular, 4 September 2015. Sit, Sit Sit, Sit was a one-hour show of everyday actions framed as music. We curated performances by composers from around the world, plus a new piece by us, Second Company (with Elliot Vaughan). From the rhythmicised, highly tactile, gestural elements of Winnie Huang's Tentacles, to James O'Callaghan's ode to books, a "proposition" by Alison Knowles, and Marcus Jackson's employment of the seemingly obnoxious referee's whistle as an expression of detailed beauty and careful delicacy, Sit, Sit is a show that contemplates the banal and uncovers delight. In our own work, co-created through casual and philosophical conversation, interrogatory devising methods, and rigorous, detailed composition, we involve speech/song, movement/dance, gesture/theatre as musical materiality, and explore concepts of distance and communication. Comprised of various attempts to bridge a distance, our efforts will be clear: between us is a horizon, and this is the music of that horizon. <img width="3952" height="2910" width_o="3952" height_o="2910" data-src="https://freight.cargo.site/t/original/i/d75cee71b6ea8d7cd9d3f0188f8953fdd53825b8558ea0995d42bf1d8ee64539/SIT--SIT-image-1-copy.jpg" data-mid="218258363" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/d75cee71b6ea8d7cd9d3f0188f8953fdd53825b8558ea0995d42bf1d8ee64539/SIT--SIT-image-1-copy.jpg" /> Stone Barn [Fossil Poetry]Prompted by the theme of memory, I set a memorisation task for each of us—Bastard Assignments’ Timothy Cape, Edward Henderson, Caitlin Rowley and Josh Spear, and myself. We spent a day taking turns going into the next room and memorising a different text each (randomly assigned). We each had five minutes to memorise it and then recorded what we could remember on our phones. We listened back to the recordings, the hesitations, fumblings, mumblings, and celebrated when we got it right! I took the recordings and re-edited the material (each player kept their own voice), and transcribed them into a text score. After a few hours rehearsal a few days later, we were on our way to the venue, walking along and chatting, and Ed said, it’s so hard to tell if we’re still performing, we can’t “get out of it.” [An original line from the original Lark. — Too true.] A BBC / Bastard Assignments commission. <img width="2160" height="1440" width_o="2160" height_o="1440" data-src="https://freight.cargo.site/t/original/i/f8adeb7d9db840ccef9bd99bc7a3456b28311a92c1095cc1268d493e56585230/STONE-BARN-image-1-copy.jpg" data-mid="218254407" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/f8adeb7d9db840ccef9bd99bc7a3456b28311a92c1095cc1268d493e56585230/STONE-BARN-image-1-copy.jpg" />Pictured (L–R):&nbsp;Caitlin Rowley,&nbsp;Josh Spear, Edward Henderson, me, Timothy Cape. Performed at Topophobia, 12 October 2017. <img width="746" height="423" width_o="746" height_o="423" data-src="https://freight.cargo.site/t/original/i/c298e8d5d6a14f4c114f442393c9d175e47809246e9237f47b46bc6c75801061/STONE-BARN-image-2-copy.JPG" data-mid="218254416" border="0" data-scale="73" src="https://freight.cargo.site/w/746/i/c298e8d5d6a14f4c114f442393c9d175e47809246e9237f47b46bc6c75801061/STONE-BARN-image-2-copy.JPG" />Performed at BBC Radio 3’s Hear and Now ‘Why Music? The Key to Memory’ at the Wellcome Collection, 14 October 2017. Susceptible ChambersIf music can be thought of as meaningful time, then Antonia and Jessie's literal musical playground also creates a meaningful space. —Curator Amadeus Julian Regucera, from “The Discipline of Play” Susceptible Chambers was an EMPAC-commissioned performance, which draws lines between the worlds of sound art, handcrafts, and experimental theater. It begins with the re-construction of a simple microphone. Musicians have historically augmented familiar musical instruments with alternative materials to change their, and the audience’s, relationship to that object from a sonic and cultural standpoint. By designing and building specially-crafted objects, and experimenting with instrumental expansion, we can hear these materials interacting with one another—and experience the possibilities of a completely new sonic landscape, which can be discovered by playing with (a) particular combination/s of materials. Developed during a series of residencies, we laid the groundwork for an audio-visual performance that was both whimsical and rigorously executed. Composed from manifold permutations of “extended” microphones, we experiment with different microphone filters and casings as well as speakers, light, and color arrangements. Susceptible Chambers collects technologies from bygone eras—pulley systems, pianolas, needlepoint, sodium vapor lamps—and places them in conversation with bespoke, handmade and electronic objects. This production draws the audience into an unusual, idiosyncratic, and playful sonic and visual world, experimenting with and challenging generally accepted practices of today’s electronic music, and contemporary music more broadly. <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/ddf7cf029d62206ffbb808746b9a05184dd660415b2b37f14e7f39db625082bb/SUSCEPTIBLE-image-1-copy.jpeg" data-mid="218258320" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/ddf7cf029d62206ffbb808746b9a05184dd660415b2b37f14e7f39db625082bb/SUSCEPTIBLE-image-1-copy.jpeg" /><img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/39a755e8a83f480abe810b6d804879c97cd9da7081904d2a0e82772a9ebe822b/SUSCEPTIBLE-image-2-copy.jpeg" data-mid="218863702" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/39a755e8a83f480abe810b6d804879c97cd9da7081904d2a0e82772a9ebe822b/SUSCEPTIBLE-image-2-copy.jpeg" /><img width="2997" height="1687" width_o="2997" height_o="1687" data-src="https://freight.cargo.site/t/original/i/f7765046458cc2c8a29232b5003a2b945161b1f01b959e6a80fa2850709ad4f3/SUSCEPTIBLE-image-3-copy.jpg" data-mid="218863703" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/f7765046458cc2c8a29232b5003a2b945161b1f01b959e6a80fa2850709ad4f3/SUSCEPTIBLE-image-3-copy.jpg" /><img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/3259ff8a1bb26d9323bbe2b25bfeaf626688940fbcb6ec344f47132fde8c9206/SUSCEPTIBLE-image-4-copy.jpg" data-mid="218863704" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/3259ff8a1bb26d9323bbe2b25bfeaf626688940fbcb6ec344f47132fde8c9206/SUSCEPTIBLE-image-4-copy.jpg" /> The thing is, I think–A piece for solo performer with piano and field recordings, devised in collaboration with Joseph Houston.Back to basicsSimpleExercisesLearningRelearningUnlearningDecolonising the mindProcessingCommissioned by City Music Foundation. Reviewed by Helen Wallace for theartsdesk.com:'In Barnett-McIntosh’s The thing is, I think– the piano is an adversary whose historical baggage intimidates. To repetitive machine-noise and multiple voices, Houston walked around it, squared up to it, rubbed its gleaming surface till it squeaked, rattled its innards with a ruler before daring to touch it into frail song. Loaded phrases floated by, "only you can get yourself out of this": the act of composing itself under the microscope.' Performed by Joseph Houston at Cafe OTO, for Kammer Klang, 13 January 2018, St John's Smith Square, 10 January 2018, and at Unerhoerte Musik, 12 December 2017. Performed by Alex Raineri at Brisbane Music Festival’s ‘Crimson’ concert, 1 / 3 / 5 March 2021. the various directions of shouldgroup conversation, group reading. a new play? or, rehearsal of it, maybe.. a script, a score. written in the vernacular and performed verbatim. what modes of delivery of speech – mixing it up, talking over the top of each another, the natural turn-taking of chit-chat. speech part enunciated, part relaxed. sharing stories, a moment, our languages. told through our own voices speaking aloud. <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/01b6f0f442e0af2168954d63c0d43b3dffcb72269dbf3c863738cb84baeaaf4a/THE-VARIOUS-DIRECTIONS-OF-SHOULD-thumbnail-copy.jpeg" data-mid="218238350" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/01b6f0f442e0af2168954d63c0d43b3dffcb72269dbf3c863738cb84baeaaf4a/THE-VARIOUS-DIRECTIONS-OF-SHOULD-thumbnail-copy.jpeg" />Pictured (L–R): Sara Cowdell, Elliot Vaughan, Annelies Mead, me, Marcus Jackson. Performed at MINTER, play_station, 4 May 2019. https://antoniabarnettmcintosh.com/collaborations-1 Wed, 18 Sep 2024 12:28:15 +0000 ABM https://antoniabarnettmcintosh.com/collaborations-1 Projects Collaborations Info Close Accent Using extensive transcriptions, close listening and improvisatory techniques, Accent is a duet, conversation and mutual impersonation. It is a composition carefully transposed from hours of casual conversation, serious discussion, drawn-out efforts at explanation, tetchy disagreements and myriad attempts - both lazy and sincere - to impersonate one another's accents.The performance is a loose reconstruction, a formal experiment, a stupid game. We imitate imitations, talk about talking, and mispronounce words. These uncontrollable voice-sounds test the borderline between the intentional and the accidental, opening onto questions of what can and cannot be notated, scored, or repeated with exactitude.As we hear ourselves again, filtered through one another, what emerges is a genuine confusion between imitation and quotation, explanation and demonstration, music and signal, friendship and collaboration, speech and song. Accent is an ongoing collaboration with Emma Bennett, previously known as Lark. Performed at Weisslich Vol.9, 14 January 2017. Filmed by Huw Crowley. A Superficial WayA newer-ish collaboration with Emma Bennett, which arose from a Q-O2 residency in Brussels, which took place during a heatwave. Retreating to galleries and museums for reprieve, we devised this work during a visit to the Musée des Instruments de Musique. Originally titled, “the superficial front-facing way of putting it out there.” <img width="1024" height="684" width_o="1024" height_o="684" data-src="https://freight.cargo.site/t/original/i/7a32aa0d6871f16dee27c52636f555dab1b3df7498d3dfeed8afcb15448c9fec/FRONT-FACING-image-copy.jpg" data-mid="218259538" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/7a32aa0d6871f16dee27c52636f555dab1b3df7498d3dfeed8afcb15448c9fec/FRONT-FACING-image-copy.jpg" /> Performed at Q-O2, 8 August 2019.Made into a video work because Covid. Video by Emma, audio edit by me. A Few PointersA Few Pointers is a dialogue-based practice with artist Leena Kangaskoski. It is a platform which allows us to explore new ways of putting images and sound together, whether we film and record together or in separate locations, we first decide on methods for devising the work. <img width="1426" height="801" width_o="1426" height_o="801" data-src="https://freight.cargo.site/t/original/i/6165d2e7b15781521db16c08801bf0805f2cd447bb1461a0a7780bdbd67be926/DINNER-image-3-copy.png" data-mid="218259540" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/6165d2e7b15781521db16c08801bf0805f2cd447bb1461a0a7780bdbd67be926/DINNER-image-3-copy.png" /> We met in 2010 while studying in London. Whilst creating a piece for the opening of the Surreal House art exhibition at the Barbican, we devised a way of working together involving the exploration of “translations” across our artistic practices.Animated Machine was created as a response to the National Theatre production of Frankenstein directed by Danny Boyle, filmed by Leena Kangaskoski and Ana Minguez. Later on, Leena and Ana developed the topic of life and death further, and the trajectory of a life as a journey, the body as mere flesh like Frankenstein's monster, the cold, the isolation, and electricity. The result was an amalgamation of symbols and sounds of a very abstract nature. Animated Machine Since then, we have collaborated on film, performance, and installation works, which have been exhibited at the National Theatre, Barbican, and Chisenhale Dance Space in London, and Direktorinhaus and Strahler in Berlin. In 2012, with choreographer Nathan Johnston, we were commissioned to create a show in an underground water world in Harstad, for the Festspillene i Nord-Norge (North Norway Festival). Water Walk was an interdisciplinary performance work for three percussionists, dancer, moving image, and lighting. The piece takes place in an underground water world, across two pool areas, in a swimming complex built into the side of a mountain. In honour of John Cage’s ‘Water Walk,’ performed by NorthArc and dancer Matt Lackford at Grottebadet, Harstad Norway, 28 June 2012, Festspillene i Nord-Norge. <img width="595" height="595" width_o="595" height_o="595" data-src="https://freight.cargo.site/t/original/i/c62ef2cf935395637320f4056efec02c1b95151db6a7cf58d6d426c3cf7e3f8a/WATER-WALK-image-1-copy.PNG" data-mid="218259542" border="0" data-scale="36" src="https://freight.cargo.site/w/595/i/c62ef2cf935395637320f4056efec02c1b95151db6a7cf58d6d426c3cf7e3f8a/WATER-WALK-image-1-copy.PNG" /> WHEN I SIT, YOU SCREAMPart One Herr Hermann and Sophia Bumm-BummRecorded, filmed and edited in Berlin, November 2014 Exhibited at Galerie Pleiku, Berlin.Part Two reallyRecorded and filmed separately, Berlin and Helsinki, January 2015.Exhibited at Strahler, Berlin, as part of 5//5: Fleck.Part Three StilleRecorded in London, filmed in Helsinki, May 2015.Effect regardless of distance Recorded in Berlin, filmed in Helsinki, June 2015. ConversationConversation traces the boundaries between musical composition and performance, dance, spoken word and sculpture, and uses elements from these disciplines in order to create a piece that is at once a live musical composition, a gestural performance piece and a sonic artwork.Conversation is a performance piece for two people, small homemade loudspeakers and tape, and is a collaboration with Rebecca Lane. <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/39020ed6d1558e5682b87ad07fce9fbd3c6e3390aaefbfb77bfbec7fdaf7b6bd/CONVERSATION-image-1-copy.png" data-mid="218259546" border="0" src="https://freight.cargo.site/w/1000/i/39020ed6d1558e5682b87ad07fce9fbd3c6e3390aaefbfb77bfbec7fdaf7b6bd/CONVERSATION-image-1-copy.png" /> <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/bc7a3d306374e6f7c9315fc104251b455792b60ec3778e9026a01a2d33ecb186/CONVERSATION-thumb-copy.png" data-mid="218259548" border="0" src="https://freight.cargo.site/w/1000/i/bc7a3d306374e6f7c9315fc104251b455792b60ec3778e9026a01a2d33ecb186/CONVERSATION-thumb-copy.png" /> Performed at Strahler, 3 December 2015. DUODUO is the resulting work of a collaboration with player, composer, and researcher of ngā taonga puoro, Al Fraser. We met up in his workshop/studio and experimented with qualities of sounds, their shapes, and the incidental sounds that occur when beginning/ending/during playing. Drawn from wee films made while devising musical material, then put back together side by side as a sort of duo, using a random duration generator. Commissioned by Music Group with funds from Creative New Zealand. Recorded and filmed in Te Whanganui-a-Tara, March 2021. earpiecean installationThe idea for earpiece came out of the need to block my ears in a busy city, when music is performed too loud, or when sounds are generally just too screechy.I've often experimented with "hearing my ears" and was interested in exploring how this could be made into an interactive installation that playfully investigates how we listen and creates a piece where the participant becomes the instrument, performer and audience all at once.I worked with Tamarin to develop a visual language that would show participants how to hear their own ears as they interact with the piece.The video was projected onto one wall of a darkened studio and the sound played at full volume through speakers placed at ear height.What the speakers play is half of the musical composition. The rest of the sound world is created through audience members following these animated prompts in the video as they listen and watch, supplementing the soundtrack with new sounds and acoustic effects made by moving their fingertips and hands in order to block, unblock, scratch, swipe, tap and cover their ears. <img width="2080" height="986" width_o="2080" height_o="986" data-src="https://freight.cargo.site/t/original/i/9de77163a21c0607f1aace74af9a793597dcc97f62563abd03fc8c3428ce7fab/EARPIECE-image-1-copy.png" data-mid="218259544" border="0" src="https://freight.cargo.site/w/1000/i/9de77163a21c0607f1aace74af9a793597dcc97f62563abd03fc8c3428ce7fab/EARPIECE-image-1-copy.png" />Collaboration with Tamarin Norwood.Premiered at Wellcome's Hubbub Late Spectacular, 4 September 2015. face to face at the time on the time Conversations across distance and technology, bouncing back together. A string quartet reimagined. I was less than a week into a big move home to Aotearoa in 2018 and had phone/video calls individually with four players from Phaedra Ensemble—Chihiro Ono, Phil Granell, Richard Jones, and Sergio Serra. We chatted around time zones, music, work, travel, and keeping in touch, which I recorded, re-edited, transcribed, and scored for them to perform together in London at VOX06, their final concert in the VOX series, which explored ideas of place, nationhood and belonging through works inspired by the human voice. <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/7b2187f798c872985c973a4ce5dda533def0167cec79dfcc30b8ecfccd3ee0a9/FACE-TO-FACE-image.jpg" data-mid="218259553" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/7b2187f798c872985c973a4ce5dda533def0167cec79dfcc30b8ecfccd3ee0a9/FACE-TO-FACE-image.jpg" /> Pictured (L–R): Chihiro Ono, Phil Granell, Sergio Serra at VOX06.Performed at Juju's Bar and Stage, London, 5 July 2018. Photograph by&nbsp;Dimitri Djuric. FLAT OUT CollectiveIn 2010 I founded FLAT OUT Collective, a collaborative group which brings together the shared concerns of four artists, whose backgrounds span visual art, music, performance and dance. Via ongoing dialogue, and a series of collectively-curated performance nights, our aim was to co-create a body of ambitious and cutting-edge performance works that interrogate the borders between disciplines. We put on two shows at Chisenhale Dance Space, 2011–2012: UNSUNG and UNSEEN. With Emma Bennett, Nathan Johnston, Leena Kangaskoski, and friends. <img width="1748" height="1748" width_o="1748" height_o="1748" data-src="https://freight.cargo.site/t/original/i/3032b7ee95e5394e7242b02943b1334869fd10fda0c3f44b00fef254c3f2a301/FLAT-OUT-COLLECTIVE-image-1-Night-No.1-UNSUNG-copy.jpg" data-mid="218259550" border="0" src="https://freight.cargo.site/w/1000/i/3032b7ee95e5394e7242b02943b1334869fd10fda0c3f44b00fef254c3f2a301/FLAT-OUT-COLLECTIVE-image-1-Night-No.1-UNSUNG-copy.jpg" /> <img width="1165" height="1165" width_o="1165" height_o="1165" data-src="https://freight.cargo.site/t/original/i/63671f4779b834813823166155344aa80caa4ad7ca006bdb0ca5eff361c08c16/FLAT-OUT-COLLECTIVE-image-2-Night-No.2-UNSEEN-copy.jpg" data-mid="218259552" border="0" src="https://freight.cargo.site/w/1000/i/63671f4779b834813823166155344aa80caa4ad7ca006bdb0ca5eff361c08c16/FLAT-OUT-COLLECTIVE-image-2-Night-No.2-UNSEEN-copy.jpg" /> In Air We attempted to find a collaborative model that blurred the boundaries between 'writing', 'composing' and 'performing'. We worked closely together, considering compositional concepts as well as Adam's process of interpretation and memorisation, in order to discover a common language.We focussed on the sounds in the mouth: the relationship between a note and a word; music and language; singing and speech. We tested vowel transferral techniques and the discrepancies in our accents, thinking of vowels as the body of the sound, the body of the word, and consonants as the stoppage of air by the teeth, the tongue, and the lips, and then measuring out the extensions and stoppages.We explored ideas of sound and sense: sounds as shaped things in air and the music as a figural space giving form to dispersed verbal objects. Sometimes these facilitate a kind of amnesia—the listener forgets the beginning of a word (the consonant which bounds and shapes the vowel) and the vowel morphs and is funnelled into a different word-ending, so sung-sound hovers between two kinds of sense.Spatial positioning of the text became an important facet of the work and we laid the words out spatially on the page and formulated rules for interpreting this text notation into music notation. <img width="480" height="312" width_o="480" height_o="312" data-src="https://freight.cargo.site/t/original/i/511276ddafa63fd5a25b5a3bd305f9d4662f022342b2e7170fd134fe06eed53c/IN-AIR-cover-image-copy.jpeg" data-mid="218259555" border="0" src="https://freight.cargo.site/w/480/i/511276ddafa63fd5a25b5a3bd305f9d4662f022342b2e7170fd134fe06eed53c/IN-AIR-cover-image-copy.jpeg" /> Excerpt of the text score. Voiceworks collaboration with Emma Bennett and Adam Crockatt.Performed at Wigmore Hall, 20 May 2010. QuintetQuintet emerged out of a desire to create a working environment that enabled music and dance to progress equally in tandem. This allowed us to have an organic process of collaboration, often pushing and pulling in different ways, adding stresses and creating freedoms. Dancers contributed to the sound world and musicians to moving in the space.Intrigued by the concept of imposing musical notions onto dance and “translating” them into movement, we had to figure out a way for dancers and musicians to create togetherness and separateness through shifting sound worlds, states, and energies.Improvisation played a significant role in our process of composition, initially to spark ideas and generate material through the habits of the dancers and musicians, then in the progression of assigned tasks based on ideas of action and reaction, relationship and dialogue. Collaboration with Nathan Johnston.Performed at Robin Howard Theatre, The Place, 25 / 26 March 2010. Sanctuaryan experimental documentary short, original score What do apes do when they’ve retired from lives as lab animals, circus performers and pets? How does their new state of rest relate to the myths and realities of the rural Welsh town they have retired to? A new documentary by Philipp Haueis, Noah Hutton, and Natacha Mendes explores these questions. <img width="600" height="599" width_o="600" height_o="599" data-src="https://freight.cargo.site/t/original/i/ba8dfa0c0cf36dd0d8f7fa2ccef36c3b04cdc0573dc345b29ee966e0deb1c36f/SANCTUARY-image-1-copy.jpg" data-mid="218259557" border="0" data-scale="43" src="https://freight.cargo.site/w/600/i/ba8dfa0c0cf36dd0d8f7fa2ccef36c3b04cdc0573dc345b29ee966e0deb1c36f/SANCTUARY-image-1-copy.jpg" />Hubbub was an international team of scientists, humanists, artists, clinicians, public health experts, broadcasters and public engagement professionals. For two years, we explored the dynamics of rest, noise, tumult, activity and work, as they operate in mental health, neuroscience, the arts and the everyday. We were based in London as the first residents of The Hub at Wellcome Collection from October 2014 to July 2016. <img width="1500" height="2222" width_o="1500" height_o="2222" data-src="https://freight.cargo.site/t/original/i/4919360f14d81b80f046c306c22f8e832728d833b31ba707bf405eada26cb569/SANCTUARY-thumb---image-2-copy.jpg" data-mid="218259558" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/4919360f14d81b80f046c306c22f8e832728d833b31ba707bf405eada26cb569/SANCTUARY-thumb---image-2-copy.jpg" />Premiered at Wellcome's Hubbub Late Spectacular, 4 September 2015. Sit, Sit Sit, Sit was a one-hour show of everyday actions framed as music. We curated performances by composers from around the world, plus a new piece by us, Second Company (with Elliot Vaughan). From the rhythmicised, highly tactile, gestural elements of Winnie Huang's Tentacles, to James O'Callaghan's ode to books, a "proposition" by Alison Knowles, and Marcus Jackson's employment of the seemingly obnoxious referee's whistle as an expression of detailed beauty and careful delicacy, Sit, Sit is a show that contemplates the banal and uncovers delight. In our own work, co-created through casual and philosophical conversation, interrogatory devising methods, and rigorous, detailed composition, we involve speech/song, movement/dance, gesture/theatre as musical materiality, and explore concepts of distance and communication. Comprised of various attempts to bridge a distance, our efforts will be clear: between us is a horizon, and this is the music of that horizon. <img width="3952" height="2910" width_o="3952" height_o="2910" data-src="https://freight.cargo.site/t/original/i/d75cee71b6ea8d7cd9d3f0188f8953fdd53825b8558ea0995d42bf1d8ee64539/SIT--SIT-image-1-copy.jpg" data-mid="218259571" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/d75cee71b6ea8d7cd9d3f0188f8953fdd53825b8558ea0995d42bf1d8ee64539/SIT--SIT-image-1-copy.jpg" /> Stone Barn [Fossil Poetry]Prompted by the theme of memory, I set a memorisation task for each of us—Bastard Assignments’ Timothy Cape, Edward Henderson, Caitlin Rowley and Josh Spear, and myself. We spent a day taking turns going into the next room and memorising a different text each (randomly assigned). We each had five minutes to memorise it and then recorded what we could remember on our phones. We listened back to the recordings, the hesitations, fumblings, mumblings, and celebrated when we got it right! I took the recordings and re-edited the material (each player kept their own voice), and transcribed them into a text score. After a few hours rehearsal a few days later, we were on our way to the venue, walking along and chatting, and Ed said, it’s so hard to tell if we’re still performing, we can’t “get out of it.” [An original line from the original Lark. — Too true.] A BBC / Bastard Assignments commission. <img width="2160" height="1440" width_o="2160" height_o="1440" data-src="https://freight.cargo.site/t/original/i/f8adeb7d9db840ccef9bd99bc7a3456b28311a92c1095cc1268d493e56585230/STONE-BARN-image-1-copy.jpg" data-mid="218259560" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/f8adeb7d9db840ccef9bd99bc7a3456b28311a92c1095cc1268d493e56585230/STONE-BARN-image-1-copy.jpg" />Pictured (L–R): Caitlin Rowley,&nbsp;Josh Spear, Edward Henderson, me, Timothy Cape. Performed at Topophobia, 12 October 2017. <img width="746" height="423" width_o="746" height_o="423" data-src="https://freight.cargo.site/t/original/i/c298e8d5d6a14f4c114f442393c9d175e47809246e9237f47b46bc6c75801061/STONE-BARN-image-2-copy.JPG" data-mid="218259562" border="0" data-scale="73" src="https://freight.cargo.site/w/746/i/c298e8d5d6a14f4c114f442393c9d175e47809246e9237f47b46bc6c75801061/STONE-BARN-image-2-copy.JPG" />Performed at BBC Radio 3’s Hear and Now ‘Why Music? The Key to Memory’ at the Wellcome Collection, 14 October 2017. Susceptible ChambersIf music can be thought of as meaningful time, then Antonia and Jessie's literal musical playground also creates a meaningful space. —Curator Amadeus Julian Regucera, from “The Discipline of Play” Susceptible Chambers was an EMPAC-commissioned performance, which draws lines between the worlds of sound art, handcrafts, and experimental theater. It begins with the re-construction of a simple microphone. Musicians have historically augmented familiar musical instruments with alternative materials to change their, and the audience’s, relationship to that object from a sonic and cultural standpoint. By designing and building specially-crafted objects, and experimenting with instrumental expansion, we can hear these materials interacting with one another—and experience the possibilities of a completely new sonic landscape, which can be discovered by playing with (a) particular combination/s of materials. Developed during a series of residencies, we laid the groundwork for an audio-visual performance that was both whimsical and rigorously executed. Composed from manifold permutations of “extended” microphones, we experiment with different microphone filters and casings as well as speakers, light, and color arrangements. Susceptible Chambers collects technologies from bygone eras—pulley systems, pianolas, needlepoint, sodium vapor lamps—and places them in conversation with bespoke, handmade and electronic objects. This production draws the audience into an unusual, idiosyncratic, and playful sonic and visual world, experimenting with and challenging generally accepted practices of today’s electronic music, and contemporary music more broadly. <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/ddf7cf029d62206ffbb808746b9a05184dd660415b2b37f14e7f39db625082bb/SUSCEPTIBLE-image-1-copy.jpeg" data-mid="218259566" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/ddf7cf029d62206ffbb808746b9a05184dd660415b2b37f14e7f39db625082bb/SUSCEPTIBLE-image-1-copy.jpeg" /><img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/39a755e8a83f480abe810b6d804879c97cd9da7081904d2a0e82772a9ebe822b/SUSCEPTIBLE-image-2-copy.jpeg" data-mid="218863712" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/39a755e8a83f480abe810b6d804879c97cd9da7081904d2a0e82772a9ebe822b/SUSCEPTIBLE-image-2-copy.jpeg" /><img width="2997" height="1687" width_o="2997" height_o="1687" data-src="https://freight.cargo.site/t/original/i/f7765046458cc2c8a29232b5003a2b945161b1f01b959e6a80fa2850709ad4f3/SUSCEPTIBLE-image-3-copy.jpg" data-mid="218863714" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/f7765046458cc2c8a29232b5003a2b945161b1f01b959e6a80fa2850709ad4f3/SUSCEPTIBLE-image-3-copy.jpg" /><img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/3259ff8a1bb26d9323bbe2b25bfeaf626688940fbcb6ec344f47132fde8c9206/SUSCEPTIBLE-image-4-copy.jpg" data-mid="218863713" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/3259ff8a1bb26d9323bbe2b25bfeaf626688940fbcb6ec344f47132fde8c9206/SUSCEPTIBLE-image-4-copy.jpg" /> The thing is, I think–A piece for solo performer with piano and field recordings, devised in collaboration with Joseph Houston.Back to basicsSimpleExercisesLearningRelearningUnlearningDecolonising the mindProcessingCommissioned by City Music Foundation. Reviewed by Helen Wallace for theartsdesk.com:'In Barnett-McIntosh’s The thing is, I think– the piano is an adversary whose historical baggage intimidates. To repetitive machine-noise and multiple voices, Houston walked around it, squared up to it, rubbed its gleaming surface till it squeaked, rattled its innards with a ruler before daring to touch it into frail song. Loaded phrases floated by, "only you can get yourself out of this": the act of composing itself under the microscope.' Performed by Joseph Houston at Cafe OTO, for Kammer Klang, 13 January 2018, St John's Smith Square, 10 January 2018, and at Unerhoerte Musik, 12 December 2017. Performed by Alex Raineri at Brisbane Music Festival’s ‘Crimson’ concert, 1 / 3 / 5 March 2021. the various directions of shouldgroup conversation, group reading. a new play? or, rehearsal of it, maybe.. a script, a score. written in the vernacular and performed verbatim. what modes of delivery of speech – mixing it up, talking over the top of each another, the natural turn-taking of chit-chat. speech part enunciated, part relaxed. sharing stories, a moment, our languages. told through our own voices speaking aloud. <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/01b6f0f442e0af2168954d63c0d43b3dffcb72269dbf3c863738cb84baeaaf4a/THE-VARIOUS-DIRECTIONS-OF-SHOULD-thumbnail-copy.jpeg" data-mid="218259532" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/01b6f0f442e0af2168954d63c0d43b3dffcb72269dbf3c863738cb84baeaaf4a/THE-VARIOUS-DIRECTIONS-OF-SHOULD-thumbnail-copy.jpeg" />Pictured (L–R): Sara Cowdell, Elliot Vaughan, Annelies Mead, me, Marcus Jackson.Performed at MINTER, play_station, 4 May 2019. https://antoniabarnettmcintosh.com/projects Wed, 18 Sep 2024 05:57:09 +0000 ABM https://antoniabarnettmcintosh.com/projects Menu Unspoken: it’s what it’s about5-channel sound installation, 6:21, speakers arranged equidistantly at ear height. Created in residence (May/July 2023) and commissioned by Bundanon Art Museum, New South Wales for ‘The Polyphonic Sea,’ 8 July–8 October 2023. 5-minute performance version for the exhibition opening on 8 July 2023. <img width="5392" height="7142" width_o="5392" height_o="7142" data-src="https://freight.cargo.site/t/original/i/0fa68ca640a801116b8a1943693a2cc1c69a321d0d05d4da7481585c1c8911e3/UNSPOKEN-Bundanon-copy.jpg" data-mid="218239548" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/0fa68ca640a801116b8a1943693a2cc1c69a321d0d05d4da7481585c1c8911e3/UNSPOKEN-Bundanon-copy.jpg" /> <img width="3458" height="4530" width_o="3458" height_o="4530" data-src="https://freight.cargo.site/t/original/i/bee15a36e70a689853035a706b75004a624ceabff8cb8cf6ceb5f0c9c900c3fc/UNSPOKEN-image-2-copy.jpg" data-mid="218239577" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/bee15a36e70a689853035a706b75004a624ceabff8cb8cf6ceb5f0c9c900c3fc/UNSPOKEN-image-2-copy.jpg" /> <img width="1170" height="1692" width_o="1170" height_o="1692" data-src="https://freight.cargo.site/t/original/i/7b5d80b79e86fffe75c559b865fd0b60df780e54d423e0e30f1bb534fcf3eac1/UNSPOKEN-artist-statement-copy.png" data-mid="218239870" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/7b5d80b79e86fffe75c559b865fd0b60df780e54d423e0e30f1bb534fcf3eac1/UNSPOKEN-artist-statement-copy.png" /> Photographs by Zan Wimberley +&nbsp;Artist statement / Wall text extrapolation. Wild Fabrics Excerpt, ‘you couldn’t really tell’, from film Wild Fabrics, adapted from a live performance due to Covid lockdown. Excerpt from Theatreview by Kosta Bogoeivski: “Wild Fabrics is a film that begins with cityscapes, urban gardens, abandoned sites, and graffiti, captured with a touristic gaze. Steady hands and slow pans like one’s eyes would when people-watching in a new place. I suspect, in Antonia’s case, a contemporary composer with an ear for/on everything, she’s used this time indoors to listen for the musicality of her itinerant life she captured before lockdown. Travel seems so far away to all of us, the images become content to look at from a distance, literally but also contextually. I think this is why the work is called Wild Fabrics. The film jumps from travel log to screen-recorded typed text and then back to travel log. The travel log is decontextualized enough for us to people/site watch (and listen) with Antonia almost objectively. There’s musicality in the editing of the quotidian scenes and strategic blank space (seconds of looking at an empty screen between shots) and silence for pauses and reset. The typed text works in a way that intercepts the film’s flow. In a similar way this middle section eludes interpretation as sentences and statements trail off or segue before ever reaching a point. Antonia’s voice is layered over the text. There is a discrepancy between voice and typing, both chase each other in an attempt to transcribe or relay lofty information. Before long we are listening to the composition of colloquial speech with a backing track or percussion or ASMR of typing. When we’re back to the travel log we’re on the plane, looking at the sky, clouds, returning home, it seems. The song here is of being alone, which is the sound of the everyday white noise, some more relaxing than the others e.g. engine rumble of a plane vs. wind against leaves rustling in a bush. A brief ending. The subject is back on Antonia, alone again, reminding us of her isolation. She addresses the viewer directly, in the form of a personal email, typing “I miss you” and wishing us the best for the festival. Sincerity... dissolving distance between audience and author in a delightful, modally-dynamic way.” Presented at Tiny Fest, Ron Ball Studio, Ōtautahi, 27 November 2021. Drawing AttentionDrawing Attention is a work for eight players tasked to interact with each other in real-time, questioning the hierarchical notion of instruments within an ensemble and pointing to the privilege that the human brain instinctively gives to speech with meaning, and the human voice, over other sounds. A musical conversation of sorts, it was commissioned by BIFEM with funds from Creative New Zealand. Performed by Argonaut Ensemble at BIFEM, 6 September 2019. Kontaktlinsensuppe A text piece written while travelling, notes taken down in Notes, and composed, making particular use of repetition. <img width="1196" height="1198" width_o="1196" height_o="1198" data-src="https://freight.cargo.site/t/original/i/eb8a6d03f8d52eb437c8ec4a1112ffa36dfbdd521e0729da4647febdf8457087/KONTAKLINSENSUPPE-image-copy.png" data-mid="218239364" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/eb8a6d03f8d52eb437c8ec4a1112ffa36dfbdd521e0729da4647febdf8457087/KONTAKLINSENSUPPE-image-copy.png" /> Performed at Hunter Council Chamber, Te Whanganui-a-Tara, 22 August 2018, and at Audio Foundation, Tāmaki Makaurau, 15 September 2023.&nbsp; ‘travelling, travelling’ Excerpt from Under The Radar review by Stevie Kaye: “...local composer Antonia Barnett-McIntosh&nbsp;(whose work I'd last seen at both Essential Experimental and Vox Fem concerts) perform a solo piece drawing on her work with instructions / chance / cut-ups, and on the deep dive into Kiwi vocal and linguistic inflections that her time in England had illuminated. Her glossolalic, logorrheic web of seemingly every single aphorism or proverbial phrase produced in this country both dredged up half-remembered from great-aunts-and-uncles in Golden Bay ("rattle your dags" / "thumb up your bum") and those I'd never heard ("sick o'lick" for six o'clock?). Plus, her readings of random books in the room included what appeared to be a guinea pig Pride &amp; Prejudice.” Performed at PORTALFEST, The Fiction Room, Pegasus Books, Te Whanganui-a-Tara, 2 February 2019. Transciption PieceTranscription Piece is a solo performance experiment, which sits at the intersection of my interests in composition, performance, field recordings, speech, and interview transcription. A recorded element (interviews, readings, stories, music, and field recordings) plays through speakers, which I transcribe live. This performance transforms the original material through the body of the composer and the transcribing machine; hesitations, mistakes, rewinds, stops and starts become embedded into the rhythm of the resulting piece. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/8990013d4c714448c364af57210db8e08066315ed5f93a0a5ff30787ca1c1459/TRANSCRIPTION-PIECE-image-copy.jpg" data-mid="218262313" border="0" data-scale="87" src="https://freight.cargo.site/w/1000/i/8990013d4c714448c364af57210db8e08066315ed5f93a0a5ff30787ca1c1459/TRANSCRIPTION-PIECE-image-copy.jpg" />Performed at Raze Ramparts, Officina Neukölln, Berlin, 19 May 2017, HOFFNUNG3000, Berlin, 24 August 2017, and Performance Art Week Aotearoa, play_station space, 17 November 2018 (pictured). Things are thingsThings are things, aren't they? Things are things. This really low-key, subtle sexism where my hand is never shaken first. Always trying to have conversations in your head about it, aren't you? Trying to think what you think. You know, policies. When you start to unpick it, that capacity, and to actually give women the vote was actually done so fulsomely by going around talking to other women, making women want to have the vote. Has much changed for us in the last 125 years? Are we still ladies in lavender? Well, kind of, no.sound installation, 12:17, +&nbsp;5-minute performance version for the exhibition opening, Music From Her, Thistle Hall, 10 October 2018. Things are things was a commission for Music From Her, an exhibition at Thistle Hall Gallery and part of Suffrage 125, which ran 9-14 October 2018. <img width="1846" height="2492" width_o="1846" height_o="2492" data-src="https://freight.cargo.site/t/original/i/6bc1799fc641bc6db8ca0dd23bdfc8fd7f3e0e84bc0e7456c6310a0c2c0c4a39/THINGS-ARE-THINGS-image-1-copy.jpg" data-mid="218260607" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/6bc1799fc641bc6db8ca0dd23bdfc8fd7f3e0e84bc0e7456c6310a0c2c0c4a39/THINGS-ARE-THINGS-image-1-copy.jpg" /> Untitled [Accordion] This work for solo accordionist looks at the instrument from the perspective of sculpture, as a physical object, a being in its own right, and explores how gesture, theatricality, and gentle manoeuvring or guiding can be used to create a sonic landscape as a result of composed actions. Created in collaboration with Filip Eraković. <img width="1140" height="596" width_o="1140" height_o="596" data-src="https://freight.cargo.site/t/original/i/5cac11e4bd25b128d9e833e0f4540af8d00faed357756e3d77cbb6fb46ffbd1c/ACCORDION-image-1-copy.png" data-mid="218260713" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/5cac11e4bd25b128d9e833e0f4540af8d00faed357756e3d77cbb6fb46ffbd1c/ACCORDION-image-1-copy.png" />Performed at impuls Akademie in Graz, Austria, 19 February 2017. Breatha piece for alto fluteExploring the concept of breath as musical rest and breathlessness as a form of exhaustion, Breath requires the performer to utilise each in- and out-breath in the creation of sound.Read Michael Baldwin's take on the piece in his Better Know A Weisslich article here. Performed by Ilze Ikse at Wellcome's Hubbub Late Spectacular, 4 September 2015, and at Weisslich Vol.8, Hundred Years Gallery, London, 23 July 2016. none sitting restinga piece for string quartetAn investigation into the qualities of sound at rest in music and music notation.Part written out music notation and part instructions-based, the score asks the players to respond to the sounds around them in the space as well as using musical rest, performed rest, pauses, gaps, breaks (“take a sip of water”), audible breath, bodily rest (“slouch a little”), one bow length as one breath, the scrapes and scratches that happen inadvertently between sounds, the whiteness of the page, silence, in order to contextualise sounds.The duration of the piece can be anywhere between 12 and 18 minutes. An instruction from the performance directions states: “Take your time. It doesn’t matter if it seems like you’re out of time. There’s no such thing.” Performance by Phaedra Ensemble at Kings Place, London, 7 October 2016. Also performed by Aurora Orchestra at Radio 3's Why Music? at Wellcome Collection, 26 September 2015. ShadesShades is a little piece for percussion trio, performed behind a screen with projected light, and explores the juxtaposition of soft sounds with big gestures and loud sounds with small gestures in order to create visual and sonic relationships between three percussionists. Performed by NorthArc on a tour of Iceland and Scandinavia in March / April 2012, and by DieOrdnungDerDinge at Theater Aufbau Kreuzberg, Berlin, 23–26 June 2016. Black SandBlack Sand started out as an investigation of possible cello sounds and their variations. I composed them into a solo line using a devised compositional system, balancing initial conscious choices with chance elements. I utilised an aleatory process to generate material for the rest of the ensemble by treating the possible gestural fragments in a number of categories (dynamics, articulation, instrumental technique, and orchestration). Underpinned by a rotational pitch structure, and due to the severe limitation on pitch and sonority, Black Sand unfolds as a bare and very atmospheric piece. <img width="3072" height="1229" width_o="3072" height_o="1229" data-src="https://freight.cargo.site/t/original/i/d444bb18e6d30e2236ce72162f8e493c21fac91764f6cec4889b0273ae02eae2/BLACK-SAND-image-copy.JPG" data-mid="218270508" border="0" src="https://freight.cargo.site/w/1000/i/d444bb18e6d30e2236ce72162f8e493c21fac91764f6cec4889b0273ae02eae2/BLACK-SAND-image-copy.JPG" />Commissioned by Riot Ensemble, and performed at Guildhall School of Music and Drama, 21 October 2010. Dry ShadowsDry Shadows draws on the idea of fragmentary colouring, and the trajectory and resonance of these fragments that emerge when blending different combinations of the instruments. It inhabits a sparse world of very specific material and gestural flow. Intentionally discontinuous, Dry Shadows explores the sound relationships between and across the instruments. Sudden loud and spiky punctuations in the music, as well as the numerous more delicate colours and shadowy sonorities in between these interjections, give rise to a sense of mystery in the music. <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/6210c74bc6275330494c10d01a281923c09b750b3b957ffbe8c5760c418d0dff/DRY-SHADOWS-image-copy.JPG" data-mid="218270515" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/6210c74bc6275330494c10d01a281923c09b750b3b957ffbe8c5760c418d0dff/DRY-SHADOWS-image-copy.JPG" /> Recorded by CHROMA Ensemble at Guildhall School of Music and Drama, August 2010. Two PianosThe fundamental idea behind Two Pianos was to create a ‘mega instrument’: two pianos sounding as one composite instrument. The relationship between the two pianos and two players is on one hand about fusion and cohesion, and on the other about moving and shaping the other part, sometimes through interjection as a form of subtle interplay between the two. The piece contains delicate sonorities, harmonies, and special techniques that are never employed gratuitously and form a natural part of the musical vocabulary of the work. On a micro level, I was concerned with constructing a kind of focussed simplicity of sound, the essence of which was precise and clear, and used very little material. Then, on a macro level, the repetition (or re-presenting) of the gestures each time slightly differently fabricates a more ambiguous sense of musical direction. <img width="584" height="584" width_o="584" height_o="584" data-src="https://freight.cargo.site/t/original/i/6a50c94fe894db0739e042387dbc9179a14bfc0e36641390907b3d717ff133e0/TWO-PIANOS-image-copy.PNG" data-mid="218270743" border="0" data-scale="54" src="https://freight.cargo.site/w/584/i/6a50c94fe894db0739e042387dbc9179a14bfc0e36641390907b3d717ff133e0/TWO-PIANOS-image-copy.PNG" />Recorded by Maija Väisänen and Becky Wiles at Guildhall School of Music and Drama, August 2010. https://antoniabarnettmcintosh.com/projects-1 Wed, 18 Sep 2024 16:45:18 +0000 ABM https://antoniabarnettmcintosh.com/projects-1 Projects Collaborations Info Close Unspoken: it’s what it’s about5-channel sound installation, 6:21, speakers arranged equidistantly at ear height. Created in residence (May/July 2023) and commissioned by Bundanon Art Museum, New South Wales for ‘The Polyphonic Sea,’ 8 July–8 October 2023. 5-minute performance version for the exhibition opening on 8 July 2023. <img width="5392" height="7142" width_o="5392" height_o="7142" data-src="https://freight.cargo.site/t/original/i/0fa68ca640a801116b8a1943693a2cc1c69a321d0d05d4da7481585c1c8911e3/UNSPOKEN-Bundanon-copy.jpg" data-mid="218284294" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/0fa68ca640a801116b8a1943693a2cc1c69a321d0d05d4da7481585c1c8911e3/UNSPOKEN-Bundanon-copy.jpg" /> <img width="3458" height="4530" width_o="3458" height_o="4530" data-src="https://freight.cargo.site/t/original/i/bee15a36e70a689853035a706b75004a624ceabff8cb8cf6ceb5f0c9c900c3fc/UNSPOKEN-image-2-copy.jpg" data-mid="218284295" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/bee15a36e70a689853035a706b75004a624ceabff8cb8cf6ceb5f0c9c900c3fc/UNSPOKEN-image-2-copy.jpg" /> <img width="1170" height="1692" width_o="1170" height_o="1692" data-src="https://freight.cargo.site/t/original/i/7b5d80b79e86fffe75c559b865fd0b60df780e54d423e0e30f1bb534fcf3eac1/UNSPOKEN-artist-statement-copy.png" data-mid="218284296" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/7b5d80b79e86fffe75c559b865fd0b60df780e54d423e0e30f1bb534fcf3eac1/UNSPOKEN-artist-statement-copy.png" /> Photographs by Zan Wimberley +&nbsp;Artist statement / Wall text extrapolation. Wild Fabrics Excerpt, ‘you couldn’t really tell’, from film Wild Fabrics, adapted from a live performance due to Covid lockdown. Excerpt from Theatreview by Kosta Bogoeivski: “Wild Fabrics is a film that begins with cityscapes, urban gardens, abandoned sites, and graffiti, captured with a touristic gaze. Steady hands and slow pans like one’s eyes would when people-watching in a new place. I suspect, in Antonia’s case, a contemporary composer with an ear for/on everything, she’s used this time indoors to listen for the musicality of her itinerant life she captured before lockdown. Travel seems so far away to all of us, the images become content to look at from a distance, literally but also contextually. I think this is why the work is called Wild Fabrics. The film jumps from travel log to screen-recorded typed text and then back to travel log. The travel log is decontextualized enough for us to people/site watch (and listen) with Antonia almost objectively. There’s musicality in the editing of the quotidian scenes and strategic blank space (seconds of looking at an empty screen between shots) and silence for pauses and reset. The typed text works in a way that intercepts the film’s flow. In a similar way this middle section eludes interpretation as sentences and statements trail off or segue before ever reaching a point. Antonia’s voice is layered over the text. There is a discrepancy between voice and typing, both chase each other in an attempt to transcribe or relay lofty information. Before long we are listening to the composition of colloquial speech with a backing track or percussion or ASMR of typing. When we’re back to the travel log we’re on the plane, looking at the sky, clouds, returning home, it seems. The song here is of being alone, which is the sound of the everyday white noise, some more relaxing than the others e.g. engine rumble of a plane vs. wind against leaves rustling in a bush. A brief ending. The subject is back on Antonia, alone again, reminding us of her isolation. She addresses the viewer directly, in the form of a personal email, typing “I miss you” and wishing us the best for the festival. Sincerity... dissolving distance between audience and author in a delightful, modally-dynamic way.” Presented at Tiny Fest, Ron Ball Studio, Ōtautahi, 27 November 2021. Drawing AttentionDrawing Attention is a work for eight players tasked to interact with each other in real-time, questioning the hierarchical notion of instruments within an ensemble and pointing to the privilege that the human brain instinctively gives to speech with meaning, and the human voice, over other sounds. A musical conversation of sorts, it was commissioned by BIFEM with funds from Creative New Zealand. Performed by Argonaut Ensemble at BIFEM, 6 September 2019. Kontaktlinsensuppe A text piece written while travelling, notes taken down in Notes, and composed, making particular use of repetition. <img width="1196" height="1198" width_o="1196" height_o="1198" data-src="https://freight.cargo.site/t/original/i/eb8a6d03f8d52eb437c8ec4a1112ffa36dfbdd521e0729da4647febdf8457087/KONTAKLINSENSUPPE-image-copy.png" data-mid="218284287" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/eb8a6d03f8d52eb437c8ec4a1112ffa36dfbdd521e0729da4647febdf8457087/KONTAKLINSENSUPPE-image-copy.png" /> Performed at Hunter Council Chamber, Te Whanganui-a-Tara, 22 August 2018, and at Audio Foundation, Tāmaki Makaurau, 15 September 2023.&nbsp; ‘travelling, travelling’ Excerpt from Under The Radar review by Stevie Kaye: “...local composer Antonia Barnett-McIntosh&nbsp;(whose work I'd last seen at both Essential Experimental and Vox Fem concerts) perform a solo piece drawing on her work with instructions / chance / cut-ups, and on the deep dive into Kiwi vocal and linguistic inflections that her time in England had illuminated. Her glossolalic, logorrheic web of seemingly every single aphorism or proverbial phrase produced in this country both dredged up half-remembered from great-aunts-and-uncles in Golden Bay ("rattle your dags" / "thumb up your bum") and those I'd never heard ("sick o'lick" for six o'clock?). Plus, her readings of random books in the room included what appeared to be a guinea pig Pride &amp; Prejudice.” Performed at PORTALFEST, The Fiction Room, Pegasus Books, Te Whanganui-a-Tara, 2 February 2019. Transciption PieceTranscription Piece is a solo performance experiment, which sits at the intersection of my interests in composition, performance, field recordings, speech, and interview transcription. A recorded element (interviews, readings, stories, music, and field recordings) plays through speakers, which I transcribe live. This performance transforms the original material through the body of the composer and the transcribing machine; hesitations, mistakes, rewinds, stops and starts become embedded into the rhythm of the resulting piece. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/8990013d4c714448c364af57210db8e08066315ed5f93a0a5ff30787ca1c1459/TRANSCRIPTION-PIECE-image-copy.jpg" data-mid="218284299" border="0" data-scale="87" src="https://freight.cargo.site/w/1000/i/8990013d4c714448c364af57210db8e08066315ed5f93a0a5ff30787ca1c1459/TRANSCRIPTION-PIECE-image-copy.jpg" />Performed at Raze Ramparts, Officina Neukölln, Berlin, 19 May 2017, HOFFNUNG3000, Berlin, 24 August 2017, and Performance Art Week Aotearoa, play_station space, 17 November 2018 (pictured). Things are thingsThings are things, aren't they? Things are things. This really low-key, subtle sexism where my hand is never shaken first. Always trying to have conversations in your head about it, aren't you? Trying to think what you think. You know, policies. When you start to unpick it, that capacity, and to actually give women the vote was actually done so fulsomely by going around talking to other women, making women want to have the vote. Has much changed for us in the last 125 years? Are we still ladies in lavender? Well, kind of, no.sound installation, 12:17, +&nbsp;5-minute performance version for the exhibition opening, Music From Her, Thistle Hall, 10 October 2018. Things are things was a commission for Music From Her, an exhibition at Thistle Hall Gallery and part of Suffrage 125, which ran 9-14 October 2018. <img width="1846" height="2492" width_o="1846" height_o="2492" data-src="https://freight.cargo.site/t/original/i/6bc1799fc641bc6db8ca0dd23bdfc8fd7f3e0e84bc0e7456c6310a0c2c0c4a39/THINGS-ARE-THINGS-image-1-copy.jpg" data-mid="218284297" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/6bc1799fc641bc6db8ca0dd23bdfc8fd7f3e0e84bc0e7456c6310a0c2c0c4a39/THINGS-ARE-THINGS-image-1-copy.jpg" /> Untitled [Accordion] This work for solo accordionist looks at the instrument from the perspective of sculpture, as a physical object, a being in its own right, and explores how gesture, theatricality, and gentle manoeuvring or guiding can be used to create a sonic landscape as a result of composed actions. Created in collaboration with Filip Eraković. <img width="1140" height="596" width_o="1140" height_o="596" data-src="https://freight.cargo.site/t/original/i/5cac11e4bd25b128d9e833e0f4540af8d00faed357756e3d77cbb6fb46ffbd1c/ACCORDION-image-1-copy.png" data-mid="218284298" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/5cac11e4bd25b128d9e833e0f4540af8d00faed357756e3d77cbb6fb46ffbd1c/ACCORDION-image-1-copy.png" />Performed at impuls Akademie in Graz, Austria, 19 February 2017. Breatha piece for alto fluteExploring the concept of breath as musical rest and breathlessness as a form of exhaustion, Breath requires the performer to utilise each in- and out-breath in the creation of sound.Read Michael Baldwin's take on the piece in his Better Know A Weisslich article here. Performed by Ilze Ikse at Wellcome's Hubbub Late Spectacular, 4 September 2015, and at Weisslich Vol.8, Hundred Years Gallery, London, 23 July 2016. none sitting restinga piece for string quartetAn investigation into the qualities of sound at rest in music and music notation.Part written out music notation and part instructions-based, the score asks the players to respond to the sounds around them in the space as well as using musical rest, performed rest, pauses, gaps, breaks (“take a sip of water”), audible breath, bodily rest (“slouch a little”), one bow length as one breath, the scrapes and scratches that happen inadvertently between sounds, the whiteness of the page, silence, in order to contextualise sounds.The duration of the piece can be anywhere between 12 and 18 minutes. An instruction from the performance directions states: “Take your time. It doesn’t matter if it seems like you’re out of time. There’s no such thing.” Performance by Phaedra Ensemble at Kings Place, London, 7 October 2016. Also performed by Aurora Orchestra at Radio 3's Why Music? at Wellcome Collection, 26 September 2015. ShadesShades is a little piece for percussion trio, performed behind a screen with projected light, and explores the juxtaposition of soft sounds with big gestures and loud sounds with small gestures in order to create visual and sonic relationships between three percussionists. Performed by NorthArc on a tour of Iceland and Scandinavia in March / April 2012, and by DieOrdnungDerDinge at Theater Aufbau Kreuzberg, Berlin, 23–26 June 2016. Black SandBlack Sand started out as an investigation of possible cello sounds and their variations. I composed them into a solo line using a devised compositional system, balancing initial conscious choices with chance elements. I utilised an aleatory process to generate material for the rest of the ensemble by treating the possible gestural fragments in a number of categories (dynamics, articulation, instrumental technique, and orchestration). Underpinned by a rotational pitch structure, and due to the severe limitation on pitch and sonority, Black Sand unfolds as a bare and very atmospheric piece. <img width="3072" height="1229" width_o="3072" height_o="1229" data-src="https://freight.cargo.site/t/original/i/d444bb18e6d30e2236ce72162f8e493c21fac91764f6cec4889b0273ae02eae2/BLACK-SAND-image-copy.JPG" data-mid="218284300" border="0" src="https://freight.cargo.site/w/1000/i/d444bb18e6d30e2236ce72162f8e493c21fac91764f6cec4889b0273ae02eae2/BLACK-SAND-image-copy.JPG" />Commissioned by Riot Ensemble, and performed at Guildhall School of Music and Drama, 21 October 2010. Dry ShadowsDry Shadows draws on the idea of fragmentary colouring, and the trajectory and resonance of these fragments that emerge when blending different combinations of the instruments. It inhabits a sparse world of very specific material and gestural flow. Intentionally discontinuous, Dry Shadows explores the sound relationships between and across the instruments. Sudden loud and spiky punctuations in the music, as well as the numerous more delicate colours and shadowy sonorities in between these interjections, give rise to a sense of mystery in the music. <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/6210c74bc6275330494c10d01a281923c09b750b3b957ffbe8c5760c418d0dff/DRY-SHADOWS-image-copy.JPG" data-mid="218284301" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/6210c74bc6275330494c10d01a281923c09b750b3b957ffbe8c5760c418d0dff/DRY-SHADOWS-image-copy.JPG" /> Recorded by CHROMA Ensemble at Guildhall School of Music and Drama, August 2010. Two PianosThe fundamental idea behind Two Pianos was to create a ‘mega instrument’: two pianos sounding as one composite instrument. The relationship between the two pianos and two players is on one hand about fusion and cohesion, and on the other about moving and shaping the other part, sometimes through interjection as a form of subtle interplay between the two. The piece contains delicate sonorities, harmonies, and special techniques that are never employed gratuitously and form a natural part of the musical vocabulary of the work. On a micro level, I was concerned with constructing a kind of focussed simplicity of sound, the essence of which was precise and clear, and used very little material. Then, on a macro level, the repetition (or re-presenting) of the gestures each time slightly differently fabricates a more ambiguous sense of musical direction. <img width="584" height="584" width_o="584" height_o="584" data-src="https://freight.cargo.site/t/original/i/6a50c94fe894db0739e042387dbc9179a14bfc0e36641390907b3d717ff133e0/TWO-PIANOS-image-copy.PNG" data-mid="218284302" border="0" data-scale="54" src="https://freight.cargo.site/w/584/i/6a50c94fe894db0739e042387dbc9179a14bfc0e36641390907b3d717ff133e0/TWO-PIANOS-image-copy.PNG" />Recorded by Maija Väisänen and Becky Wiles at Guildhall School of Music and Drama, August 2010.