Audio conceptual artists Madeleine Flynn and Tim Humphrey both say their fascination with sound as an artform has its roots in their rural upbringing.
Visit their website: www.madeleineandtim.net/
Read their Performer Profile.
While we kindly encourage you to submit your comments, thoughts and experiences below or on our Facebook, we expect that users will not post content that falls into the following categories and reserve the right to remove comments that are:
• off-topic and not appropriate for discussion in this forum
• in violation of another’s privacy
• vexatious, fraudulent, deceptive or misleading
• abusive, defamatory, threatening, harassing, discriminatory or otherwise offensive
• of a political nature or promote particular services, products, or political organisations
• illegal or advocates illegal activity
• in violation of another’s intellectual property or infringe upon copyrights or trademarks.
An online Festival is completely new for us and we hope you enjoy the performances.
Victorian Seniors Festival Reimagined 2020
Madeleine Flynn and Tim Humphrey - Week 11
Today, on In The Groove, we welcome a dynamic musical duo who have dedicated their life to creating music and sound that challenges and changes hearts and minds. Madeleine Flynn and Tim Humphrey, welcome to In The Groove. How are you and where are you?
Hello, Tristan, and thank you so much. It’s so great to be here. We’re here on the land of the Wurundjeri people of the Kulin Nation and we’re very fortunate to be working here in Northcote and still managing to create a few things, which is really great.
Firstly, Tim, what is a conceptual audio artist?
We try to make situations for listening and unusual situations for listening so that we can pay attention to where we are and discover - discover things about the audio world and that includes music, of course, but expands out into sound and also all the cultural and social and political implications of sound in our society.
Maddie, how vital is listening for our collective humanity?
I think there are so many different ways that we listen, Tristan. For hearing people, we - of course, we are listening with our ears. For deaf people, we're listening with our bodies and, in fact, where we do intersect is that listening - sound is a vibration and, so, we do experience it through our physical body. There’s a vitality about the - I guess, the tension and abrasion and also humour that comes with being together for that long. For me, this vitality of eternal curiosity about what it is that we need to be saying, what it is that we need to be making, what it is that we need to be doing.
As well as being sound composers and musicians, you’re also acclaimed theatre makers. You’ve created site-specific works on ports and ferries and audio playgrounds that have inspired and delighted.
One of our works is called Pivot which is this field of semi-intelligent see-saws, where you – the audience rides the see-saws and you talk to the see-saw and the see-saw talks back to you.
I’m a see-saw, used to life’s ups and downs. I try to be hopeful or pessimistic?
One is – it’s called Five Short Blasts which refers to the warning you give when you don’t know what the other vessel is doing on the water.
I’m unsure sure of your intentions and fear we may collide.
Yes, in not so many polite words often. Basically, it’s a maritime work, I suppose, for boats and an audio work that is broadcast through a radio.
That work’s made with the people of the site. The people, the ecologies of that place and so it’s remade and unique to those places.
Maddie and Tim, could you introduce the piece you’ve created for the Victorian Seniors Festival?
It’s called Waver and we had this – this idea about things that arrive and disappear and the way something arrives and disappears. Your attention doesn't realise that it's arrived or gone, you know? So, I guess the way that those things interact which is, you know, a practical thing as well as a beautiful metaphor. Also, you know, maybe it sounds like Twin Peaks.