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For details see: www.milesjeffersonfriday.com
Miles Jefferson Friday is a composer and educator who aims to construct communities where sound can serve as a site for critical inquiry to be realized, not just in the abstract, but in practice. Within this guiding principle, Miles’s creative output acts as a form of project-based research, where he utilizes music technologies and engages with theoretical scholarship as a means of exploring personal subjectivities of auditory reception, re-thinking instruments and/as objects, and proposing ways in which sound-based practice can operate more dynamically and equitably. Miles’s works have been performed across the United States and internationally by ensembles such as the AIR Contemporary Music Collective (China), Ensemble Dal Niente (USA), Ensemble InterContemporain (France), Ensemble Suono Giallo (Italy), the Moscow Contemporary Music Ensemble (Russia), the Tacet(i) Ensemble (Thailand), the Tönkunstler Orchestra (Austria), the Wet Ink Ensemble (USA), and Yarn/Wire (USA). Additionally, Miles has exhibited acousmatic works and multi-media installations at festivals such as the SinusTon Festival (Germany), the International Computer Music Conference (Ireland), the Thailand New Music and Arts Symposium (Thailand), and the SEAMUS Conference (USA). Miles holds a BM from Indiana University, an MA from the Eastman School of Music, and an MFA and DMA from Cornell University. Miles is currently an Assistant Professor of Digital Musi ... view more »
MORE ABOUT THIS ARTIST
Artist Style: Music: Experimental; Visual Art: Experimental
Artist Medium: Audio/Sound; Computer
Artist Statement of Work
Tell us about your work (style, approach, philosophy, subject and/or theme):
For details see: www.milesjeffersonfriday.com
Consider three gestures: (1) a pen’s point of inscription, swooping across the page when notating a curvilinear glissando, (2) a hand’s point of contact, sliding across a resonate object to produce sound, (3) an automation curve’s interpolated series of breakpoints, enveloping or otherwise manipulating an audio file in either the time or frequency domains. Composition, for me, is the realization that each of these gestures is a skeuomorphic design of the other. A methodology and not just a medium.
