Nhoj Elocin 2018

Nhoj Elocin is a collaboration of John Ferguson and Nicole Carroll. The above image was captured June 2018 at New Interfaces for Musical Expression (NIME), although not in-shot I’m spinning light-sensitive analogue electronics (HST1d) in circles above my head, this can be heard towards the end of the audio recording below, which was captured at NIME.

This project builds on artistic research from 2017 that revolved around the improvisatory exploration of mobile technologies and use of algorithmic complexity as catalyst for new instruments: Mobile Noise Rig (MNR) and Byzantine. In 2018 these instruments developed through various stages of software refinement, but both artists de-emphasised the role of algorithmic complexity in favor of a tactile approach that foregrounds analogue-electronic technologies. The overall goal is to blur noise music, contemporary computer music, and groove-based pop forms.

In 2018 resistive/capacitive ‘touch’ and light sensitive electronics has to come to the fore of this collaboration. For John, this has meant the embracement of self-made bespoke instrument from 2015 (Analogue Revolutions) and the development of new instrument (HST1d), which he performs alongside MNR. The use of analogue-electronics and digital mobile devices simultaneously furthers his development of post-digital practice. In 2017 Nhoj Elocin celebrated the non-repeatability of improvisational performances, in 2018 the duo has explored the role of improvisation in music that has a fixed form and specific event timings. Overall, this project aims to contribute a unique perspective on the compositional and performance-based possibilities of post-digital practices.

Nhoj Elocin at Orrery Arcana debut concert, April 30 2018 Queensland Conservatorium Griffith University.

In June 2018 Nhoj Elocin travelled to Virginia Tech (USA) for a performance in surround-sound at New Interfaces for Musical Expression (NIME). NIME is the premiere international conference for scientific research into the development of new technologies and their role in musical expression and artistic performance, out of 137 submissions 43 concert works were accepted via double-blind peer-review. Nhoj Elocin was also accepted to the international Conference on Live Interfaces (ICLI) via triple-blind peer review.