Their Magnus-Opus is a playful way of challenging copyright law, which Dr Sonique - better known as artist Dr Nigel Helyer - says often benefits the “corporates” before creators of artistic works.

Sixteen two-note chords were thrown into an algorithmic generator, which produced 10 billion melodies. “It is not without reason, therefore, that we claim to be the world’s most prolific composers,” the site proclaims.

Coincidentally, it says, some of the melodies - copyrighted in 1974 in London - correspond to tones used in phones, modems and other Internet devices. Anyone can plug in their number and see if their melody is in use. If so, anyone who dials it is infringing the artists’ copyright. The site provides application forms for licence agreements which can be filled out.

The work, Helyer says, “turns the power relationship on its head”. “It comes from someone at the bottom of the food chain, speaking from the point of view of someone at the top.”

www.magnus-opus.com

Installation - Copper, Theremins, MIDI Tool Box, Sampler 1997

Spiral and Sheet represents a continuation in a series of pieces I have been developing for interactive electronics and Theremin. These works explore the interaction of gesture and sound. All of the sonic material in Spiral and Sheet is created as the result of gestures performed near the aerials. The work is performed by moving into the field of the aerials. Fast gestures will produce different harmonic and rhythmic results to slow movements. Holding your hand still, close to the aerials, will maintain the current sound world being created. A sudden gesture might pan the sound or cause a change in timbre. Independent gestures between both ariels will produce more complex results. By moving yourself away from the aerials you create silence.

The implementation of Spiral and Sheet represents an interaction between old and new technologies. The Theremin is an analogue electronic instrument invented in 1919 by Leon Theremin (1896-1993). In its original form the aerials used by the Theremin were simple thin pieces of wire. The frequency and volume of two oscillators were altered by hand movements close to the wires. The aerials used in Spiral and Sheet create a rich and complex field which is analysed by my program running on a micro-computer - the MTB.* This program interprets gestures made in the aerials' fields through sound. The program uses the different gestures it detects to make decisions of what harmonic and rhythmic material to generate and how to play it. The piece exists in the three fold interaction of the performer electronics and software.

Images below from -
Pulse Friction
Plimsoll Gallery, Centre for the Arts, Hunter Street, Hobart.
24 October - 16 November 1997.