Duo improvisation, Bonnie Jones (electronics); Michael Zerang (percussion), High Zero Festival, Baltimore, MD, 2015.

A first time meeting of accomplished improviser Michael Zerang, percussion and Bonnie Jones, electronics at the High Zero Festival of Experimental and Improvised Music. This 30 minute set explores the dynamic range of timbres and textures of circuit bent electronics and percussion. 

Solo electronics, improvisation and “the p in pattern”, Options Series, ESS, Chicago, 2018. Curated by Andrew Clinkman, Tim Daisy, and Ken Vandermark.

the p in pattern, explores language, noise, and pure tones as compositional materials that subvert listener’s expectations and explore the boundaries between speech, meaning, and sound. This piece takes it’s title from the explanatory pronunciation text that you would see in a foreign language phrase book. The “p in pattern” is how one such phrasebook described the Korean, Hangul consonant ㅃ.

Electronic music composition, SOUNDWORKS, London ICA, London, 2012.

"by the time" was commissioned by the London ICA as part of their "Soundworks" exhibition, launched in conjunction with their presentation of Bruce Nauman's "Days." The work explores language and meaning through time and space, using electronics and field recordings. It present the paradox at the heart of sound, that ephemerality is also deeply embedded in our memories and bodies.  

Recorded audio on 6-minute looping cassette. 2015 – present

Audio Palimpsests are works created by manipulating, in live performances, a tape cassette player and a TDK EC-6M 6 minute looping cassette tape. The player is used during the performance to create playback and feedback by indiscriminately pressing the player’s controls (record, stop, forward, rewind).

Each work in this ongoing series is a six minute recombinant document of numerous live performances over the past several years where I recorded, re-recorded, and erased the sounds of audio tape feedback, myself and other musicians. The cassette is continually recording over itself every six minutes, an audio palimpsest of personal performance history.

The cassette itself becomes a site for performances of the past and for ones that never existed, and the releases document this impossible performance.