Caroline Louise Miller, Composer & Sound Artist
My new opera, How to Survive a 100-Hour Workweek, recently premiered at Stanford and UCSD. This work explores bodily and vocal relationships to labor, institutional discipline, and glitch in late capitalism. Laborers (played by Hillary Jean Young, Ashley Cutright, and Jonathan Nussman) struggle to stay afloat amidst snippets of inspirational advice from iconic voices and lifestyle video bloggers. The ending chorus,
To Choke, unfolds in a surreal soundscape composed of church organ, arctic seals, a Sibelius symphony, and a marching band playing Christmas hymns, amongst other sound.
Sound Design for AXALAPAZCOS project
I am excited to be designing the sound, in collaboration with composer/producer Francisco Eme, for Lyndsay Bloom's breathtaking film installation about high-altitude crater lakes in Central Mexico. Lyndsay recently received a Russell Grant to help fund this project.
Reductionism is a dirty word performed July 15th, 2015 at SoundSCAPE festival. Starring: Naomi Johnson, flute; Tristan McKay, piano; and Matt Kline, contrabass.