Events

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May 13 2017 | 8pm
Vivarium
Performed with Anna Jalving
SPOR festival
Aarhus, Denmark

 

May 26 2017 | 8pm
Hydra Nightingale
Kyle Motl
Center for New Music
San Francisco, California

 

June 3 2017 | 8pm
Tarantella Carbine
Synchromy
Boston Court Performing Arts Center
Pasadena, California

 

June 15 2017 | 7:30pm
Elliptic
SPLICE Ensemble
SPLICE institute
Western Michigan University

 

June 17 2017 | 8pm
Hydra Nightingale
Kyle Motl
Scholes Street Studio
New York, New York

 

September 22 2017 | 5pm
Hydra Nightingale
Kyle Motl
UC San Diego

 

September 24 2017
Elliptic
SPLICE Ensemble
Strange Beautiful Music 10
Detroit, Michigan

 

October 27 2017
Premiere of Subsong
Experimental Theater
UC San Diego

 

January 27 2018 | 8pm
Elliptic
SPLICE Ensemble@SPLICE festival
Dalton Recital Hall
Western Michigan University

 

March 2, 2018
Subsong
Festival of Contemporary Art Music
Washington State University
Pullman, Washington

 

March 10 2018 | 7pm
Intermedia performance with
Lyndsay Bloom
on Audiographs II
with João Pedro Oliveira
and Gaspar Peralta
San Diego Art Institute

 

March 29-31 2018
Subsong
SEAMUS conference
University of Oregon
Eugene, Oregon

 

April 26-29 2018
Subsong
NWEAMO
San Diego State University
San Diego, California

 

Caroline Louise Miller
composition & sound design

Projects

Contemporary classical magazine I CARE IF YOU LISTEN reviewed SPOR festival and my latest work Vivarium. Check out the review here.

Vivarium premiered in May. It was performed by myself and Anna Jalving. Amplified, magnified pomegranates are dissected with kitchen utensils, medical instruments, and fingers to explore tactile facets of the culinary, the surgical, and commodity fetishism. Fruit, as an everyday substance of desire, abjection, consumption, and nourishment, opens a window into lives of organic matter that are animated by human experimentation, obsession, and sensation. As the pomegranates disintegrate and insides become outsides, the performers strive for a heightened tactile familiarity with the fruit, reflecting a dual curiosity/repulsion toward the workings of one's own viscera, and the partial dissolving of subjectivity that accompanies these affects.

 

How to survive a 100-hour workweek

This musical theater 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. A fourth laborer (played by Constantin Basica) operates a wooden crank that feeds advice through the speakers at different speeds. The ending chorus, To Choke, unfolds in a surreal soundscape of church organ, arctic seals, a Sibelius symphony, a marching band playing Christmas hymns, and charcoal crackling.

 

New electro-acoustic work

I've spent much of this summer in the studio, stitching together an electroacoustic work called Subsong, influenced by future bass, glitch pop, and acousmatic music. I recorded many of the singing and clapping samples in an enclosed space of smooth concrete, on Laguna Mountain, Southern California. I pulverized, distorted, and squeezed the sounds through claustrophobic and cavernous spaces, digital nightmares and underground bunkers.