sensor re:engine

history

12-31-97

Location: Chris's studio apartment.

Equipment: African drums, ReBirth[rebirth], Electric bass and guitar, mic, turntable

Participants: Chris, Kyle, Jessica, Brent

Comments: This was the first audio visual jam type session, originally conceived as a ghost dance to celebrate the New Year.

4-18-98

Location: Chris's studio apartment.

Equipment: Two computers running standard Re-Birth and Quicktime audio samples. Two Turntables. Sampling Mixer. Piano. Saxophone. Roland Synthesizer. Casio Keyboard. Microphone with a little delay. Bodhran. Large Drum with Metal beads inside. Other African drums. Slide projector. Mirror wheel. Overhead projector.

Participants: Chris, Skaht, Cali, Jon, Eric, Aaron.

Strategies: A "set list without a score" is utilized, challenging us to play such cosmic wonders as "How Many Angels can fit on the Head of a Mixer", "Jon Benet Ramsey", "Just the Number Seven," and "All Anal Three-Way Action."

Comments: "Seven" stands out in the collective's memory as a moment of incredible peace and power, and was followed by relative strangers embracing each other.

6-13-98

Location: Chris' Studio Apartment.

Equipment: Two computers running standard Re-Birth and Quicktime audio samples. Two Turntables. Sampling Mixer. Roland Synthesizer. Casio Keyboard. Microphone with a little delay. Acoustic percussion. Three horseshoes. Hanger with keys strung on it. Smoke Machine. Slide projector. Mirror wheel. Overhead projector.

Participants: Chris, Skaht, Jon, Cali, Eric, (?)

Strategies: There was some experimentation with alternate forms of conciousness, characteristic of this group's work before moving to WASTE. Jon attempts "smell-o-tronics" by wafting sauteed spices about the room.
Comments: An extended piece based around Billy Graham records and a heavily delayed Bass line, called "A Future Judgement" was performed this night.

6-27-98

7-18-98

Location: Chris' Studio Apartment.

Equipment: Two computers running standard Re-Birth, Red Top, and Rock Box. (?) Quicktime audio samples. Two Turntables. Sampling Mixer. Roland Synthesizer. Casio Keyboard. Microphone with a little delay. Piano. Simmons Electronic Drums. Indian Flute. Acoustic percussion. Three horseshoes. Hanger with keys strung on it. Slide projector. Mirror wheel. Overhead projector. Video Projector. VCR. Stretched Reflective mylar visual instrument. Smoke Machine. Zurround.

Participants: Chris, Skaht, Jon, Cali, Eric, Aaron, Zurrond.

Strategies: Some very "riff" oriented material to help incorporate the massive number of participants. Slides were reflected and distorted through the use of a reflective film mounted on a frame that could alternately stretch or loosen the film.

Comments: The process incorporated fourteen people this night. A local group called Zurround participated and took to the process like fish to water. Session was videotaped. Session continued after Zurround left. One programmatic piece entitled "Cabala Mineralis," reflecting the collective's interest in alchemical metaphor.

9-27-98

(Acoustic Farewell session)
Location: WASTE (Skaht's basement)

Equipment: Two computers running ReBirth 2.0 with mods. Quicktime audio samples. Two Turntables. Sampling Mixer. Roland Synthesizer. Casio Keyboard. Microphone. Bass Guitar. Simmonds Electronic Drums. Slovakian Double Flute. Radio. Cassette Player with taped Slovak Radio. Viola. Clothes Hanger with keys strung on it. Three Horseshoes. Slide Projector. Polarized Filter Wheel. Mirror wheel. Overhead projector. Four Junk TV's. VCR. Smoke Machine.

Participants: Chris, Skaht, Cali, Jon, Eric, Aaron.

Strategies: This session marked the first use of video prepared specifically for this project, a strategy we have had a love-hate relationship with ever since.

Comments: This session proved the viability of the process in a new space, and opened up new limitations and possibilities. It was recorded using a hand-held recorder. A piece built on a Viola loop started the session, a Middle Eastern jam which is another theme this group temds to revisit.

11-20-98

Location: WASTE (Skaht's basement)

Equipment: Two computers running ReBirth 2.0 with mods. Quicktime audio samples. Two Turntables. Sampling Mixer. Roland Synthesizer. Casio Keyboard. Microphone with Delay. Bass Guitar. Simmonds Electronic Drums. Slovakian Double Flute. Radio. Ukelin. Clothes Hanger with keys strung on it. Three Horseshoes. Slide Projector. Mirror wheel. Overhead projector. Four Junk TV's. VCR.

Participants: Skaht, Cali, Jon, Eric, Aaron.

Strategies: Another "Set List Without a Score," focusing the group's work into such treats as "V for Ventura," "Ahimsa," "Oculus Sinister," and "Swifter Currents Somewhere." A piece entitled "After-Imagery" forced us to work in the dark, with a strobe light leaving us with temporary burns on our retinae. "Ventura" was quite thematic, with video of the recent gubernatorial election running as we played our unexpectedly dark piece.

Comments: This is the first session recorded digitally. The recording was done both from the mixer, and through the air, a technique which has encouraged much more acoustic soundmaking. The incorporation of the Ukelin, a strange instrument from the early part of this century, gives an added acoustic depth to the sound. The collective struggles to make up for Chris' absence, and the loss of our strongest visual artist. A strong session, much of which the group later decides to edit for CD. The process as it evolves at this session remains the modus operandi for sensor re:engine today.

12-4-98

Location: WASTE (Skaht's basement)

Equipment: Two computers running ReBirth 2.0 with mods. Quicktime audio samples. Two Turntables. Sampling Mixer. Roland Synthesizer. Casio Keyboard. Microphone with distortion and compression. Bass Guitar. Simmonds Electronic Drums. Can of Broken glass. Slovakian Double Flute. Radio. Ukelin. Slide Projector. Mirror wheel. Overhead projector. Four Junk TV's. VCR.

Participants: Skaht, Cali, Jon, Eric, Aaron.

Strategies: A piece involving pornography guides one piece. Cali and Aaron develop a moving lens system to hang in front of the overhead projector.

Comments: A session which amazingly gave most of our attention to the visuals. The collective begins to compensate for the loss of Chris with it's own visual art. The last session we go under the name of "AV Lab" or "AV Thing"

12-11-98

Location: WASTE (Skaht's basement)

Equipment: Two computers running ReBirth 2.0 with mods. Quicktime audio samples. Two Turntables. Sampling Mixer. Roland Synthesizer. Technics Keyboard. Microphone with digital delay. Bass Guitar. Simmonds Electronic Drums. Slovakian Double Flute. Radio. Ukelin. Little Log Drum. Slide Projector. Mirror wheel. Overhead projector. Four Junk TV's. VCR.

Participants: Skaht, Cali, Jon, Eric, Aaron.

Strategies: The introduction of "Composition One" as a focusing exercise. Whatever you do, you can only do one of it. One note on the keyboard. One drum on the ReBirth. First time the group does and all-acoustic piece, complete with vocal harmonies.

Comments: Another fantastic session much of which the group wanted on CD. Improvs lasting almost an hour long. Flute Trio with Eric, Aaron, and the mixer. Notable piece that uses no ReBirth. Session ends with an unusual piece based around heavily delayed vocals, sung by Eric and shaped by Skaht, a strategy which has been used repeatedly since. The words describe the visual work, linking the Audio and Visual very closely. The group adopts the name sensor re:engine, a name coined by Skaht.

1-2-99

1-15-99

Location: WASTE (Skaht's basement)

Equipment: Two computers running ReBirth 2.0 with mods. Quicktime audio samples. Two Turntables. Sampling Mixer. Roland Synthesizer. Kurzweil Synthesizer with Midi Control and effects. Microphone with digital delay. Bass Guitar. Simmonds Electronic Drums. Mirror wheel. Overhead projector. Four Junk TV's.

Participants: Skaht, Cali, Jon, Fred, Aaron.

Comments: Very hot rhythm piece with Cali reading T.S. Eliot.

2-6-99

3-27-99

6-19-99

6-20-99

Location: WASTE (Skaht's basement)

7-3-99

Location: convergence (supposedly a little under 4 hours of md recordings exist)

8-6-99 & 8-7-99

Location: WASTE (Skaht's basement)

Equipment: Two computers running ReBirth 2.0 with mods. Quicktime audio samples. Two Turntables. Sampling Mixer. Korg Synthesizer. Kawai Synthesizer. Kurzweil Synthesizer with Midi Control and effects. 3 Microphones with digital delay, distortion, compression, and overdrive. Slovakian Double Flute. Chinese Mouth Organ Bass Guitar. Simmonds Electronic Drums. Slide Projector. Mirror wheel. Overhead projector. Four Junk TV's. VCR. (please- somebody- edit this list- what was the strange pad Jesse was using to manipulate sound? What were his synths called? Fred- do I have anything right here?)

Participants: aaron, cali, fred, jesse, jon, skaht

Comments: These sessions took place under the impression that Eric and Jon were leaving indefinitely. There was an air of finality, of celebrating
accomplishments and taking leave. The music demonstrates a synth-heavy sound, more plodding rhythms that serve to propel the heavily melodic center. With both Jesse and Fred present, and others touching keyboards as well, this is understandable. The engine needed to absorb quite a bit of synth! The by-now familiar acoustic percussion included more found items, which we combined with electronic noise and chanting in "tromping through cancer." Synths, effects, and high emotions combined for a blasting climax in "The Way is a Man." Vocals were often dark, as evidenced by the 'abandoned by the earth mother' sentiments of "terra," and "I don't know why I hate you." The towering, overwhelming "Mental Telepathy" emerged as Aaron placed "psychic strips" of silvery plastic on our foreheads. Our science fiction ethos was well developed, with spacey pieces like "interstellar re:gions" echoing whale-song-like vocals from Cali through the stratosphere. It should be noted that we did not use a pre-arranged set list for these pieces, so Eric named them post facto. The session ended with a poignant and brooding re:quiem.

10-9-99

Location: WASTE (Skaht's basement) - E Session

11-6-99

Location: WASTE (Skaht's basement)

12-10-99

Location: WASTE (Skaht's basement) (notes on tenative mini session.. did it happen?)

1-2-00

Location: WASTE (Skaht's basement)

Participants: aaron, cali, eric, fred, jon, skaht, matt

Comments: After the E-session, the avthing list grew warm with the anticipation of another session. Jon and Eric would be able to come after all, from their respective remote placements. 1.2.99 had been powerful in the engine's evolution. Something about the quiet after the beginning of a new year makes space for creativity, like when night falls and the rest of the world goes to sleep.

This session proved a very satisfying re:union. With a long hiatus, eveyone had been saving up ideas and energy. This one is remembered for our visit
witht he "Space Mummies," when three colors of Saran Wrap were used to encase Cali and Aaron, who ripped free from their graves, perfectly
preserved, to menace us all. This marks a new development in sensor repertoire- performance art, which we were to revisit frequently henceforth.

The session began with a great deal of heavy-beat dance rhythms, modified from their catchyness by the experiementation of the synths. The return to rhythm-based music reveals the hole left by Jesse's departure. The process fills in where we leave holes. We were also celebrating the creation of
Massen's Millennium ReBirth Mod. Fred and Eric spontaneously created a pop-ballad- "The Stars my Destination," filled with syrupy world-transcending emotion, but shredded and made credible by DJ Noise living up to his name. Human squeals and moans became the rhythmic basis for "assault and battere:" A ReBirth experiment in polyrhythm became the formidable "Desert Sun in 7" as people filtered in from the snack break.

Jon arrived late in the evening, and re:powered our work. "So Beautiful" marks his entrance with stentorian ReBirth slamming away to the mournful
love-song of a long lost friend. Jon lends desperate vocals to "Afraid of your Touch." We collapsed, satisfied that the engine was alive, well, and
growing.

4-7-00

Location: WASTE (Skaht's basement) (jon nelson & brian?.. total of 16 people passing through.. webcast) sax duo.. 3rd disc

6-16-00

Location: cali's place? no recording

10-21-00

Location: WASTE (Skaht's basement) (polka)

12-16-00

Location: played for caly's theater class

1-5-01 & 1-5-01

Location: Starbuck Lutheran Church basement - wintercamp

7-7-01

Location: Radisson Hotel - CONvergence 2

10-6-01

Location: Eric's Attic

12-15-01

Location: Eric's Attic

2.07.02 & 2.08.02

Location: Spearfish, SD - Lutheran Church

Participants: aaron, cali, eric, fred, jon, skaht, matt

Equipment: Djembe, Low Tom, Crash Cymbals, Chinese Mouth Organ, Slovak Double Flute,
Computer running ReBirth, Mirror Wheel, Television, VCR

Strategies: We once again went to the colossal effort of moving ourselves and equipment across the country, this time to Spearfish, South Dakota.
Inhabiting a church for two two days was our strategy for drawing out greater strokes of creativity, across a two-day timeframe. We incorporated
dancers, the Ethereal Realtime Movement Alliance, who improvised movement in response to our creations. Setlist was used, sometimes lyrics were drawn froma pack of cards containing snippets of petry from Rumi. We focused on the first night with another Composition One. The second night we performed for the congregants leaving evening worship. A large-scale piece based on Theodore Sturgeon's science fiction story, "The Hurkle is a Happy Beast" was performed over 40 minutes, using the text of the story as a "score." Play and performance art were employed in a piece entitled "a day at the xylophone races."

Comments: More re:engineers find their voices singing, in sessions which demonstrate more vocally-oriented pieces. The room was enormous, and took a bit of work moving into. Jon notices the effects of different colors upon our performance. Aaron invites us into an exploration of many different
musical themes, some of which we do not want to remember. A folk song, a heavy-posturing-rock song, a rap song in which Aaron apologizes to his poor brain, and a horrid soulless doo-wop are among the experiments. The tension between acoustic and electronic instruments continues, with the main challenge being to incorporate acoustic drums which blend well with the electronic music and keep time with the robotic tempo of those instruments.