IF06 - Earshot performance: Julie Andreyev

Four Wheel Drift (remix) is site-specific in that it relies on the unique urban qualities of the host city. In preparation for the FWD (remix) performance, cameras and microphones provide video imagery and sound of the car's environment that is manipulated by the interaction of the car and driver to provide an audio/visual storytelling of the city's street culture. These records become the playlist used by software and the DJ and VJ (visual jockey) to generate live video panoramas and a soundscape during the (remix) performance. Each time it is performed, Four Wheel Drift (remix) involves collaborative processes that provide audio and video data unique to the host performance city. Originally produced in 2004 by Julie Andreyev in technical collaboration with Jordan Benwick, the project involves additional modes of collaboration, such as those between the car and driver, between the production team and a local participant, and between the (remix) performers.

Influenced by the artist group Situationists International, (1957 - 1972) the project employs the tactic of the 'derive' (translates as 'drift') to cruise the city seeking out unexpected urban performance. Four-Wheel Drift quotes a racing strategy that causes a controlled, sideways slide while accelerating forward. Drifting is now a popular sub-culture; its roots in the illegal auto-sport originating in Japan where drivers would drift along curved mountain roads. Drifting competitions or 'battle drifts' are judged events that examine the performer's speed, angle and style.

The preparatory drive in the city relies on the participation of a local passenger to direct a route, and on the interaction between the car and driver. The passenger's role as a guide for the production of the audio and video archive is a key aspect of the collaborative process. Their local knowledge determines the specific visual mapping of the city and its vernacular highlights. As the car cruises the city, sounds from different areas in the car are recorded for use in generating the (remix). Conversations, the choice of music played on the car's stereo, directions from the local participant, and the team's responses to the route are recorded. Cameras provide video imagery of the city which is then manipulated by the interaction of the car and driver using VJ techniques. The movement and engine functioning of the car are interpreted by sensors and software patches that cause effects on the video reflecting the choices made during the drive. During the (remix) performance, these video records become the visual playlist used by the software and VJ to generate panoramas.

The performative aspect of the project is informed by collaborative DJ/VJ culture. During a (remix) installation/performance, the audio archive of the drive is treated via software and the DJ to create a new, live, musical soundscape. Each sound source has a particular role; the engine sound is used to create the baseline, conversations - the vocals, etc. As the soundscape plays, the VJ uses software to select, 'tune', mix and project the video archive to reflect qualities of the sound. Each time the project is performed the interpretation of city space and experience is unique, and elements of perception are localized to each site. Creation takes place “on-the-fly” in a public setting rather than in the isolation of the studio.