Toshimaru Nakamura & Billy Roisz
AVVA (audio video video audio) sees the internal feedback of Toshi’s no-input mixing desk fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA. Toshi, reacting to the imagery on an on-stage monitor completes the circle, as sound is fed through image, before being transformed again as sound; piercing tones, barely audible sine waves, small wows and almost digital sounding flutters.Read
As a collaborative project, AVVA was born on the LMC tour Feedback: order from noise. So thanks very much Knut, Ed and all who originally programmed it, as it’s a fantastic project. Toshi might be familiar to some of you for his now pretty near famous working strategy and instrumentation: a no-input mixing desk, which he sounds by connecting one channel into another, thus conjuring piercing tones, barely audible sine waves, small wows and almost digital sounding flutters directly from the internal ether of the desk. Billy’s technique is directly analogous to Toshi’s, (and of course therein lies the charm), specializing as she does in video feedback, using audio patched directly into video amps and self made electronics to generate adamantly analogue visual interference.
If you know Toshi’s work then this is pleasantly noisier, and more abrasive, full as it is of some pretty harsh and distorted grain and electronic crackle in places (and this is testament to his continued development, inquisitiveness and skill as a musician). As with the rest of his work though, it’s also marked by a great sense of pacing, and for the placement of sounds. The visuals throb and pulse in an off kilter, of the moment geometry, a dance in which the boundary between sound and image seems to move back and forth between the two performers, constantly being redrawn, redefined and crossed.