In the school of the acousmatics, Fleeger works with sound disembodied
from its origin through field recording and makes use of the computer as a
tool for cataloging timbre and establishing a musical network. Much of his
performance material uses gestural sensors and touch panels to control the
interaction between recorded soundscapes and live input from another
player or from sonic activity in the performance space.
Over the years Fleeger has acquired a reputation for unusual and ambitious
listening trips, recording everything from beetles under the bark of trees
on the Apalachicola River to the dissenting political heart of the United
States in auditorium parking lots across the country during the Dixie
Chicks' notorious antiwar-statement tour.
Theory runs thick in computer music. Come to think of it, a brisk commerce
in signal is a symptom of noisy neighborhoods in general. This is
understandable enough. How many other reasonably honest choices are there
when confronted with an experience shortage? The whole computing machine
dance up until now has been so short-- like a baby accumulating
half-truths. Well, if the commonweal's experience-cupboard is bare, then
fill it. Should be a perfect playground for fools.
The relative scarcity of cliche (both social and musical) in computer
music creates this situation where a framework for listening somehow needs
to be generated at the same time as it is filled with sound-- context and
content made more or less simultaneously. There is this beautiful
similarity to the historical interplay between worldly conundrums and
abstract mathematics. It has been more than interesting to notice that
this interplay turns out to be sampling in disguise.