Templeball Gallery (Carrboro NC), 13 February 2004
Kirk Adam Gallery (Raleigh NC), 18 November 2005
QR Code http://www.subscapeannex.com
Steve Burnett performs as Subscape Annex ( http://www.subscapeannex.com/ ) making ambient/industrial improvisational looping using Chapman Stick, theremin, and a variety of constructed objects and effects. He has performed in several improvisational, cinematic, and ambient contexts and projects in the Research Triangle Park area of North Carolina in the USA, and has done sound design for theatrical productions and film scores.
Active in the local music scene, he was involved with the AIM (Alliance for Improvised Music) and the original 919noise collectives. Steve maintains the NC Goth gothic/industrial website and the NC Prog (progressive rock) mail list, has contributed to the Research Triangle Rock blog on WRAL.com, and hosted house concerts for improvised, experimental and related music at badgerhaus in Raleigh NC.
When not performing, Steve works as a technical writer, system administrator, and author.
Interests: phonography, sonic evocation of physical objects, pattern recognition and creation, exploration of human-opaque perception data to extract new patterning, and collaboration with other musicians and non-musical artists such as working with the painters Nemo and Paul Friedrich.
All that is not information, not redundancy, not form and not restraints - is noise, the only possible source of *new* patterns.
- Gregory Bateson, "Cybernetic Explorations", 1967.
We are as gods, and might as well get good at it.
One interest of mine is shifted perception: for example the infrared spectrum shifted into the human-visible light range, but also time compression or expansion. What scale of time would a tree perceive in if it were sentient? What would a sunset look like if we could see ultraviolet light, or the city sound like if we could hear like a dog or a bat? Anything too fast or transitory for, or outside the range of, human perception is generally dismissed as meaningless noise. From the slow time perspective of a hypothetical sentient tree the actions of humanity, for example hiking nearby through a forest, would be meaningless and brief noise. On a human scale we cannot see neutrinos, at best only faintly hear what dogs hear, and cannot hear the sound of bats honking their airhorns for echolocation. Slowing down sound is a tool that expands our range of perception, and we can find new patterns in what we previously ignored or missed entirely as meaningless noise.
Looping serves for me, especially in a minimalist approach, to magnify the resolution of the presented data set to change the range of time accessible to human perception. Repetition can be subtractive: applying attention over repeated cycles permits the human mind to distinguish new patterns that were previously buried in the "noise".
Sound Design for Plays
Events, Exhibits, and Installations:
- 25-27 March 2011 - Cornwall, UK - Contributed to the (Un) Pleasant Over Drones group work to be performed at the Resound Falmouth 2011 festival of sound art, contemporary audio performance and installations (archive.org site)
- 5-9 May 2010 - Cologne, Germany - Field recording included in the sounds of my neighborhood sound installation as part of the Musiktriennale festival.
- 4 June 2009 - Durham - First Thursday at the Nasher Museum of Art, theremin performance with question and answer session in association with the Christian Marclay Video Quartet exhibit - 5:30pm to 7:30pm, free, cash bar.
- 31 December 2008 to 3 January 2009 - Takaka, New Zealand - The tracks "Whalesongs" and a quad-channel version of Molly-be-damned created especially for the festival sent for broadcast at Canaan Downs Festival
- 4 September to 13 September 2008 - Marrickville, Australia - The Sound of Re-Use - Reverse Garbage
- 19 August to 7 September 2008 - Sydney, Australia - The (Second) Sound of Failure: Experimental Music in a Post-digital Era event - Don't Look Gallery
- 4 April to 13 April 2008 - Uppsala, Sweden - Art Is Not Mute sound archive exhibit - Uppsala konstmuseum (Uppsala Museum of Art)
- 2 February to 2 March 2008 - Gothenburg, Sweden - Art Is Not Mute sound archive exhibit - HIT - (Open Call (PDF) * poster * installation)
- 1 December 2007 - 17 January 2008 - Botkyrka, Sweden - Art Is Not Mute sound archive exhibit - Botkyrka Konstallen (English)
- 13 September 2007 - 19 October 2007 - Dunajvros, Hungary - Art Is Not Mute sound archive exhibit - Institute of Contemporary Art
- 24-26 August 2007 - Sydney, Australia - The Sound of Failure: Experimental Music in a Post-digital Era event - Don't Look Gallery - flyer, 2007 Call For Artists
- 21 May 2007 - 16 June 2007 - Stockholm, Sweden - Art Is Not Mute sound archive exhibit- Ersta Konsthall
- 2007 - Vox Novus 60x60 - submitted composition for 2007
- Chain-Tape Collective:
- The Caustic Continuum podcast (contributor)
- Sleighride - 9min11sec. Chapman Stick, E-Bows, capos, Moog MF-104 analog delay, Boss RC-20 & RC-20XL, Digitech Jamman. Part of the Silber Media compilation Winterizing. (December 2008)
- Meatronic Recording's WHOLE compilation (January 2009)
- Dire Wolves At Christmas North Of The Arctic Circle - 5min30sec - Contact mics, glass jar of rice, shingles, knives, copper pipe, fingernails, loopers, Moog delay, Danelectro Backtalk reverse delay. Composed for the Silber Records 2009 Christmas Compilation White Silber - A Cold Slow Xmas
- Two thirty-second tracks Saucer and Boom contributed to the Silber Records compilation Thirty Seconds of Time (February 2011)
- a very long slow sigh (local copy) included in the Disquiet-curated compilation Lowlands: A Sigh Collective. (March 2011)
- qutub, included in The More Unknown C. Reider: 20 Years of Strange Sounds Reworked by the Netlabel Underground (March 2011)
- Nightside of Eden, included in the Stretched Landscape Remix Project (March 2011)
- One-second Chip Compilation (Youtube video) (discogs page ) (April 2011)
- Snowmarch was included in the (April 2011)
Other Activities and Links:
- Member, Leonardo/ISAST (Leonardo/the International Society for the Arts, Sciences and Technology)
- Member, HASTAC (Humanities, Arts, Science, and Technology Advanced Collaboratory)
- Member, SLSA (Society for Literature, Science, and the Arts)
- Member, American Society for Acoustic Ecology (ASAE)
- Member, Rhizome
- Member, Canadian Electroacoustic Community
- Reviewer, EMS08
- Applicant, Phonurgia Nova 2008
- Contributor to the NY Society for Acoustic Ecology's Giant Ear))) radio show, 103.9FM
- RPM Challenge 2008, 2009, 2010, 2011 (profile)
- 5 June - late August 2009 - Raleigh - Portraits of Raleigh - Raleigh City Museum - Exhibit poster
(NOTE: My photography was accepted for inclusion in this art exhibit.)
- 5 June (Friday) 2009 - Raleigh - reception for Portraits of Raleigh - Raleigh City Museum - Exhibit poster - Reception 6pm-9pm Friday June 5, exhibit on display through end of August.
NOTE: I am not playing music for this, my photography was accepted for inclusion in this art exhibit.
- Steve's effects chain and gear, out of date but relevant in scope
- Upcoming Shows and Complete Performance History
- Reviews of Subscape Annex and Related Projects
- Freely acknowledged influences: Coil, Djam Karet, Brian Eno, Philip Glass, Bill Laswell, Tony Levin, Lightwave, Bill Nelson, Michael Nyman, Robert Rich, David Torn, John Zorn.
Former members of Subscape Annex: