Morton Subotnick
Morton Subotnick is one of the pioneers in the development of electronic music and an innovator in works involving instruments and other media, including interactive computer music systems. The work which brought Subotnick celebrity was Silver Apples of the Moon [1966-7], was commissioned by Nonesuch Records, marking the first time an original large-scale composition had been created specifically for the disc medium – a conscious acknowledgment that the home stereo system constituted a present-day form of chamber music. He is also pioneering works to offer musical creative tools to young children. He is the author of a series of CDROMS for children, a children’s website [www.creatingmusic.com] and developing a program for classroom and after school programs that will soon become available internationally.
He tours extensively throughout the U.S. and Europe as a lecturer and composer/performer.
Dan Senn + Betsey Biggs
(NOTE: Stephen Vitiello CANCELLED…apologies)
Dan Senn is a composer of experimental classical music, a sculptor of kinetic instruments for exhibition and performance, an experimental video artist for installation and proscenium play, and a documentary filmmaker. He performs and exhibits world-wide and has produced ephemeral public art projects which bring experimental work to alternative audiences. His work is greatly influenced by the “elegant awkwardness” of the raku ceramic process and, while highly expressive, devoid of intended metaphor. Dan lives in Prague and Portland, Oregon, and was a cofounder of Roulette Intermedium, NYC, and Cascadia Composers, Portland, Oregon.
Dan’s performance will encompass elements he has developed for his installation work over recent years including his “Many Pairs Sounding” and “Huffa Puffa” installations, field recordings from The Czech Republic, and recent experimental video.
More can be learned of Dan’s work
Suzanne Thorpe + Zeena Parkins
Extreme Terrains by Suzanne Thorpe
Extreme Terrains is a multi-channel work that present’s its audience with opportunities to listen to instinct and interact with the piece on a visceral level, asking listeners to trust what they feel as much as what they hear.
Featuring
Alex Chechile on Higher Ground (Oscillators)
http://alexchechile.com/
The body and the brain produce measurable information during the act of musical creation. Chechile uses this information is one part of a significantly connected recursive relationship between the musician and the music.
Joro Boro on the Horizon (Balkan Beats)
http://www.joro-boro.org/about.htm
He plays and promotes Etnoteck (or EthnoMesh1) – the dirty and uninhibited side of globalization force-fed back into a party without borders, a three-day Gypsy wedding in a post-national state where noise, libido and extasy detonate the market mono-culture.
Jawwaad Taylor on the Midway (Trumpet/Words)
He combines his freestyle rapping skills with the sensibilities of Cecil Taylor and Anthony Braxton. A free-improvising trumpet player, Jawwaad has worked for several years to craft creative music that kept the authenticity of its sources and maintained the spontaneity of free improvisation.
Suzanne Thorpe on Low Valleys (Flute/Electronics)
www.suzannethorpe.com
Suzanne Thorpe is a musician, composer, educator and arts-activist who strives for instances of intimacy and understanding through a network of sonic signals. As an electro-acoustic flutist and sound artist, Thorpe works within the peripheral consciousness, exposing coexisting perspectives and concurrent realities via composition, performance and installation. Thorpe performs both acoustically and electronically, extending her instrument with an ever-evolving set-up of analogue and real-time software components. She plays on the tightrope of feedback systems and composes for multi-channel installations.
Lavalier
Lavalier is in indie-experimental group that formed in NYC in late 2008. With a penchant for vocal harmonies, fuzz/slide guitar, harpsichord, and accordion, the group creates cinematic music that is both psychedelic and fantastical. Lavalier was created by two longtime friends and musical
collaborators, Steve Milton, and Dave Horowitz. Having met in high school, Milton & Horowitz have played in various bands together, and spent 2005-2007 on tour with NYC indie band, The Cloud Room. Heavily inspired by Tom Waits’ occasional DIY-low-fi sound, Beach Boys harmonies, and various forms of cinematic music, Milton & Horowitz began recording the first Lavalier tracks in the Spring of 2008.
In a live setting, the group is interested in a variety of improvisational techniques, one such technique employs a process known as “spatitalization.” At various points during the show, different instruments and vocals are sampled in real-time using a custom-designed interface, and played over a ring of loudspeakers installed around the audience area. The group attempts to create a dimensional element that sometimes serves as the back drop or the center piece of the music.
Lavalier is:
Steve Milton – Vox and Various stuff
Dave Horowitz – Guitars
Terence Caulkins – Glockenspiel, DSP
Yasmin Reshamwala – Keytar and Vox
Melati Melay – Guitar and Vox
Nathan Hasalby – Bass
Jason Pharr – Percussion
Thomas Ankersmit + Tony Conrad
Thomas Ankersmit (born 1979, Leiden, The Netherlands) is a musician and artist based in Berlin and Amsterdam. His main instruments are a Serge analogue modular synthesizer, computer and alto saxophone.
His music and installation work have been presented at Hamburger Bahnhof, KW Institute for Contemporary Art and Podewil, Berlin; ZKM, Karlsruhe; Kunsthalle Basel; Serralves Museum of Contemporary Art, Porto and P.S.1 Contemporary Art Center, New York as well as at festivals across Europe, the Americas and Asia.
“Jump-starting his performance on the intimidating Serge modular synthesizer, Ankersmit created a fractured, tension-filled stream of electric sound. Flicking switches and pulling at patchcords at breakneck speed, he shaped his swarm of synthesized blips and metallic jabs into a very deliberate, beautifully coherent composition. Constantly reconfiguring his electroacoustic pinpricks and distorted crackle, microscopic but detail-rich and intensely vibrant, sonic fragments skittered across the stereo spectrum like fireflies.
Continuing on acoustic alto saxophone, he slowed down the event density but maintained the heat, pairing intensely focussed energy and sonic determination with a delicate sensitivity to texture. Ankersmit’s saxophone voice is an entrancing, violent mass of multiphonic, shapeshifting sound, oscillating endlessly through circular breathing, penetrating every corner of the room. Far removed from the syntax of jazz or improv, his was a spectacular recontextualisation of the instrument’s possibilities, forcing it into uncharted sonic territory.” – VPRO
This concert is supported by the Netherlands Fund for Performing Arts+ and DNK Amsterdam
Tony Conrad (b. 1940) teaches on the media study faculty of SUNY at Buffalo. Over the last twenty years he has been especially active in video. His work with music composition and performance started while he was a mathematics student, after which he was associated with the founding of “minimal” music and “underground” film. His movie The Flicker is one of the key early works of the “structural” film movement. His art videotapes are widely seen, and he has produced more than 250 programs for public access cable in Buffalo. Conrad performs his recent music regularly at festivals, clubs and new music venues in the US and Europe.
“Tony Conrad is a pioneer, as seminal in his way to American music as Johnny Cash or Captain Beefheart or Ornette Coleman, one of those really savvy Old Guys whom all the kids want to emulate because their ideas, their style are electric and new and somehow indivisible.” - Steve Dollar
Ha Yang Kim
Artist In Residence: Ha-Yang Kim
Admission: $15
Cellist, composer and improviser Ha-Yang Kim was born in Seoul, Korea. Ha-Yang made her professional solo debut at age 16 with the Atlanta Symphony Orchestra. Hailed as “phenomenal” and playing with “brilliant technique full of energy, concentration, musicality and expression” (Mainpost, Germany), she performs new music as a soloist and with ensembles and artists in festivals and concert venues throughout the world. She is the founder of Odd Appetite, a cello-percussion duo which performs and commissions new contemporary works alongside original works and improvisations. Ms. Kim has developed a unique language of extended string techniques and has created her own music based on this work, as well as collaborating on new pieces from other composers. Her musical influences draw equally from a range of western classical music, American experimentalism, rock, jazz, and improvised music, to non-western musical sources from Bali, Korea and South Indian classical music (Karnatic). Her music has been performed in the US, Turkey, The Netherlands, Belgium, Korea, and Germany. In seeking new musical experiences, Ha-Yang has performed traditional and new Balinese music as a member of Gamelan Galak Tika, and has collaborated/ performed with many diverse musicians such as Evan Ziporyn, Cecil Taylor, John Zorn, Christian Wolff, Lee Hyla, Louis Andriessen, Lukas Ligeti, Larry Polansky, and Stefan Poetzsch, with whom she has presented original compositions incorporating electronics, dance, theatre, and multi-media.
Past performances include as soloist at Carnegie Hall, touring and playing at festivals in the US, Europe, Cuba and Bali, Indonesia, performing at the Bang on a Can Marathon with both her duo and the All-Stars, composing for and performing at the Kwacheon International Theatre Festival in Seoul, Korea, a solo recital at the Hochschule für Musik in Würzburg, Germany, and broadcast recordings for the Bavarian Radio Network. Upcoming performances of her music include at festivals in St. Petersburg and Moscow, Russia, Holland, Belgium and in the US. Ama, a CD of her own compositions, is released on Tzadik. Ms. Kim has also recorded for New World, Cold Blue, New Albion, Karnatic Lab and Bridge Records.
She has received prizes and awards including a grant from Meet the Composer, Trust for Mutual Understanding, the Argosy Foundation, the Ruth Schwob Foundation, and The Atlanta Symphony Orchestra. Ms. Kim has been an artist-in-residence at Princeton University, Brown University, Harvard University, Dartmouth College, Bates College, Brandeis University and at the Walden School for Young Composers. Ha-Yang studied cello, improvisation, and microtonality at the New England Conservatory of Music, Karnatic music concepts at the Conservatorium van Amsterdam, and was on the faculty at Franklin Pierce College in New Hampshire, USA. She currently lives in Brooklyn, New York.
ISSUE Project Room’s Artist In Residence Program is made possible through generous support from the Jerome Foundation
C. Spencer Yeh + John Wiese
C. Spencer Yeh was born in Taipei, Taiwan 1975, moved to the US in 1980; studied radio/television/film at Northwestern University, and is now based out of Cincinnati, Ohio. Yeh is active both as a solo and collaborative artist, as well as with his primary project, Burning Star Core. As an improviser, Yeh is focused on developing a personal vocabulary using violin, voice, and electronics. As a sound artist/composer, Yeh works with all aspects available surrounding a work, aurally and physically, as elements key to the cumulative experience. He is concerned not only with the sensual aspects of ‘sound organization,’ but the gestural qualities as well. Yeh has collaborated with a deep and ever-growing list of artists and groups, including Tony Conrad, New Humans with Vito Acconci, Evan Parker, Thurston Moore, Amy Granat with Jutta Koether, Okkyung Lee, John Wiese, Don Dietrich and Ben Hall (as The New Monuments), Prurient, and Jandek. He has performed at festivals and venues such as Sonar, FIMAV at Victoriaville, Frieze Arts Fair, No Fun Fest, NADA Art Fair, High Zero, the 24 Hour Drone People at Fylkingen, The Kitchen, ZKM Karlsruhe, and has also exhibited visual art, sound, and video works internationally. http://www.myspace.com/cspenceryeh
John Wiese is an artist and composer from Los Angeles, California.
His ongoing projects include LHD and Sissy Spacek, with plenty of freelance work
with many artists as diverse as Sunn O))), Wolf Eyes, Merzbow, Evan Parker,
Smegma, Kevin Drumm, Cattle Decapitation, and C. Spencer Yeh (Burning Star Core).
He has toured extensively throughout the world, covering Europe, Scandinavia and
Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet
including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the United States
alongside Wolf Eyes, and recently performed in the 52nd Venice Biennale with artist
Nico Vascellari. More information can be found at www.john-wiese.com.
MV Carbon + Okkyung Lee
MV Carbon is a Brooklyn based sound artist and composer. She collects field recordings and builds samples to create moody soundscapes. Her cello is manipulated and processed through reel-to-reel tape machines and numerous electronic devices, including an accelerometer on the cello bow programmed to effect pitch. Her orchestrations are designed to form visualizations as the woven sounds swell, stutter, contort and resolve. She is interested in discovering the place in music that flutters between the serene and the overwhelming. Carbon has collaborated sonically with many artists including Aki Onda , Evan Parker, John Wiese, Tony Conrad, and C. Spencer Yeh. She has releases out with Metalux and Bride of No No on labels (5RC, Atavistic, Hanson, Load, Nihilist, No Fun, Troubleman Unlimited, Veglia…). Her first solo LP, The Dislodged Perihelion, is to be released on Ecstatic Peace this fall.
Her performance at Issue Project Room in July will use the multi –speaker system to portray concepts of time passage in moments of stillness. She is gathering field recordings in open-air industrial and urban environments and shaping these sounds into percussive form. Her instruments for this performance will be the cello, samplers, tape machines, and oscillators.
Mari Kimura with Liubo Borissov and Kevork Mourad
Organic Digits: Kimura-Borissov-Mourad Project
Mari Kimura teams up with visual artists Liubo Borissov and Kevork Mourad, presenting everything from her virtuosic solo works of her signature bowing technique Subharmonics, to realtime interactive audio visual works, using Issue Project Room’s 15 channel diffusion system. Kimura’s violin and Mourad’s paintings are processed in realtime using MaxMSP/Jitter, a bowing motion sensor “Augmented Violin” (IRCAM), and Borissov’s interactive graphics video processing. Kimura will present her current works using the Augmented Violin system in collaboration with the Realtime Interaction Team at IRCAM, which allows her to ‘clone’ her playing by recording her bowing gesture along with sound. The program also includes a virtual video duet of Japanese Shamisen and violin, written by a Shamisen Master Mojibe Tokiwazu IV, the head of the House of Tokiwazu, the traditional Kabuki orchestra since the 1700s. Kimura will also present an elegant processing work by Japanese MaxMSP guru Takayuki Rai, and a blisteringly fast masterpiece by Conlon Nancarrow.
—————
http://www.marikimura.com
Please visit my Blog: “Extended Violin Diary”
http://subharmonics.blogspot.com/
Lesley Flanigan w/ Luke Dubois
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Lesley Flanigan is an artist and vocalist living in New York City. A majority of her work deals with the physicality of sound and amplification as a source of sound in and of itself, focusing on relationships between noise, speakers, and voice. Flanigan builds her own speaker feedback instruments. Her performances with these instruments reveal a sculptural process as she shapes the varying tones and rhythms of feedback and blends them with the tones and rhythms of her own singing voice to build beautifully rich and physical music.
For Floating Points, Lesley Flanigan will perform with Issue Project Room’s unique speaker system, turning each individual speaker into a voice of its own, orchestrating them to perform as a hanging choir above her. The room will resonate with sounds of her voice in multiple spaces, as she builds a choral arrangement that will simultaneously produce and feed off of itself. She will be joined by Luke DuBois on laptop.
Lesley Flanigan has performed at numerous clubs, venues, and art spaces including The Solomon R. Guggenheim Museum, Issue Project Room, Saint Patrick’s Old Cathedral, Art Omi Field’s Sculpture Park, The Stone, Monkey Town, The Tank, and The Weisman Art Museum; and her work has been shown internationally at the ISEA, NIME, and ICMC conferences. Flanigan’s work with speaker feedback was recently written about in Nicolas Collins’ book “Hardware Hacking: The Art of Handmade Electronic Music;” she is also a member of Bioluminescence, a collaboration with Luke DuBois that explores the materiality of voice. She loves tea and feedback loops.
See Hear Now (David and Gisela Gamper)
David Gamper – multi-instrument acoustic music with live digital transformation using Max/MSP/Spat and surround sound
Gisela Gamper – live video mixing and multi-stream projection using Isadora on laptops, video mixers, mirrors and servomotor shutters
David and Gisela Gamper’s See Hear Now is a real-time music and video collaboration that seeks to merge the sonic and the visible, and to transport the performers and audience to a transcendent experience. In their individual work, the artists are fascinated by sounds and images from nature and life. To create his live improvisations, David begins with the acoustic sounds he draws from his piano, small instruments and found objects. When he expands this material through live electronic transformations and spatial diffusion they retain the power of natural sound. With a system David developed, Gisela performs her video with the same immediacy as David performs his music. Using multiple video streams, projectors and mirrors, she creates ever evolving visual collages of color, movement and rhythm. For their Floating Points performance they design a unique projection installation to complement David’s sound spatialization for ISSUE’s “ceiling of sound.”
See Hear Now premiered in upstate New York in 1999. The duo was featured in Brooklyn College’s Electroacoustic Music Festival in 2003, the 2004 SOUNDPlay festival in Toronto and in Juilliard’s 2005 Beyond the Machine festival in New York City. Other installations, performances and residencies include the Jack Straw Music Gallery in Seattle, the Krannert Art Museum at the University of Illinois at Urbana-Champaign, ISSUE: Project Room’s Sensorium festival, and Roulette’s Festival of Mixology in 2006 and 2008 in NYC. They released their DVD See Hear Now: Visible Music in 2005.
David Gamper moves freely among the worlds of music performance, improvisation, and electronic instrument design. These passions merge in the performer controlled sound processing environments he has created for himself and other acoustic improvising musicians. He also performs and records as a member of Deep Listening Band (with Pauline Oliveros and Stuart Dempster) since 1990 and appears on many recordings with DLB and others.
Gisela Gamper, prior to her video work with See Hear Now, has been photographing and exhibiting for over 35 years. Gamper exhibited internationally and among her grants and numerous awards are two fellowship grants from the Vermont Council on the Arts and a Hasselblad Cover Award. Gamper’s photographs are in the collection of the Albany Institute of History & Art in Albany, NY and in many private collections.
Betsey Biggs + Shelley Burgon
Betsey Biggs is a composer and interdisciplinary artist whose work in music, sound, video and installation has been called “psychologically complex” by the New Yorker. Her work aims to expose the beautiful in the mundane, to actively engage the audience, and to transform the city into a creative interface through psychogeographic practice. Recent projects include a theatrical work with flutist and performer Margaret Lancaster, an outdoor mixer powered by people’s shadows and a series of downloadable soundtracks meant for walkers to engage with their surroundings. Betsey recently received her Ph.D. at Princeton University, writing about public sound art, and will begin a postdoctoral fellowship at Brown University in the fall of 2009. 
Shelley Burgon (harp & computer) is a member of the performing/composer chamber ensemble Ne(x)tworks and the band Stars Like Fleas. She has spent the last seven years improvising as a soloist and with many legendary people associated with the New York downtown avante-garde. She has been hailed by the New York Times as being a “mesmerizing” interpreter of modern music. Shelley has performed her music and the music of contemporary composers for series such as the the MATA Festival, Issue Project Rooms Points in a Circle, free103point9 Wave Farm and Summer Winds, and the Vision Festival among others. In May 2009 she was honored to premiere a new piece for the Merce Cunningham Hudson Valley Project at the Dia:Beacon. She is currently collaborating on an electronic music project with songwriter/vocalist Paul Duncan. Shelley received a BA in Music from SFSU and an MFA in Electronic Music from Mills College. She can be heard as a collaborator and guest on many labels including Hometapes, Skirl, Tzadik and Ipecac.
Harpist Shelley Burgon will perform “Mirrored Ceiling,” a new composition by Stephan Moore for harp and multi-channel audio, in which the harp is fed through a network of shifting delays to create shimmering, meditative sonic patterns.
www.myspace.com/shelleyburgon
www.myspace.com/starslikefleas
www.nextworksmusic.net
www.myspace.com/nacnudluap
Share – featured guest Winter Company [J. O. Johnson & P. Matthusen]
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s feature guests:
Winter Company is a duo featuring Jenny Oliva Johnson and Paula Matthusen. The group utilizes percussion, live processing, and analog electronics to create large contrasts in noise through lo-fi and hi-fi equipment.
Jenny Olivia Johnson is a composer, drummer, and music scholar from Santa Monica, CA. Her music has been performed by New York City Opera, ICE, Alarm Will Sound, and the Asko Schoenberg Ensemble, among others, and she is also currently the drummer for Renminbi (renminbinyc.com). In the fall, Jenny will relocate to Boston, where she will join the music faculty of Wellesley College as an Assistant Professor of composition and theory.
To learn more, please visit
http://jennyoliviajohnson.com.
Paula Matthusen is a composer, currently based in Miami and Brooklyn. She writes both electroacoustic and acoustic music and realizes sound installations. In addition to writing for a variety of different ensembles, she also collaborates with choreographers and theater companies. Her music has been performed by Alarm Will Sound, International Contemporary Ensemble (ICE), orchest de ereprijs, Dither, Kathryn Woodard, James Moore, and Jody Redhage. She performs frequently with the electroacoustic duo ouisaudei, Groundwave New Music Collective, Object Collection, and recently winter company. Matthusen is currently Director of Music Technology at Florida International University.
http://www.paulamatthusen.com
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Share – all night A/V openjam – in the Munch room
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Alan Licht and Loren Connors + Evidence
Over the past two decades, guitarist Alan Licht has worked with a veritable who’s who of the experimental world, from free jazz legends (Rashied Ali, Derek Bailey) and electronica wizards (Fennesz, Jim O’Rourke) to turntable masters (DJ Spooky, Christian Marclay) and veteran Downtown New York composers (Rhys Chatham). Licht is also renown in the indie rock scene as a bandleader (Run On, Love Child) and supporting player to cult legends like Tom Verlaine, Arthur Lee, Arto Lindsay, and Jandek. He has released five albums of compositions for tape and solo guitar, and his sound and video installations have been exhibited in the U.S. and Europe. With Sonic Youth’s Lee Ranaldo, he founded Text of Light, an ongoing ensemble which performs freely improvised concerts alongside screenings of classic avant garde cinema. Licht was curator at the famed New York experimental music venue Tonic from 2000 until its closing in 2007, and has written extensively about the arts for the WIRE, Modern Painters, Art Review, Film Coment, Sight & Sound, Premiere, Purple, Village Voice, New York Sun, Time Out New York, and other publications. His first book, An Emotional Memoir of Martha Quinn, was published by Drag City Press in 2003; a second book, Sound Art: Beyond Music, Between Media, the first extensive survey of the genre in English, was published by Rizzoli in fall 2007.
Sound artists Stephan Moore and Scott Smallwood began performing as the duo Evidence in 2001. Focusing on the universe of real-world sound, Evidence pours field recordings like water into their compositional and improvisational process, resulting in music that balances between tight organization and unregulated flow. Using recording equipment, laptops, and other electronic devices, Evidence creates music that deals with gradual change, improvised over time, sometimes atmospheric, sometimes pulsating, always texturally striking and unique. Resisting classification into a single genre, Evidence is equally at home performing in experimental venues, clubs, galleries, planetariums, and rooftops.
Hisham Bharoocha w/Ben Vida + Ateleia w/Sadek Bazaraa
+ Ateleia and Sadek Bazaraa
+ Hisham Bharoocha w/ Ben Vida
Issue Project Room
Doors at 8PM
$15
••••••
Tonight’s performance marks a new instance of ‘Archegram’, the ongoing collaboration between musician James Elliott, aka Ateleia, and visual artist Sadek Bazaraa. Combining Ateleia’s pulsing ambient soundscapes and Bazaraa’s deeply atmospheric video art, the two strive to generate a hermetic sensory environment that melds the streamlined focus of classic modern minimalism with the tranced-out spiritualism of sustained tones, slippery loops and hypnotically repeating geometric imagery.
Since 2004 James Elliott has worked under the Ateleia moniker, releasing propulsive, abstractly melodic electronic music on the Table of the Elements label. Elliott reconfigures a variety of source materials – mainly synthesizer, guitar and electronics – via computer processing into a shifting, constantly mutating framework of psychedelic minimalism. The Wire has called Ateleia’s music, “Quietly breathtaking.” Dusted magazine writes, “… the sensual properties of these perpetually flickering micro-melodies and buried, striated rhythms recall the bright eyelid-movie patterning of Man Ray’s ‘Emak Bakia’ film, where spiralling shapes reflect light in abstruse programs.”
http://www.myspace.com/ateleia
Sadek Bazaraa is a multi-media artist working in the realms of fine art, art direction and commercial design as a partner at the design collective GHAVA. Bazaraa’s recent visual acuity draws heavily on associations between objects, shapes, patterns, and textures taken from immediate surroundings to form unexpected narratives. Through recontextualization and careful manipulation, the mundane becomes glorified. Bazaraa’s process-oriented approach is primarily concerned with the subtle manipulation of geometric shapes and textural distortions to create a truly immersive take on the mathematical ratios of sacred geometry.
Both artists live and work in Brooklyn, NY.
Hisham Akira Bharoocha is an artist currently based in Brooklyn, New York. He concentrates on creating music, visual art, and photography.
Bharoocha has had solo exhibitions of his work at D’Amelio Terras gallery in New York, as well as Vleeshal, a state run space in The Netherlands. He has been in numerous group exhibitions at galleries such as Deitch Projects, John Connelly Presents, and Yerba Buena Center for the Arts.
His work has been published in Art Forum, V, i-D, Flaunt, Tokion, Blend to name a few.
Hisham’s newest works deal with the melting together of images that happens in the mind when one is meditating, dreaming, day dreaming, or going about their daily lives. Bharoocha likes to observe how his visions and feelings all blend together to create a massive medley of images and vibrations that one can feel in the body. Hisham tries to create works that show the absurdity and logic of how each mind works, what kind of relationships it creates between experiences and images that we absorb through our senses moment by moment.
Hisham is well known in the underground music scene for being a founding member of the bands Lightning Bolt and Black Dice. After leaving Black Dice, he created Soft Circle, a solo project that allowed him a more personal exploration of his own musical interests. His first solo album, ‘Full Bloom’ was released in January 2007 on Eastern Developments. Hisham has recently collaborated with the artist Doug Aitken on a sound piece which was performed at the MoMA, as well as musicians such as the experimental rock group Boredoms. Bharoocha is currently working on a new Soft Circle album due to be released sometime in 2009.
Hisham is one of the New York underground community’s creative leaders, continually trying to bring together the visual art, music, and fashion communities for collaboration. Bharoocha was the musical director for the now legendary 77 BOADRUM performance, a musical composition composed by the experimental Japanese music group Boredoms, which involved 77 drummers playing 77 drum kits in a Spiral formation at Empire Fulton Ferry State Park on July 7th, 2007. Bharoocha was also the music director for this year’s 88 Boadrum performance which happened on August 8th, 2008 with 88 drummers playing with Boredoms in Los Angeles, as well as 88 drummers playing with Gang Gang Dance in New York City on the same day.
Keith Fullerton Whitman (CANCELLED)
TONIGHT’S CONCERT IS CANCELLED. MANY APOLOGIES.
Keith Fullerton Whitman is a composer/performer obsessed with electronic music; from its mid-century origins in academic studios in Europe straight on through contemporary bedroom “digital music.”
Currently he is working towards implementing a complete system for live performance of improvised electronic music that incorporates elements from nearly every era: a reel-to-reel tape machine, a selection of small “jerry-rigged” / “circuit-bent” battery-powered sound-producing boxes, an analog modular synthesizer, an early “consumer” home-computer, and at the core; a contemporary computer running a custom-built Max-MSP based modular system that both controls these elements and acts as a central conduit into which their sounds are captured/collected, processed, then diffused to up to eight separate channels/speakers/amplifiers.
He is also, at present, composing an as-of-yet untitled piece for Egyptian Oud, Serge and Doepfer Analog Modular Synthesizers, and computer control/processing. It is his first through-composed long-form work.
http://www.myspace.com/keithfullertonwhitman
…
Keith, 33, lives in Somerville, MA, USA with Robyn “Petra-Pixm” Belair and their child; a Korat named “Dribcots.”
He has been known to dabble in “virtuoso” “electronic dance music” under many stage names/pseudonyms, most notably Hrvatski (but also Gai/Jin, ASCIII, Anonymous, Assassassinator X, The Superlatives, etc…).
His current (05/06) favorite albums are ::
Jon Appleton & Don Cherry “Human Music” (Flying Dutchman FDS-121) 1970
Pierre Henry “Mise en Musique du Corticalart de Roger Lafosse” (Philips 6521 022) 1971
Åkos Rozmann “Images of the Dream and Death” (Phono Suecia PS 27) 1974-1977 / 1990
Dariush Dolat-Shahi “Electronic Music, Tar and Sehtar” (Folkways FTS 37464) 1985
Pink Floyd “1967: The First 3 Singles” (EMI M31001) 1997
He loves to travel. He hates to cook.
Phill Niblock
Phill Niblock is a New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, a foundation born in the flames of 1968′s barricade-hopping. He has been a maverick presence on the fringes of the avant garde ever since. In the history books Niblock is the forgotten Minimalist. That’s as maybe: no one ever said the history books were infallible anyway.
His influence has had more impact on younger composers such as Susan Stenger, Lois V Vierk, David First, and Glenn Branca. He’s even worked with Sonic Youth’s Thurston Moore and Lee Renaldo on “Guitar two, for four” which is actually for five guitarists. This is Minimalism in the classic sense of the word, if that makes sense. Niblock constructs big 24-track digitally-processed monolithic microtonal drones. The result is sound without melody or rhythm. Movement is slow, geologically slow. Changes are almost imperceptible, and his music has a tendency of creeping up on you. The vocal pieces are like some of Ligeti’s choral works, but a little more phased. And this isn’t choral work. “A Y U (as yet untitled)” is sampled from just one voice, the baritone Thomas Buckner. The results are pitch shifted and processed intense drones, one live and one studio edited. Unlike Ligeti, this isn’t just for voice or hurdy gurdy. Like Stockhausen’s electronic pieces, Musique Concrete, or even Fripp and Eno’s No Pussyfooting, the role of the producer/composer in “Hurdy Hurry” and “A Y U” is just as important as the role of the performer. He says: “What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly.” The stills in the booklet are from slides taken in China, while Niblock was making films which are painstaking studies of manual labour, giving a poetic dignity to sheer gruelling slog of fishermen at work, rice-planters, log-splitters, water-hole dredgers and other back-breaking toilers. Since 1968 Phill has also put on over 1000 concerts in his loft space, including Ryoji Ikeda, Zbigniew Karkowski, Jim O’Rourke.
David Linton
david linton:
bicameral research sound & projection system
climbing “mount analog” (Daumal)
with “the mechanical bride” (McCluen)
through “the ego tunnel” (Metzinger)
via “the chapel of extreme experience” (Gysin)
an extended time solo audio visual performance
with special guest visitations and words in the air….
Issue Project Room
Sat June 27 10pm – ???
Share – featured guests Shinya Sugimoto & Mihail Torich
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s feature guests:
Sugimoto produces music with computer processing and acoustic instruments, mainly piano. He expresses his personal feelings and emotions through a complex structure of multilayered sound, which is sometimes very cathartic. Influenced by both classical music and modern experimental music, his musical style crosses over immensely broad field.
Born in Japan in 1979, he studied piano, classical composition and recording technique as a teenager. In 2006, he moved to New York and started career as a recording engineer. He also works as a Hip Hop producer, operating a record label “MONKHAUS”. He currently lives and works in Brooklyn.
http://shinyasugimoto.bandcamp.com
Email: info[at]monkhaus.com
- Mihail Torich
Playing VJ and producing music videos for many musicians and bands in Russia and Europe since 1999. Will be performing new «TechNoRussian» VJ set, mixing traditional russian dance shots with modern techno footage.
http://youtube.com/mtorich (official youtube channel)
http://torich.spb.ru
http://myspace.com/_a5
http://www.flickr.com/photos/torich/
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
On January 25, ISSUE Project Room will inaugurate its new space at 110 Livingston with Gaudeamus Muziekweek, a four-day festival celebrating groundbreaking and challenging new music by emerging composers from around the world. Working in partnership ...
ISSUE is starting off the New Year with a change of scenery. That's right, Issue Project Room is moving out of our space at the Old American Can Factory and into 110 Livingston in Downtown Brooklyn. We've had a great run at the Can Factory,...