Documentation of Selected Performances

Trois Mers & Quatre Terres, Festival Nuits Photo, Paris France 2024

Bande son improvisée
Alyssa Moxley (field-recordings, synthétiseurs)
Christine Ott (Ondes Martenot)

Trois mers et quatre terres’ est un film avec bande son jouée live. Les images de Damien Daufresne et de Stéphane Charpentier nous entraînent dans un voyage suspendu : on quitte une ville sans nom pour des eaux inconnues, et on dérive vers des horizons vierges dessinant les contours d’un monde retrouvé. Dans le sillage d’une jeune fille voguant au gré de mers et de terres désertes, le spectateur glisse dans une expérience hors du temps et de ses repères.

City Replica Souvenir
CTM @ Athens & Epidaurus Festival, Athens, Greece, 2021

In "City Replica Souvenir" Alyssa Moxley (US/IRL) attempts to re-imagine and enact Xenakis's unrealised proposal for an 'Athens Polytope'. Following a detailed, handwritten draft found in the archives of ΚΣΥΜΕ/CMRC, she will orchestrate an assemblage of foley sounds made in real time with handmade midi controlled motorized instruments and field recordings. The work explores the connection between Xenakis spatial Polytope compositions and the urban diagrams, also found in the archive, created by ΚΣΥΜΕ/CMRC co-founder Ioannis Papaioannou as part of architect Constantinos Doxiadis' Human Community study of Athens in the early 1960s.

Ora, Liminaria Residency 2018, Guardia Sanframondi

liminaria pic.jpg

Ora is a live performance created at the Liminaria residency in Guardia Sanframondi, Italy, July 2018

The ticking pendulum of the restored but non-functional tower clock in Ave Gratia Plana, a unique device designed and constructed by local engineer Alfonso Sellaroli in 1870 drives the rhythm of the work.

Sellaroli moved his engineering studio to a nearby village, Cerrita Sanita, where he was responsible for constructing the first street lights. Ceritta Sanita, unlike Guardia, was rich enough at the time to afford electricity due to its flourishing ceramics industry.

The pendulum’s oscillating periodicity is complemented by the irregular frequencies of the organ located in the same church, the studio works of a ceramicist in Cerrita Sanita, scheduled live church bells, the Ponteladolfo river, children playing tag, folk songs, and the flora and fauna of the village.

Sound Entangled Spaces, 2017
composition/installation for
"Reassembly" at Tinos Quarry Platform

Live at Syros International Film Festival, 2016, Syros Greece

Living MemorY, A Performance for the 4d Sound System, 2016
ZKM, Karlsruhe, Germany

Temps Zero, Teatro Circa, braga portugal 2015

The olive tank sessions, 2014
Koumaria residency, Onassis Cultural centre, Athens & Selassia village

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The Olive Tank Sessions
Olive Tank Sessions - Performance Documentation

This composition was developed in response to the site of an abandoned olive oil factory in the village of Selassia, Greece.

This is documentation of a live performance in October 2014 by Alyssa Moxley and Alexandros Drymonitis.

The performance took place during the Koumaria Residency with the assistance of Medea Electronique .

Pure data patch
Pure data patch

Contact microphones attached to the surface of the oil tanks are connected to a patch running in PD which sends an unmodified and a modified (pitch and phase shifted) to two heavy transducers. The performers induce feedback by pounding, scraping, and pressing the sides of the tank. One performer sings into the tank, which also affects the feedback tones.

ADDITIONAL PERFORMANCES

Featured
Voice of the Sea at Aural Lighthouses, Santozeum, May 2015

Shot and edited by Konstantinos Arvanitakis

More about the Aural Lighthouses series of events at Santozeum

santozeum.com/about-us/aural-lighthouses.php

The surface of the sea is in constant conversation with the atmosphere above and the orbit of the moon, producing an infrasonic fluctuation, measurable in microbaroms, an unheard sound known as"The Voice of the Sea". This performance draws on this conversation, using transducers to diffuse sound through water and soil with tonal progressions, in rising and falling waves of accumulating materials and frequencies.

Guitar, pedals, synths, transducers, metal plates & boxes, camera, projector.

In C at the Archer Ballroom

A performance of Terry Riley's "In C" at the Archer Ballroom, Chicago. At sunset for Winter Solstice.

Sympathetic Resonance

Sympathetic Resonance

Performance artist Amelia Charter leads one on one interactions with 2513 North Spaulding. The dynamic of this one on one performance welcomes audiences to experience the home as an abstract form, one that engages with our senses-and our sense of belonging. The performer guides each audience participant through a variety of cinematic viewing perspectives of the home while performing vignettes that activate the relationship of the architecture, mood, and sound of the rooms’ materials. The home features sound installations by sound artist, Alyssa Moxley, both stable and activated, that react to the presence of live bodies. The inherent tones of the site serve as the structural basis for this movement and sound score. The performances vary in length, some are brief—just one minute, and others longer—a duration of up to 20 minutes.