SONIC FLOTSAM is taking off from Pauline Oliveros’ Apple Box approach, here the suitcase acts as the instrument. Together with its contact microphones it functions as a filter and amplifier for the sounds coaxed from its resonant body.
2x Cassette Box, miniaturized study score, liner notes and individualized packaging. Released 2016 on Gold Bolus Records. Numbered edition of 50. "Assemblage 1" by Hans Tammen recorded and released 2016.
The Harbour Symphony is original music written for the horns of the ships in the St. John’s harbour. This signature fanfare of the Sound Symposium transforms the ships in the harbour into an orchestra on water.
Rolling Bösendorfer is another installment of my work that focuses on mechanical sounds produced by remotely controllable instruments. The piece was performed at the Pianos Without Organs Festival October 2016, in Raleigh, NC.
Clang 031, recorded April 2006 at Brooklyn College, New York, recording engineer Yonatan Niv, mastering by Paul Geluso. Published on Clang November 2015. All compositions by Hans Tammen. Total Time 44:30
By using a table machine as a sound source, and a software that "listens" to the audio input to then determine the parameters of the live sound processing, two automata playing off against each other, creating an alien world of bizarre textures and polyrhythmic machinations.
The LEMUR GuitarBot (www.lemurbots.org), a collection of four MIDI-controlled monochords built by Eric Singer, is a beautiful soundsource, especially when also recorded with microphones to capture all the mechanical noises that surround it.
I did set up a feedback loop between my Endangered Guitar software and the LEMUR Guitarbot, each sounds controlling the sounds of the other device. Kurt Ralske used the sounds to control his video, too.