Crossarc Chute was inspired by my interest in
the compositional strategies adopted for the early
analogue electronics of the 1950s and ’60s, yet
using digital processes and my own adaptations.
Starting with pulse sounds, predefined filtering
techniques and rules became the springboard from
which I was able to generate many new sounds.
These parameters formed a kind of system from
which I could at times deviate.
For one piece, Detail II, I separated the frequency
bands of a group of sounds and then reorganised
these minute segments. Curiously, this work ended
up with a distinctive sound character when heard
beside the other pieces.
— Mark Schreiber, May 2012
Mark Schreiber (1970, Johannesburg) works with
sound and visual means to probe ideas surrounding
language and systems. His practice includes perform-
ance, sound, installation, video, and an expanding
interest in other visual forms.
He has presented his work at Schirn Kunsthalle
Frankfurt, Kai Middendorff Galerie (Frankfurt),
Caribic Residency (Frankfurt), Fear of the Known,
(South Africa), Singuhr Hörgalerie (Berlin), and
Royal College of Art Galleries (London). His work
is represented by Kai Middendorff Galerie in
Frankfurt. Schreiber studied sound and visual
art in London and Weimar. He lives and works
Mastered by Andreas [LUPO] Lubich at
Dubplates & Mastering, Berlin
Crossarc Chute (2012), black marker
drawing by Mark Schreiber
Crossarc Chute’s four pieces use digital manipulation
of pulse sounds to create austere arrangements of
digital noise and high-pitched fizz and hiss. The final
track’s climax is all zapping lasers and synthetic wasp
buzz; the subsequent near silence feels profoundly
empty after the chaos that preceded it, as if your
powers of hearing have cracked under the pressure.
Rory Gibb in The Wire