Posted by Bea Cloke on Saturday Dec 31, 2011 Under Live events

battle of speeds -phase one 2011, photo by barney

forest dwellerWishing you all a happy and healthy 2012.
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for full image.


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Posted by Bea Cloke on Wednesday Nov 30, 2011 Under Live events, Music, Video

the battle of speeds realised november 2011

…as Santa’s Grotto meets The Time Tunnel!

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1st past the post

Posted by Bea Cloke on Tuesday Nov 29, 2011 Under Live events, Music, Video

the battle of speeds 1st

you say hello and I say goodbye…

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Done, Dusty

Posted by Bea Cloke on Monday Nov 28, 2011 Under Live events, Music, Video


forest dweller…saw you Sunday.

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9 hourre

Posted by Bea Cloke on Sunday Nov 27, 2011 Under Live events

9 hours to go

forest dweller9 hours to go…

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THE BATTLE oF SPEEDS – two days to go

Posted by Bea Cloke on Friday Nov 25, 2011 Under Live events, Music, Video


forest dweller … see you Sunday.

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Posted by Bea Cloke on Friday Nov 18, 2011 Under Live events, Music, Video


forest dweller Anticipation.

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Daniel’s interview with Contemporary Music Centre

Posted by Bea Cloke on Thursday Nov 10, 2011 Under Interview, Live events, Music, Video

forest dwellers point of view

forest dwellerEvonne Ferguson, director of the Contemporary Music Centre, interviewed Daniel about THE BATTLE oF SPEEDS -phase 1.

EF: What is the THE BATTLE oF SPEEDS -phase 1?

the OrangeryTHE BATTLE oF SPEEDS -phase 1 explores how we have listened to and enjoyed recorded music down the years, investigating how musical content has always been informed by recording technology and playback media. I am particularly interested in looking at the limitations thus imposed and the long-term archival and experiential possibilities.

The work consists of six recompositions each soundtracking a short video piece shot in Marlay Park boathouse. The recompositions reference different playback media. The event takes place in the Orangery, Marlay Park on 27 November between 10am and 4pm. Family tickets are €5 and are available from tickets.ie.

EF: Are the six short fantasy videos playing at the same time?

DF: Yes -above, below and all around the audient. 6 movies. 6 surfaces (four walls, ceiling and floor). Above, below, behind and front of… The White Cube experience in extremis.

EF: How does the soundtrack to each integrate? or are they intended to clash with each other ?

DF: Of course not. They harmonise. Hopefully rather beautifully.

EF: Why are you so intrigued by the battle of speeds? Why do you consider it a battle?

DF: 1. I am intrigued but 2. I don’t. The original legal case popularly known as T.B.O.S. simply sparked an unrelated notion.

It struck me that it would be intriguing to recompose my back catalogue for this investigation into recording and playback systems. THE BATTLE oF SPEEDS was envisaged, from the off, as an auto-recomposition project because as recomposers of my work go, I’m a shoo-in.

EF: We’ve all heard of remixing and revising of composition, but what exactly is recomposition? You have had an entire double CD album/online spinoff where other artists recomposed your works… Were you flattered by that?

DF: Spitroast Records asked me in 2002  for permission to commission a Various Artists remix album: When It’s Ajar: the music of Daniel Figgis?. This marked the inception of my recomposition concept. The Skipper album and a further 10 tracks  provided the reference material -the latter 10 formed the backbone for 5 years or so of my concert events.

As to the how and why I originated the recomposition concept, it came down to the fact that I was strongly averse to the standard remix as commonly understood and I wished, out of respect for the composers concerned, to avoid the classic compilation album mismatch. I therefore decided that the pieces should be based exclusively on recordings that I alone had made. That meant that these recorded component parts became the available lexicon for the commissioned composers, enabling them to write in their own vernacular, yet making for a coherent listening experience.

Flattered? Yes, I was appropriately flattered by the project. Equally flattering is the fact that I am told that one or two of the original artists commissioned are presenting a concert further interrogating my original idea -when you plant a seed you expect a little growth….

EF: Are you trying to create a kind of wall of sound for those experiencing it?

DF: This is a completely immersive experience – perhaps analogous to a floatation tank.

EF: How does the space inspire the work?

DF: The Marlay Park boathouse and Orangery determined the visual content and suggested a rather bucolic musical response.

EF: Could this be presented somewhere else?

DF: Yes, in one sense easily, as this work is scalable, ever-evolving and thus both site-specific and site-neutral to each venue but, logistically speaking, the figures don’t add up at the minute. So we’re done here. And I feel compelled, having rather made my point, to return to the traditional concert and recording cycle.

EF: Do you get frustrated that these large scale multi-media works which you spend months (?) working are over within the space of a few hours?..

DF: Yes, it can be frustrating. But that just comes with the territory. You’re essentially working with/in a landscape and, in every sense, the seasons change.

EF: Is that the attraction and you then move on to a new idea?

DF: Yes, that is also an attraction. One moves on very quickly – in this case, onto a major new commission for Crash Ensemble.

But if an artist is to some extent an inventor, then I am, with THE BATTLE oF SPEEDS, truly enjoying my Caractacus Potts moment!

When It’s Ajar: the music of Daniel Figgis? is now available on iTunes. 

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Posted by Bea Cloke on Wednesday Nov 9, 2011 Under Live events, Music, Video


forest dweller  …getting there.

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Posted by Bea Cloke on Monday Nov 7, 2011 Under Live events, Music, Video


  …this is the picture we see.

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