Share – free audio & video jam – featured guests 1) TreeSpeedMusic and 2) 10 (Itta + Marqido)
What is share?
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 featured guests:
1) TreeSpeedMusic
Cologne-based musician and visual artist aka Andreas Hirsch, brings a peculiar instrument he has been developing: the Palmonica, an electrified palm tree leaf that produces sounds akin to the thumb piano’s.
Via live sampling procedures and effect pedals he is building up pieces that have both references to minimal music and electronics.
Influences reach from Fluxus Music, Moon Dog through to Southeast Asian Music.
In 1998, Hirsch performed Robin Page’s “Plant Piece” at The Roxy in New York, for the opening gala show of “Playing with Matches”, by Al & Beck Hansen; the piece found him intimidating a plastic plant for 45 minutes. Since then, Hirsch has been involved with TreeSpeedMusic.
During March 2010 TreeSpeedMusic has been creating his performance project “TreeSpeedIsland” at the Watermill Center on Long Island. His gig at the Project Issue Room will involve elements of this project.
Hirsch has been exhibiting and performing throughout Europe, involving concerts at “La Nuit Blanche” in Paris, Kunsthalle Fridericianum in Kassel, Germany and Danese, NYC.
http://www.treespeedmusic.de
http://www.h-i-r-s-c-h.de
http://www.watermillcenter.org
http://www.share.dj/share/event_info.php?eventID=666
2) 10 (Itta + Marqido)
Itta and Marqido are two previously solo experimental musicians who paired up in 2005 to create 10. Independently successful, together, they burst through art festivals throughout much of Asia and parts of Europe, gaining recognition as one of the most active and creative bands on the Asian indie scene.
They met in Seoul at an international experimental music gathering at Bulgasari and were impressed by each others performances. Itta suggested that they tour together and soon after they formed 10, a name that marks the date they met, October 10th, and also symbolizes their union; 1 represents Itta, or “to be”, and 0 represents the first part of Marqido’s name, Maru, or “cycle.”
The two make an artistically complete pair. Their dynamic compositions and improvisations conjugate an assortment of instruments and various art forms. Marqido is a Japanese noise artist with psychedelic and avant-garde influence. For him, the intrigue of using the laptop as an instrument is that the noise seems to mysteriously come about without the listener or viewer being able to definitively identify how. Itta is a Korean vocalist who plays the melodica, piano, accordion, mini synthesizer, key-tar, drum kit, and numerous toys. For her, noise is a poetic device. Itta is an extravagant performer while Marqido is antagonistically still. Together they render a sound and performance that is innocent and explosive, unexpected but not awkward. 10′s performance has provoked words from critics from: “bizarre,” “abrasive,” and “ironic,” to: “intriguing,” “alluring,” and “intricate.”
http://www.myspace.com/weare10
http://www.share.dj/share/event_info.php?eventID=651
———
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Joëlle Léandre
Joëlle Léandre
French double bass player, improviser and composer, Joëlle Léandre is one of the dominant figures of the new European music. Trained in orchestral as well as contemporary music, she has played with l’Itinéraire, 2e2m and Pierre Boulez’s Ensemble Intercontemporain. Joëlle Léandre has also worked with Merce Cunningham and with John Cage, who has composed especially for her – as have Scelsi, Fénelon, Hersant, Lacy, Campana, Jolas, Clementi and about 40 composers.
As well as working in contemporary music, Léandre has played with some of the great names in jazz and improvisation, such as Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweizer, William Parker, Barre Phillips, Pascal Contet, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Mat Maneri, Roy Campbell, Fred Frith, John Zorn, Mark Naussef, Marilyn Crispell, India Cooke and so many others…
She has written extensively for dance and theater, and has staged a number of multidisciplinary performances. She got the DAAD at Berlin, is welcomed as artist resident at Villa Kujiyama (Kyoto). In 2002, 2004 and 2006, she is Visiting Professor at Mills college, Oakland, CA, Chaire Darius Milhaud, for improvisation and composition. Her work as a composer and a performer, both in solo recitals and a part of ensembles, has put her under the lights of the most prestigious stages of Europe, the Americas and Asia.
From 1981 to 2009, Joëlle Léandre has about 150 recordings to her credit.
CSC Funk Band with Artist in Residence: Matt Mottel + Greg Ginn and the Taylor Texas Corrugators
The CSC Funk Band is Minimalist Funk. Repetition experiments. Improvisation exercises. Family fun. All star band killing it featuring Colin L (usaisamonster), Matt Mottel (talibam), Matt Clarke (Ostinato), Jimmy Thomson (Gwar), Jesse Lent (Monte Vista), Jonny Matteo(La Fundacion), Dave Kadden (Invisible Circle), Wes Buckley (Dick Heaven), a horn section. bongos. solos. psychadelic. myspace.com/cscfunkband
–for the first performance of Matthew Mottel’s Artist in Residency he brings to issue the CSC FUNK Band. In existence for over 2 years, they have been a happening vibe at parties/lofts/warehouses and clubs. Already out is a 45 rpm 7″ on Electric Cowbell with a split single to follow. In October they toured 8 men in one van up to Montreal and back on a 9 day sojourn. This gig on the 19th finds them at the home strectch of a 7 day tour where they will share the stage with the founder of BlackFlag ‘the greatest punk band ever’ who now leads an improvisational unit called ‘Greg Ginn and the Texas Corrugators’
Greg Ginn and the Taylor Texas Corrugators are an instumental group that incorporate many styles into their music. Rock/jazz/country/blues/latin/psychedelia all find their way into the mix. On the two studio recordings (Bent Edge released in 2007, and Goof Off Experts released in 2008), Greg plays all of the instruments except drums. We offer these recordings as free downloads. If you like them and feel they are worthwhile to pay for, we suggest making a donation to kittenrescue.org. These people do great work with cats. Live, the Corrugators are quite a different proposition. Playing about 150 shows (most of them opening for JAMBANG) in the last year, the group played 100% improvised sets. On the next tour, look for the Corrugators to introduce some sound loops into a portion of the set at times. For the tours, Greg has enlisted the JAMBANG members for the Corrugators as well, with Ginn playing bass/guitar, Gary Piazza on guitar, and Sean Hutchinson (borrowed from the New Moonson) on drums. http://www.myspace.com/txcorrugators
Zero Gravity Thinkers + Gamelatron
The Gamelatron is the world’s first fully robotic gamelan orchestra. (http://gamelatron.com)
It is the fruit of a collaboration between The League of Electronic Musical Urban Robots (LEMUR http://lemurbots.org) and the composer Zemi17: A. Taylor Kuffner (http://zemi17.net).
Modeled after traditional Balinese and Javanese gamelan orchestras, the GamelaTron is an amalgamation of traditional instruments with a suite of percussive sound makers. MIDI sequences control 117 robotic striking mechanisms that produce intricately woven and rhythmic sound. Performances follow an arc similar to classic Indonesian gatherings, where stories from great epics, such as the Ramayana, are told and settings given in words that are continued in music.
Zero Gravity Thinkers (ZGT) is music for motionless travel. Concerts consist of long format improvised suites rich with rhythmic swells of tension and disharmony resolving with ambient subtly and faint melodies. The project features Peter Principle on guitars, Dok Gregory on theremin, processors and shortwaves; and Zemi17 on ewi midi breath devices and sampler.
Principle is the bassist of famed post-punk band Tuxedomoon, while Doktor Gregory was a pivotal member of Amoeba Technology in the 90′s Brooklyn illbient scene and toured extensively with Physic TV on theremin. Zemi17 was the founder of the Ransom Corp. experimental theater group. He currently is the art director of the Gamelatron, the resident DJ for the Danger events, and composer and installationist with the fine arts group Emma.
Giuseppi Logan’s 75th Birthday Bash + Befo’ Quotet + TAUOM
Giuseppi Logan
Giuseppi Logan (born May 22, 1935) is a jazz musician originally from Philadelphia, Pennsylvania who taught himself to play piano and drums before switching to reeds at age 12. At the age of 15 he began playing with Earl Bostic and later studied at the New England Conservatory. In 1964 he relocated to New York and became embroiled in the free jazz scene.
Logan played alto and tenor saxophone, bass clarinet, flute, piano and Pakistani oboe. He collaborated with Archie Shepp, Pharoah Sanders and Bill Dixon before forming his own quartet made up of pianist Don Pullen, bassist Eddie Gomez and percussionist Milford Graves. After Pullen’s departure, pianist Dave Burrell joined the group. Logan was a member of Byard Lancaster’s band and toured with and appeared on records by Patty Waters. He recorded two albums for the ESP Disk record label and later appeared on an album by Roswell Rudd on the Impulse! label.
http://www.tompkinssq.com/giuseppi_logan.html
TAUOM
Ricardo Gallo, piano
Satoshi Takeishi, percussion
Dan Blake, saxophones
Ricardo Gallo
Born in Bogotá, Colombia, Ricardo Gallo is active as a composer of contemporary concert music, both acoustic and electronic, and as a pianist performing jazz and improvised music. He leads different projects that relate aspects of Colombian folklore to contemporary musical expressions, and performs with several improvisational groups. Gallo started his studies at Universidad Javeriana in his native city of Bogotá, and then transferred to the University of North Texas (UNT), where he graduated in 2002, and was honored Outstanding Composition Student the same year. Ricardo is at the moment a PhD candidate in composition at Stony Brook University. He has been awarded a scholarship from the university and has been an assistant for the Computer Music Studio, as well as assistant of the Jazz Department under the direction of trombonist Ray Anderson.
He leads since 2004 his Bogotá-based quartet along with some of the best musicians from the scene in Colombia: Jorge Sepúlveda on drums, Juan Manuel Toro on double bass, Juan David Castaño on percussion, and Ricardo Gallo on piano. With this group Gallo has released two albums as leader: “Los Cerros Testigos” (December, 2005), and “Urdimbres y Marañas” (December, 2007), both with great critical acclaim.
In New York he has performed his music with several groups including musicians such as: Ray Anderson, Mark Helias, Pheeroan akLaff, Dan Blake, Satoshi Takeishi, Jorge Roeder, Tom Blancarte, Sam Sadigursky, Franco Pinna, among others. He has performed with Ray Anderson’s groups and is currently member of Peter Evan’s Quartet. Ricardo has also collaborated with other Colombian musicinas’ projects. His most recent release is a CD of his duo with guitarist Alejandro Flórez, titled “Meleyólamente”. His music appears in several compilations in Colombia, U.S. and Europe.
This time at Issue Project Room Ricardo Gallo will present “Tauon”, a trio with Satoshi Takeishi on percussion, Dan Blake on saxophones a Ricardo Gallo on piano, performing all original music, improvised and/or notated.
Satoshi Takeishi (Percussion, Electronics)
Satoshi Takeishi, drummer, percussionist, and arranger is a native of Mito, Japan. He studied music at Berklee College of Music in Boston, Massachusetts. While at Berklee he developed an interest in the music of South America and went to live in Colombia following the invitation of a friend. He spent four years there and forged many musical and personal relationships. One of the projects he worked on while in Colombia was ‘Macumbia’ with composer/arranger Francisco Zumaque in which traditional, jazz and classical music were combined. With this group he performed with the Bogota symphony orchestra to do a series of concerts honoring the music of the most popular composer in Colombia, Lucho Bermudes. In 1986 he returned to Miami, U.S. where he began working as an arranger/producer as well as a performer. In 1987 he produced ‘Morning Ride’ for jazz flutist Nestor Torres on Polygram Records. His interest expanded to the rhythms and melodies of the middle east where he studied and performed with Armenian-American oud master Joe Zeytoonian. Since moving to New York in 1991 he has performed and recorded in vast variety of genre, from world music, jazz, contemporary classical music to experimental electronic music with musicians such as Ray Barretto, Carlos ‘Patato’ Valdes, Eliane Elias, Marc Johnson, Eddie Gomez, Randy Brecker, Dave Liebman, Anthony Braxton, Mark Murphy, Herbie Mann, Paul Winter Consort, Rabih Abu Khalil, Erik Friedlander, Ned Rothenberg, MIchael Attias, Shoko Nagai, Paul Giger, Toshiko Akiyoshi Big Band, Ying String Quartet, Metamorphosen Chamber Orchestra, Dhafer Youssef, Lalo Schifrin and Pablo Ziegler to name a few. He continues to explore multi-cultural, electronics and improvisational music with local musicians and composers in New York.
Daniel Blake (saxophones)
Daniel Blake has been featured as a composer and saxophonist throughout Europe, South America, and the United States. He has appeared on recording and in performance with Anthony Braxton, Kenny Werner, Herbie Hancock, Danilo Perez, and many others. A versatile force in both the chamber and improvised music worlds, his works have been performed by Duo Diorama, redfish bluefish ensemble, and The Cygnus Ensemble, among others. His playing has been called “joyous, upbeat, and ebullient” (Cadence Magazine), and his work as a composer “viscerally entertaining” (All About Jazz NY). He is currently in demand as a saxophonist, and is a regular member of Lukas Ligeti’s Kaleidoscope, Peter Evans’ Sparks Orchestra, and the Julian Lage Group. As a recording artist, Blake is a featured soloist on Anthony Braxton’s “Trillium E” project, and was recently a featured soloist on Danilo Perez’s Grammy-nominated “Panama Suite.”
In 2008, Dan Blake was awarded the John Lennon Songwriting Contest’s Grand Prize, ASCAP’s Young Jazz Composer’s award, and City University’s Morton Feldman Composition Award. Since February 2007, he has co-curated the “Defacto Series,” a concert series dedicated to experimental multi-media and improvised music in Brooklyn. Dan Blake is currently a Ph.D. candidate in composition at the Graduate Center, City University of New York, and serves as adjunct lecturer in music history at Brooklyn College. He currently studies composition and improvisation with Robert Dick. Past teachers include Steve Lacy, John McDonald, George Lewis, Tania León, Danilo Perez, and Jason Eckardt.
Befo’ Quotet is a rhythm and dues band that takes a folkloric approach in paying tribute (hence the term ‘dues’) to the rhythmic contributions of African diaspora communities such as blues, jazz, and R & B. African and Caribbean rhythms and spoken word are woven throughout their music.
The “Befo’ Quotet” includes:
Atiba Kwabena-Wilson: vocals, flutes and percussion
Yoshiki Miura: guitar
William Dotts: bass
Sean Brock: drums
Ray Graham: percussion
Atiba Kwabena-Wilson (musician/poet/storyteller) is the founder and artistic director of both Songhai Djeli and the Befo’ Quotet. He was the recipient of a full Scholarship for voice and flute, earning his B.A. in Music from Long Island University. Mr. Kwabena-Wilson studied arrangement and orchestration for jazz ensembles with Calvin Hill (bassist with Max Roach and faculty advisor for L.I.U.). He also studied Jazz Improvisation with the late John Lewis (pianist with the Modern Jazz Quartet and professor at City College).
Yoshiki Miura
20 years performing in the New York City area, with a funky, energetic jazz sound. His music crosses the traditional modern jazz boundaries, injecting R&B, and Latin styles.
His numerous performances include; “Texaco New York jazz Festival ’98 & ’97 “, “Grand Central’s Anniversary 2000″, “JVC Jazz Festival at Saratoga”, “Live at Blue Note in NY 2000″.
He was selected to recording session with EMI label under the Amalia Gre group on 2003 & 2005. also music tour with Amalia Gre in Italy, March – August 2004, April – May 2006 include performance at Blue note in Milano, and opening act for Michael Blecker group at Trino jazz Festival.
Z’EV + Miguel Frasconi
ISSUE Project Room and the 2nd annual Darmstadt Institute are proud to present:
Z’EV
Conceptual artist, sound sculptor, and poet. After studying at CalArts with Concrete poet Emmett Williams he produced visual and sound poetries, and was included in the “Second Generation” show at the Museum of Conceptual Art in San Francisco in 1975.
While but one of the progenitors of the ‘industrial movement’ in the mid-70’s, he, along with neil megson, was primarily responsible for delivering the ‘tribal’ impulse and esthetic into the Western cultural milieu between the years 1978-1984.
While generally most known as a solo performer, since 2003 he has been concentrating on cooperative and collaborative composition and performance. Recording/performing with:
oren ambarchi, hans joachim irmler [as FAUZ’t], david jackman/organum, jason kahn, kknull, larsen, franciso lopez, merzbow, bj nilsen, stephen o’malley, osso exotico, pita, boyd rice, the.bänd, kasper t.toeplitz, luc van acker, nico vascellari [as Pslayer], chris watson, and john zorn
Miguel Frasconi uses glass objects, electronics, keyboards, and “de-evolved” instruments to create music that sounds from a uniquely imagined tradition. His glass instruments have been called “a beautiful menagerie of pealing contraptions” (Time Out NY), while his music has been called “lyrical and stormy” (New York Times). His recent activities include a new score for choreographer Alonzo King, performances with electronic music pioneer Morton Subotnick, a newly commissioned work for Gamelan Son of Lion, and concerts with the composers collective Ne(x)tworks. He is currently artist in residence at Harvestworks electronic media studios.
Yoshitake Expe + Bomb Sun
Yoshitake Expe
Since 2001, Yoshitake Expe has made a name for himself throughout Japan as an inventive and extraordinary guitarist. With his extensive use of over seventy effects pedals, Yoshitake creates waves of transcendental soundscapes, drawing from a range of influences including ambient, funk, electronic and Brazilian music. His technique, dubbed “space guitar,” takes the listener on a spiritual journey that moves beyond time and consciousness.
With the 2002 debut of Nutron, Yoshitake teamed up with drummer Minoru Takahashi to create a sixty minute album of improvisational pieces recorded over just four days. Praised extensively throughout the Japanese press, Nutron was selected as one of the best albums of 2003 by Music Magazine. Since then, Yoshitake has continued to rise through the ranks of Japan’s avant-garde music community. Currently, Yoshitake joins Yamamoto Seiichi, the “godfather of Kansai’s music scene” (The Japan Times), in the minimal funk band Para. He also works with famed pandiero musician Marcos Suzano, Keiji Haino (noise legend) and Eye Yamantaka (Boredoms), among others.
In 2008, Yoshitake organized an eight day sound installation at the historic seventy year old Hosono building in Osaka. For over one hundred hours, performers and artists collaborated in various capacities–epitomizing the communal nature of Osaka’s arts scene.
Bomb Sun
Fumio Tashiro, a.k.a. “Bomb Sun” plays electric upright bass and creates original musical compositions. He has 15 years experience writing, touring, and performing music. As a student of the upright bass, Bomb Sun studied under his mentor Milt Hinton, and so, has a solid background in jazz and experimental improvisation. His newest compositions blend this background with a digital approach producing a unique and broad spectrum of sound. He is originally from Japan and currently resides in Brooklyn.
Michael Wilson is an emergent experimental improviser. He uses a sampler and a combination of small acoustic instruments and vocal patterns to create unique fields of sound. He is originally from Los Angeles and currently resides in Brooklyn.
ISSUE’S FIRST PUBLIC CONCERT @ 110 LIVINGSTON, TO BE BROADCAST LIVE ON Q2 – Morton Feldman’s String Quartet No. 2
ISSUE’S FIRST PUBLIC CONCERT @ 110 LIVINGSTON
Pre-Renovation Candlelit Performance of Morton Feldman’s Second String Quartet by Ne(x)tworks
Q2 to Webcast Entire Performance LIVE:
Q2, Classical 105.9 WQXR’s contemporary music stream – in partnership with WNYC Culture – will present a live audio webcast of this rare event.
The public will have a chance to attend a rare performance of Morton Feldman’s String Quartet No. 2 in its entirety when ISSUE Project Room opens its doors at 110 Livingston St. for a pre-renovation, inaugural Open House event. Performed by Ne(x)tworks, the six hour-long contemporary masterpiece will be free to the public, commemorating ISSUE’s first concert in their future Downtown Brooklyn home.
String Quartet No. 2 has been performed in its entirety only a few times, the first being in 1999 by the FLUX Quartet at Greenwich Village’s Cooper Union. The Ne(x)tworks quartet (which includes Cornelius Dufallo and Kenji Bunch, formerly of FLUX) will play the entire piece by candlelight in the cloistered hall while audience members are invited to stay for as long as little as they like. The beauty of candlelight is also a necessity as the space is still raw, in need of renovation and lighting.
“Ne(x)tworks is thrilled to present Feldman’s masterful Second String Quartet at ISSUE Project Room as our artistic endorsement of their fabulous new concert venue [at 110 Livingston],” says Ne(x)tworks’ Director, Cornelius Dufallo. “The musical community of New York City has been eagerly awaiting the opening of this performance space.”
Called his “most extreme” composition, Feldman’s String Quartet No. 2 (1983) is a collective paragon encompassing Feldman’s signature free rhythms, muted pitches, quiet and slowly unfolding music, and his experiments with duration.
“The focus at the time [of the premiere in 1999] seemed to be on how we were going to play for six hours without stopping,” Dufallo reflects. “As we immersed ourselves in the music, however, this began to change: we found that duration is by no means the most interesting aspect of this work. The ‘athleticism’ became more of a secondary concern to us. In this work, duration acts as a canvas, on which Feldman paints a stunningly beautiful encomium to the eternal marriage of sound and time. The piece must exist on a large scale in order to portray this relationship.”
In 2008 ISSUE Project Room won the bid for a 20-year, rent-free lease to occupy the landmark theatre at 110 Livingston St., an architecturally significant (McKim, Mead & White, 1926) and stunningly beautiful 4800 square foot performance space located in the former New York City Dept. of Education headquarters in Downtown Brooklyn. Once renovated, this space will offer opportunities to increase ISSUE’s audience, implement new programs and advance Brooklyn’s place as a cultural epicenter.
While this is an extraordinary opportunity, it is also an enormous challenge. ISSUE must still raise well over half a million dollars towards the $2.5 M needed for basic renovations. We hope that the community will join ISSUE on this amazing journey toward building a world-class center for experimental culture.
ISSUE Project Room’s Inaugural Concert @ 110 Livingston
Ne(x)tworks Performs Morton Feldman’s String Quartet No. 2
April 11, 2010
FREE
Reception: 11 am
Performance: 11:30 am – 5:30 pm
110 Livingston St. (Entrance on Boerum Place)
Brooklyn, NY 11201
{R}ake
Kamran Sadeghi
{A performance series of alternative and collaborative electro-acoustic music and video}
THURSDAY APRIL 22
8pm
{R}ake is a performance series of alternative and collaborative electro-acoustic music and video. Performances range from pure improvisation to more structured pieces, with video-artists and musicians working together in exploratory ways.
Giles Hendrix (Video) and Richard Lainhart (Music)
Kamran Sadeghi (A/V)
Bradford Reed (Music) and Ursula Scherrer (Video)
Performer info:
GILES HENDRIX
Giles Hendrix produces and mixes media for the internet, live performances,
and installations with a focus on the aesthetics of the the screen and
information. Find him at twitter.com/gileshendrix,
facebook.com/gileshendrix, and gesturemedia.tv. http://www.gesturemedia.tv
RICHARD LAINHART
Richard Lainhart is an award-winning composer, filmmaker, and author – a
digital artisan who works with sonic, visual, and textual data. Since
childhood, he’s been interested in natural processes such as waves, flames
and clouds, in harmonics and harmony, and in creative interactions with
machines, using them as compositional methods to present sounds and images
that are as beautiful as he can make them. His compositions have been
performed in North America, Europe, Australia, and Asia, and recordings of
his music have appeared on the Periodic Music, Vacant Lot, XI Records,
Electroshock, Tobira Records, Infrequency, VICMOD, and ExOvo labels. Besides
performing his own work, he has worked and performed with John Cage, David
Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among
many others. Lainhart’s animations and short films have been shown at
festivals in North and South America, Europe, Asia, and online. Examples of
his music and digital artworks may be found at his website,
http://www.otownmedia.com, and his short films are available at
http://www.vimeo.com/rlainhart.
At {R}ake, Lainhart will be performing realtime improvised electroacoustic
music on his Buchla 200e analog modular synthesizer controlled by a Haken
Continuum 3-dimensional keyboard.
KAMRAN SADEGHI
Kamran Sadeghi (aka Son of Rose) is an artist, composer, and performer who
creates sensory environments at the intersection of sound, light, acoustics,
and technology. Sadeghi draws from these elements to accentuate time and
space, and to play with the awareness that can materialize between their
physical properties and the human perception. Sadeghi’s work has received
critical acclaim in publications such as The Wire Magazine, Signal To Noise,
e/i and several international online publications. Sadeghi’s performances,
collaborations and installations have been experienced at the Henry Art
Gallery (Seattle), ICA (Boston), Diapason Gallery (New York), 4Culture
(Seattle), Staalplaat (Berlin), Decibel Festival (Seattle), DTW (New York),
Corcoran Gallery of Art (DC), RAM (Rome), SICMF (Seoul) and others.
http://www.kamransadeghi.com
BRADFORD REED
Bradford Reed never fails to entertain and inspire. This Brooklyn, NY based
composer, performer and producer fights and tames the idiosyncrasies of the
pencilina, an original instrument of his own design and construction. The
pencilina is an electric ten stringed collision of the hammer dulcimer,
slide guitar, koto and fretless bass with six pickups of varied types. It is
struck with sticks, plucked and bowed, giving Reed an incredibly wide sonic
palette. Many have enjoyed Reed’s frequent street performances and club
dates. http://pencilina.com
URSULA SCHERRER
The poetic quality of Scherrer’s work reminds one of moving paintings,
drawing the viewer into the images, leaving the viewer with their own
stories, transforming a landscape into a serene, abstract portrait of
rhythm, color and light, where the images have less to do with what we see
then the feeling they leave behind. http://www.ursulascherrer.com
Laetita Sonami + Zach Layton + Torino:Margolis presented by Analogous Projects
Laetitia Sonami
Composer, performer, and sound installation artist Laetitia Sonami was born in France and settled in the United States in 1975 to pursue her interest in the emerging field of electronic music. She studied with Eliane Radigue, Joel Chadabe, Robert Ashley and David Behrman.
Sonami’s work combines text, music and “found sound” from the world, in compositions which have been described as “performance novels. Her signature instrument, the Lady’s Glove, is fitted with a vast array of sensors which track the slightest motion of her enigmatic dance: with it Sonami can create performances where her movements can shape the music and in some instances visual environments. The lady’s glove has become a fine instrument which challenges notions of technology and virtuosity.
Sonami’s sound installations combine audio and kinetic elements embedded in ubiquitous objects such as light bulbs, rubber gloves, bags and more recently toilet plungers. She collects electrical wire and embroids them in walls.
Sonami gives extensive workshops and classes. She tries to familiarize and enthuse students to adapting old technologies and new media to the creative process and thus expand their field of imagination and play.
Sonami has been performing in numerous festivals across the United States, Canada, Europe, Japan and China, among which the Ars Electronica Festival in Linz, the Bourges Music Festival in France, the Sonambiente Festival in Berlin, the Interlink festival in Japan, Bang-on-a Can, The Kitchen and Other Minds, S.F.
Awards include the Alpert Award in the Arts (2002), Foundation for Contemporary Performance Arts Award (2000), the Civitella Ranieri Fellowship (2000), Studio Pass-Harvestworks residency (2001) and a Creative Work Fund award (2000) for a collaboration with Nick Bertoni and the Tinkers Workshop.
Sonami lives in Oakland, California and is guest lecturer at the San Francisco Art Institute and the Milton Avery MFA program at Bard College.
“.. Sonami sometimes looked like a human antenna searching the air for sounds, or like a deity summoning earth-shaking rumbles with a brusque gesture.” – New York Times
“…sultry and magical” -Village Voice
Brainwave Audio/Visuals at Monitorgalleri Copenhagen from Zach Layton on Vimeo.
Zach Layton is a composer, curator, improviser and new media artist based in Brooklyn with an interest in biofeedback, generative algorithms, experimental improvised music, dada and chance. His work investigates complex relationships and topologies created through the interaction of simple core elements like sine waves, minimal surfaces and kinetic visual patterns.
Zach’s work has been performed by the cleveland chamber symphony and he has performed and exhibited at the kitchen, roulette, joe’s pub, exit art, art forum berlin, new york electronic art festival, yerba buena center for the arts, eyebeam, sculpture center, diapason, issue project room, millenium film workshop, bushwick arts project, st. mark’s ontological theater, dumbo arts festival, new york digital salon, miguel abreu gallery, participant gallery, monkeytown and many other venues in new york, south america and europe. He has collaborated with Luke Dubois, Vito Acconci, Joshua White, Jonas Mekas, Bradley Eros, Andy Graydon, Nick Hallett, Matthew Ostrowski, Michael Evans, MV Carbon, Seth Kirby, Matthew Welch, Christine Bard, Alex Waterman, Ryan Sawyer, Scott Draves, Emily Manzo, Patrick Hambrect, Marissa Olsen, Angie Eng, Adam Kendall, Chika Ijima, Peter Gordon, Tristan Perich and Ray Sweeten among many other artists, filmmakers, curators and musicians.
Zach is also founder of Brooklyn’s monthly experimental music series, “Darmstadt: Classics of the Avant Garde” co-curated with Nick Hallett featuring leading local and international composers and improvisers, co-curator of the PS1 summer warmup music series and the chief curator of Issue Project Room. Zach has received grants from the Netherlands America Foundation, The Danish Committee for Visual Arts, Turbulence.org and the Jerome Foundation and holds a Bachelors degree in composition from the Oberlin Conservatory of music and a Masters from NYU’s Interactive Telecommunications Program.
ANALOGOUS PROJECTS:
Complexity theory is not new to art or to our culture. It migrated from computer science and biology to economics and art and, with the advent of the world wide web, it invaded our collective subconscious. Analogous seeks to support complexity-driven art and artists playing under this conceptual umbrella of “Interaction Art”. Progress occurs by metaphor and analogy: Their hope is (by bringing together people and projects irrespective of media and genre) to enable philosophical crosstalk.
Complexity theory centers around the concept of emergence, which refers to the observation that individuals acting within a shared context will create something greater than the sum of its parts. Since this principle explains the richness of biology — from molecule to ecology — it is able to lend an organic nature to highly-technical projects and to guide the logistics of elaborate social experiments.
We believe an emergence-based perspective can serve as both (1) a catalyst for new and progressive works, and as (2) a way to view existing works and practices from a new light.
Our objectives:
(1) to support artist-led, complexity-driven projects technically, financially, and administratively.
(2) to develop a cross-genre community of artists and philosophers in order to facilitate new works and novel collaborations.
http://www.analogousprojects.org/
Torino:Margolis is a performance art team that smashes through physical and psychological barriers separating one body from another using invasive electronics and biomedical tools. They explore the idea that the self is transient, elusive and modular by playing with the notion of control and free will. Their extraction of physiological processes concretizes these concepts and presents them as questions to the viewer — not to illustrate the mechanism, but to explore the experience.
“A noticeable hush swept the space when their arms started to twitch in Frankenstein-like fashion. This was one of the freakiest, most fascinating performances of the night”
-George Krzewski: The L Magazine Blog About Town
“BM-JT shifts the audiences’ expectation of performance with the intervention of machines”
-Sherry Mayo: The Online Journal of the New Media Caucus
Tim Hodgkinson, Chris Cochrane and Jim Pugliese trio + Ne(x)tworks with Tim Hodgekinson
An evening of guitar, saxophone, drums everywhere, mbira, lap steel, clarinet, trumpet, voice and electronics. Three people, endless variation. Clutter, partial tunes, recognizable and unrecognizable stuff. This is semi reunion and premiere all at once. Tim and Chris have not played together since 1985 and they will be joined by Jim who has been collaborating with Chris for many years, but who has not played with Tim before.
Tim Hodgkinson: I started on alto saxophone with a free-jazz and happenings group at school. Then from 68 to 78 I was a full-time member of Henry Cow on alto, clarinet, electric organ. This band played both fully scored compositions and free collective improvisations in concert. First solo improv gig was ’79 at London Musicians’ Collective, playing a set-up with varied sound sources and processors such as ring modulators, tape delay etc. Released Splutter, album of solo improvisations in 85, and first tour of USA in duo with Fred Frith in same year; also played with Zorn, Sharp, Staley and toured with a trio with Chris Cochrane and Pippin Barnett. Gave up improvising on keyboards in early 90′s, when I began to focus exclusively on reeds and lap steel guitar. Around the same time began a series of study trips to Siberia, playing with Siberian musicians,working with percussionist Ken Hyder. Toured and recorded with Ossatura electro-acoustic improvising group in late 90′s.
Current ongoing projects include: K-Space with Hyder and Tuvan musician Gendos Chamzyryn. Konk Pack with Roger Turner and Thomas Lehn, many tours and festivals, fourth CD soon on Grob. ZINC trio with Roger and Hannah Marshall. Le Pecore di Dante, duo with Elio Martusciello. DACH quartet with Anna Maria Avram, Iancu Dumitrescu, Chris Cutler. Black Paintings with vocalist Nick Hobbs. RAZ-3 with Lu Edmunds (currently with PIL) and Ken Hyder. I’m also a member of the Hyperion Ensemble in which I play bass clarinet. And of course all kinds of occasional duos and larger groups, clarinet solo gigs, improvising workshops, site-specific performances etc. In addition there is my work as a composer, and also as a part-time anthropologist, all of which feeds into my improvisation.Latest recordings:Teshuvah- Milo Fine + Tim Hodgkinson (2009, Rossbin) RS028 – Italy Klarnt – Tim Hodgkinson clarinet solos – (2009, ZR Records) ZRTH3, ReR – UK Hums – AMP2 (Domenico Sciajno et al) + Tim Hodgkinson – (2009, Bowindo) bw13 – Italy
Chris Cochrane has performed regularly in bands and improvised with hundreds of players. In addition to his rare solo recordings and work with a number of bands, including the legendary, groundbreaking unit No Safety, which he co-founded with harpist Zeena Parkins and Curlew he has played live and/or recorded with an array of musicians (John Zorn, Fred Frith, Mike Patton, Marc Ribot, Eszter Balint, Kato Hideki, Ikue Mori, Roy Campbell, JD Foster…) visual artists, and choreographers. He is currently working with writer, Dennis Cooper and Choreographer Ishmael Houston-Jones to re-work a theater/dance piece entitled “Them” from the mid 80’s
Jim Pugliese is a recognized unrepentant shaker of the conventional. His artistic approach hovers between rhythmic cataclysm and spiritual inoculation. His latest, exceedingly riotous CD PHASE III Live @ Issue Project Room won Best New Release of 2008 in All About Jazz New York.
Ne(x)tworks +
Tim Hodgekinson
9:15 (second set)
Jon Gibson: Multiples
Tim Hodgekinson: Jo-Ha-Qui
Miguel Frasconi: Ne(x)traits
Andrea Parkins with Ches Smith and Peter Evans
Andrea Parkins (objects, electronics, electric accordion)Ches Smith (percussion, electronics)Peter Evans (trumpet)
Andrea Parkins is a sound artist, composer and electro multi-instrumentalist who also makes/arranges objects, images and (sometimes) words. Known for her dynamic timberal explorations on the electric accordion and inventive use of generative sound processing, Andrea has appeared on more than 40 recordings on labels including Hatology, Atavistic, Knitting Factory, and Creative Sources. She has performed worldwide as a soloist, and with artists such as Nels Cline, Thomas Lehn, Fred Frith, ROVA Saxophone Quartet, and Otomo Yoshihide. She has also presented her work at the Whitney Museum of American Art, The Kitchen and Experimental Intermedia, among other NYC venues. Currently, Andrea continues to develop and perform a series of Max/MSP-based audio/visual works inspired by Rube Goldberg’s circuitous contraptions, a project realized during artist’s residencies sponsored by the Hamburg Cultural Board in Germany; at Harvestworks in New York City and CESTA in the Czech Republic. For more information:
Daniel Perlin + Christina Wheeler with Vernon Reid, Danny Blume & Benton C Bainbridge
Christina Wheeler
Vocalist, electronic musician, composer and songwriter Christina Wheeler’s musical explorations have included forays in techno, house, 2-step, drum and bass, breakbeat, soul, dance hall, dub, world music, ambient, free jazz and improvisational forms. A native of Los Angeles, California, Ms. Wheeler graduated from Harvard and Radcliffe Colleges and Manhattan School of Music. She has performed and recorded internationally in collaboration with a variety of artists including Ryuichi Sakamoto, Vernon Reid, John Cale, Chaka Khan, PM Dawn, Ravi Coltrane Talvin Singh, Mocky, Jamie Lidell, Swayzak, Jan Jelinek, Modeselektor, Priest (Anti-Pop Consortium, Airborn Audio), DJ Olive, Marc Ribot, Chris Whitley, Zeena Parkins, John Carter, Fred Hopkins, Andrea Parkins, Yappac, Dolibox and Ripperton. Her work with David Byrne included international tours and television appearances on The Late Show with David Letterman, and PBS’s Sessions at West 54th Street series, and her own music was featured on MTV’s electronic music program AMP. At Lincoln Center, Ms. Wheeler premiered Randall Woolf’s The Trick is to Keep Breathing, a composition for voice, string quartet, tape and turntables with custom acetates, and the New York Underground Film Festival commissioned a new score from her and DJ Olive for the 1927 Japanese silent classic, A Page of Madness. She was featured on the New York episode of Tvframes, produced by Citytv, Toronto, Canada, and currently resides in Berlin, Germany.
Re: Destruction
Performance by Daniel Perlin
Re:destruction is a sound and video performance created by smashing a computer with a sledge hammer. It is the fourth piece in a series entitled Work by the artist and sound designer Daniel Perlin.
In re:destruction, a computer is smashed, using a sledge hammer, producing a sound as well as video work. The hammer and the computer are microphoned, sampled, amplified and played as instruments in real time.
Like the preceding pieces in the series, re:destruction is created by a single real-time sample of the sound of the act of labor, mixed with the real-time use of the tool upon objects. In re:destruction, there is the addition of projected color video.
The Work series attempts to examine the implications of sound, noise and music in the processes of the building of physical structures. The fourth performance piece in the series, re: destruction will be performed at Issue Project Room, Broolyn, and dovetails with re: drill performed at the Lower Manhattan Cultural Council gallery, re:construction 1 performed at Studio X and re:construction 2 P.S.1, New York.
The New Roaratoria: Carlos Giffoni
Carlos Giffoni is a Venezuelan electronic musician who resides in the New York City area since the year 2000. Currently using modular synthesizers, hand made custom instruments, and various types of analog and digital synthesis in the composition of electronic music pieces, as well as improvising live with local and international musicians. His recent solo work has focused in live analog synthesizer pieces that put his style in a line with early techno and cosmic electronic music while maintaining the harsher edge of his previous noise works. Along his solo work he is also working on a new ‘acid music’ project called No Fun Acid.
Carlos remains a major figure in the US and international experimental music scene, performing live in New York and in a number of tours and festivals in the US, South America, Europe and Japan. He is the curator of the No Fun Fest, a yearly event in Brooklyn bringing together a wide variety of international experimental musicians as well as running the No Fun Productions label. His work has been featured in many publications including The New York Times, The Wire, Pitchfork, Art Forum, Tokion, Signal to Noise and many others.
He also holds an MFA in design and technology from Parsons School of Design.
Recent live and recording collaborations include work with:
Jim O’Rourke, Thurston Moore, Lee Ranaldo, Nels Cline, Chris Corsano, Peter Rehberg, Chuck Bettis, Nautical Almanac, Smegma, Yasunao Tone, Emeralds, Gert-Jan Prins, John Duncan, Rudolf E.ber, Lasse Marhaug, Z. Karkowski, Merzbow, Astro, Zeena Parkins, Ikue Mori and more.
The New Roaratoria is generously supported by the Greenwall Foundation
Turbulence.org Presents: Stephan Moore + Luke Dubois with Todd Reynolds
New works commissioned by Turbulence.org will feature the World Premieres of The Occupants, by Stephan Moore, and Moments of Inertia by R. Luke DuBois.
Stephan Moore will present The Occupants, a generative composition with some aspects that can be influenced through single- or multi-user interaction. Moore has used the piece to search for answers to both profound and insipid questions, such as: What does it mean to compose a “site-specific” composition when the site is the internet?
This is a long-term project that will eventually encompass multiple sub-compositional personalities. The premiere performance will focus on a single personality, i.e. the first occupant, with its (mostly) monophonic voice and (mostly) agreeable disposition. A number of copies of this personality will be distributed throughout Issue Project Room’s array of Hemisphere speakers and set loose to compose themselves.
Moore dedicates this concert to Suzanne Fiol.
Moore is a composer, performer, audio artist, and sound designer in New York City. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Many of his performances and installation artworks make use of large, multi-channel arrays of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught college-level courses in composition, sound art and electronic music at several schools. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company, and one of its core musicians.
“THE OCCUPANTS” is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
R. Luke DuBois will present his piece, Moments of Inertia featuring Todd Reynolds on violin. The piece is an evening-length performance based on a teleological study of gesture in musical performance and how it relates to gesture in intimate social interaction. The work is written for solo violin with real-time computer accompaniment and video. Moments consists of twelve violin études — ranging from 3-5 minutes in length — each of which uses a different violin performance gesture as a control input for manipulating a short piece of high-speed film (300 frames-per-second) — of a person performing a social gesture. Taking its cue from principles in physics that determine an object’s resistance to change, the violinist’s gestures time-remap and scrub the video clip to explore the intricacies of the performed action.
DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season.
Stemming from his investigations of “time-lapse phonography,” his recent work is a sonic and encyclopedic relative to time-lapse photography. Just as a long camera exposure fuses motion into a single image, his work reveals the average sonority, visual language, and vocabulary in music, film, text, or cultural information. Exhibitions of his work include: the Insitut Valencià d’Art Modern, Spain; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemporary Art, Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; and the Sydney Film Festival.
An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He currently performs as part of Bioluminescence, a duo with vocalist Lesley Flanigan that explores the modality of the human voice, and in Fair Use, a trio with Zach Layton and Matthew Ostrowski, that looks at our accelerating culture through electronic performance and remixing of cinema.
DuBois has lived for the last fifteen years in New York City. He teaches at the Brooklyn Experimental Media Center at NYU’s Polytechnic Institute. His records are available on Caipirinha/Sire, Liquid Sky, C74, and Cantaloupe Music. His artwork is represented by bitforms gallery in New York City.
Todd Reynolds is a composer, conductor, arranger and violinist, is a longtime member of Bang On A Can, Steve Reich and Musicians and Yo-Yo Ma’s Silk Road Project . His commitment to genre-bending and technology-driven innovation in music has produced innumerable collaborations with artists that regularly cross musical and disciplinary boundaries, regularly placing him in venues from clubs to concert halls around the world.
“MOMENTS OF INERTIA” was commissioned through Meet the Composer’s Commissioning Music/USA program, which is made possible by the generous support of the Mary Flagler Cary Charitable Trust, the Ford Foundation, the Francis Goelet Charitable Lead Trusts, New York City Department of Cultural Affairs, New York State Council on the Arts, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund.
Marina Rosenfeld + Kusum + LoVid
Marina Rosenfeld
Marina Rosenfeld’s work has been widely commissioned by museums and institutions in Europe and North America, including the Whitney Museum, Stedelijk Museum, Tate Modern, The Kitchen, and festivals including Faster Than Sound, Performa Biennial, Holland Festival, Wien Modern, Donaueschingen, Ars Electronica, and Los Angeles’ Center for Experiments in Art, Information and Technology, among many others. She has created live scores for the Merce Cunningham and Douglas Dunn dance companies and has collaborated with artists including George Lewis, Christian Marclay, Ikue Mori, DJ Olive, Anthony Coleman and many more. Rosenfeld recordings can be found on Room 40, Charhizma, Softl Music, and Innova. She’s been a member of the faculty at Bard College’s Milton Avery School of the Arts in New York since 2003, and co-chair of its graduate program in Music/Sound since 2007.
Kusum
Focusing on the voice in performance and installation, Kusum Normoyle performs with noise, intervention and the rearrangement of performance structures, utilising site specific locations and high energy physical and vocal output. Her vocal style has formed an alignment with extreme extended vocal techniques, using the microphone and amplification system as an instrument on which the performance is dependant. Pushing the threshold of violence, short in duration and coming up from behind you, Kusums performances are highly specific events that effect through volume and her clipping, broken vocal style. Residing in Sydney, her work has taken her interstate and internationally as a solo and collaborative performer and musician.
LoVid
LoVid is an interdisciplinary artist duo composed of Tali Hinkis and Kyle Lapidus. Our work includes live video installations, sculptures, digital prints, patchworks, media projects, performances, and video recordings. We combine many opposing elements in our work, contrasting hard electronics with soft patchworks, analog and digital, or handmade and machine produced objects. This multidirectional approach is also reflected in the content of our work: romantic and aggressive, wireless and wire-full. We are interested in the ways in which the human body and mind observe, process, and respond to both natural and technological environments, and in the preservation of data, signals, and memory.
Theoretical: Cracked Media The Sound of Malfunction with Caleb Kelly
Cracked Media: The Sound of Malfunction
Caleb Kelly
From the mid-twentieth century into the twenty-first, artists and musicians manipulated, cracked, and broke audio media technologies to produce novel sounds and performances. Artists and musicians, including John Cage, Nam June Paik, Yasunao Tone, and Oval, pulled apart both playback devices (phonographs and compact disc players) and the recorded media (vinyl records and compact discs) to create an extended sound palette. In Cracked Media, Caleb Kelly explores how the deliberate utilization of the normally undesirable (a crack, a break) has become the site of productive creation. Cracked media, Kelly writes, slides across disciplines, through music, sound, and noise. Cracked media encompasses everything from Cage’s silences and indeterminacies, to Paik’s often humorous tape works, to the cold and clean sounds of digital glitch in the work of Tone and Oval. Kelly offers a detailed historical account of these practices, arguing that they can be read as precursors to contemporary new media.
Kelly looks at the nature of recording technology and the music industry in relation to the crack and the break, and discusses the various manifestations of noise, concluding that neither theories of recording nor theories of noise offer an adequate framework for understanding cracked media. Connecting the historical avant-garde to modern-day turntablism, and predigital destructive techniques to the digital ticks, pops, and clicks of the glitch, Kelly proposes new media theorizations of cracked media that focus on materiality and the everyday.
“Caleb Kelly’s Cracked Media is a welcome addition to the growing body of critical writing on the role of sound in the history of modern and postmodern art. It helpfully extends Douglas Kahn’s monumental Noise, Water, Meat: A History of Sound in the Arts by focusing on a powerful strain of contemporary sonic art: the creative mis-use of audio playback technologies. As Kelly ably theorizes it, the ‘crack’ is a productive break that articulates past and future, archaeology and innovation, analog and digital. Hence, this book combines an exhaustive survey and taxonomy of recent experiments with turntables and CD technology (Oval, Christian Marclay, Yasunao Tone, etc.) with a detailed genealogy of these practices that traces them back to earlier moments of sonic experimentation (Futurism, Fluxus, John Cage, etc.). Informed, but not overloaded, by theoretical accounts of phonography and digital media, Kelly helpfully sorts out what is at issue in cracked sound and places this at the center of contemporary debates about art and technology.”
Caleb Kelly is a lecturer at the Sydney College of the Arts, University of Sydney
—Christoph Cox, Professor of Philosophy, Hampshire College, co-editor of Audio Culture: Readings in Modern Music “Finally, a deep, scholarly accounting of the aesthetics of failure. Props to Caleb Kelly for laying bare the various histories of ‘malfunction’ as a compositional device. This book should be required reading for anyone working in electronic music today.”
—Kim Cascone, Composer and Writer “For those of us who witnessed and accompanied the advent of the laptop music scene in the late 1990s, this book situates the movement within broader contexts of sound exploration in the 20th century. While theories of the everyday have been applied to music listening, they have not been used to discuss music creation. Kelly shows how the mechanisms of consumer music culture led to new directions in artistic creation. What we see is how the creative act in the age of mechanical reproduction becomes a music of cracked reproduction, and ultimately an art of manual mechanical deconstruction.”
—Atau Tanaka, Artist, Director of Culture Lab Newcastle
For more information, please click here
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Caleb Kelly is an academic, event producer and curator from New Zealand who lives and works in Sydney, Australia. His first book was published by MIT Press in October 2009 and is entitled Cracked Media: The Sound of Malfunction. The book looks at the deliberate use of cracked and broken everyday playback technologies for the creation of music and art.
Caleb has been producing experimental sound events since 2000, including impermanent.audio (http://impermanent.info) and the Australian experimental music festival What is Music? Musicians who have performed at his events include: Tony Conrad (USA), Merzbow (JP), Bernard Parmegiani (FR), Haino Keiji (JP) Akio Suzuki (JP), kk null (JP), Ami Yoshida (JP), Atau Tanaka (JP/FR), Haco (JP), Taku Sugimoto (JP), Kaffe Mathews (UK), Kim Cascone (USA), Toshimaru Nakamura (JP), Jojo Hiroshige (JP), Phil Dadson (NZ), Tetuzi Akiyama (JP), Rosy Parlane (NZ), Aki Onda (JP), Francisco Lopez (SP), Chris Abrahams, and Oren Ambarchi.
Caleb has also curated numerous sound exhibitions, run the year long sound in gallery space project PELT, and written on the sound arts for numerous publications.
Caleb is a lecturer in contemporary art theory at the Sydney College of the Arts, at the University of Sydney.
Paul Flaherty & Chris Corsano & Okkyung Lee + James Ferraro
Paul Flaherty
(tenor & alto sax )
Paul Flaherty has been playing free improv music for the past 40 years. His music is an attempt each time to release to whatever sounds or improvised themes that need to emerge. There are no written tunes , pre-arranged outlines , or group leaders once the music begins. The influences include jazz , noize, classical , rock , blues , eastern , etc. Based in Connecticut for his entire life , there were long periods where ” gigs ‘ were few and far between. A thousand late night solo street playing scenes and and a thousand private / public free-form jam sessions helped bring the music into focus. In the late 80s Flaherty began a collaboration with drummer Randall Colbourne that continues to this day . It’s produced over 15 free jazz albums with musicans that have included Mike Murary , Daniel Carter, Sabir Mateen , Raphe Malik , Richard Downs , Steve Scholz , Froc , and James “Chumley” Hunt among others. In the late 90s Flaherty began touring and recording with elastic drummer Chris Corsano. This connection also continues to this day and has produced over 15 free jazz/noize releases as well. Musicans recording with Paul & Chris include Wally Shoup, C. Spencer Yeh ,Thurston Moore, Bill Nace ,Steve Baczkowski, Greg Kelley , Matt Heyner and Heather Leigh. Other Flaherty recording projects have included 3 solo albums , and records with : Jeff Hartford , Marc Edwards , Lawrence Cook , Weasel Walter , Bill Walach , Joe Mcphee , Steve Swell , Barry Greika , Bob Laramie and Glen “Hobbit ” Peterson. After a years sabbatical , Flaherty begins yet another comeback.
Chris Corsano
Chris Corsano is a multi-faceted drummer; a list of his collaborations attests to that fact. He’s recorded and gigged with, among others, Paul Flaherty, Michael Flower, Björk, Jim O’Rourke, Thurston Moore, Evan Parker, Nels Cline, Jessica Rylan, Jandek, Six Organs of Admittance, Sunburned Hand Of Man, Okkyung Lee, MV&EE, Keiji Haino, Vampire Belt, Joe McPhee, Christina Carter and Heather Leigh Murray.
First captivated by free improvised music in the mid ’90s after witnessing performances by TEST, William Parker, Cecil Taylor and others, Corsano began a long-standing high-energy partnership with Paul Flaherty in 1998. Moving from western Massachusetts to Manchester, England in 2005 and then Edinburgh, Scotland a year later, Corsano focused on developing an expanded solo percussion music of his own, incorporating sax reeds, violin strings and bows, pot lids, adhesive tape and other household devices into his drumkit. In February 2006 he released his first solo recording, The Young Cricketer. In 2007 and ‘08 he was the drummer on Björk’s Volta world tour. With a move back to Massachusetts, 2009 heralds a return to his own projects, most notably his duo with Michael Flower and solo work, now revamped to include synthesizers and contact mics in addition to his drum kit and home-made acoustic instruments.
Okkyung Lee
A native of Korea, Okkyung Lee has been developing her own voice in a contemporary cello performance, improvisation and composition. using her solid classical training as a springboard, she incorporates jazz, sounds, korean traditional and pop music, noise with extended techniques and create her unique blend of music. She has performed and recorded with numerous artists such as laurie anderson, derek bailey, john butcher, carla bozulich, nels cline, chris corsano, fred frith, carlos giffoni, vijay iyer, andrew lampert, min xiao-fen, thurston moore, ikue mori, lawrence D. “butch” morris, jim o’rourke, evan parker, marina rosenfeld, keith rowe, wadada leo smith, c spencer yeh and john zorn to name a few. Okkyung has released the following albums: Nihm on Tzadik; a duo recording with christian marclay Rubbings on My Cat is an Alien/a Silent Place; a solo cello album I saw the Ghost of an Unknown Soul and it Said… on Ecstatic Peace!; a trio album with steve beresford and peter evans, Check for Monsters on Emanem. currently she is working on her follow up album for Tzadik, limited LP of duo with phil minton for Dancing Wayang, another duo with adam linson for Psi, trio album with evan parker and peter evans and a duo with paul lytton. She has received a composer commission from New York State Council on the Arts in 2007 and Foundation for Contemporary Arts grant in 2010.
James Ferraro
James Ferraro is one half of The Skaters, one half of Lamborghini Crystal and the contemporary underground’s favourite alchemist.
He was born in Rochester, New York and is currently living in Venice Beach, California U.S.A. Underground musician/composer/virtual atmospherist producing small runs of releases on, but not limited to: cassette, CD-R, and VHS with a wide variety of styles all representing different dreams of a demonic mind tower spanning from freak flesh bodybuilder atmospheres to ambient modern world/psych. It appears Ferraro draws influence from many different places but best summed up by the quote, “I am Flintstones.”
“It’s important to know that James uses no samples in his music from other artists. He creates all of the sounds himself from scratch using old digital samplers/synths, weird keyboards, and stuff blending things together. Besides using some Beavis and Butthead straight off the T.V. I read in a italian magazine interview last week, it was cool to hear that because I was under the impression he sampled alot of his material, really adds a really cool dimension knowing that its all from scratch. he was being interviewed from his apartment in las vegas where poster size blow ups of Joan Rivers adorn the wall some time in september of last year. was asked about all the internet slamming and replied by saying he doesn’t mind what people think “I imagine most of the people contributing to it to have some inner turmoil they have to get out and it just manifest itself in that way, the way of shadow clowns,” and as far as it being information, the writing is so bad, so sometimes I cant help but interpret what I read as a reflection of their own self hate, the words dissolve and its just the energy behind it, which appears to be pretty dark, hopefully it doesn’t spread to far out of the arena,but it seems completely natural for communication to evolve into this’’ a lot of its okay with him though he goes on to say. he views it as ‘’a virtual cage of online persona crucifixions and those as “psychological throw downs” but he “loves a good roast’’ and if it makes some one feel good until the next inability to cope with reality puts them in front of the computer thats cool with him. also from an aesthetic point of view he thinks it’s really cool and makes it easier to understand t.v. shows like CSI LAS VEGAS and Survivor, it’s like watching the central brain of a world on autopilot, and its cool to be in there somewhere. and ended with saying ‘’some times when the rage travels outside of the fun house people should just pull their own plug but you gotta let everyone have their fun, it’s sadistic I love it!”
Share – free audio & video jam – featured guest Seijiro Murayama
What is share?
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 featured guests: Seijiro Murayama
Seijiro collaborated, in particular, with Fred Frith, Tom Cora, Keiji Haino, KK Null between 1980 and 1998. Since 99, he works in France.
His actual collaboraters:
Jean-Luc Guionnet, Eric La Casa, Tim Blechmann, Klaus Filip, Axel Dörner, Eric Cordier, Toshimaru Nakamura, Tsunoda Toshiya, Off-cells with Taku Unami, Uta Kawasaki, Takahiro Kawaguchi …
For his second visit of usa since 82, he will play solo with a snare drum and a cymbal (amplified with air and contact microphones). Some meetings with american improvisers are also programmed:Jason Roebke, Greg Kelly, Eli Keszler, Jason Brogan…
Url:
http://seijiro.murayama.name
Selective discography:
ANP “Absolut Null Punkt” <CD> [Important] USA 2004
“They Stood Around and Watched” with Michael Northam
<mini CD> [Universalinternational] France 2004
“Suture” with Eric Cordier <CDR> (no label) France 2004
ANP “Metacompound” <CD> [Important] USA 2006
“Hatari Atsalei” with Lionel Marchetti<CD> [Intransitive Recordings] USA 2008
“Le Bruit du Toit” with Jean-Luc Guionnet <CD> [Xing Wu Records] Malaysia 2008
“Moriendo Renascor” with Michael Northam <CD> [Xing Wu Records] Malaysia 2008
“Noite” with Jean-Luc Guionnet,Ernesto Rodriques,Guilherme Rodrigues <CD> [Creative Source Recordings] Portugal 2009
“Ready’n” with Masafumi Ezaki, Kazushige Kinoshita <CD> [Tenseless music] Japan 2009
“Space and place” with soundworm <CD> [Improvised Music From Japan] Japan 2009
“Supercedure” with Eric La Casa <CD> [Hibari Music] Japan 2009
“4 pieces with a snare drum” (solo) <CD> [Petit Label] France 2009
“Solos” (solo) <CD> [Zerojardin] France 2009
http://www.share.dj/share/event_info.php?eventID=659
———
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam
What is share?
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
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam
What is share?
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
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam – In the Munch Room @ The (OA) Can Factory
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 will take place in the Munch Room tonight. The Munch Room is located on the first floor of The (OA) Can Factory.
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Littoral: Gregg Bordowitz
Gregg Bordowitz
Volition
For one year, every day, from August 2007 to June 2008, Gregg Bordowitz wrote questions, one line after the other. On May 2nd, the author will read aloud all the collected questions recently published by Printed Matter in a book titled Volition—
Consisting entirely of questions, Volition is 142 pages of active, mind-bending engagement with the reader, who is led down paths of inquiry involving art, meaning, philosophy, choice, happiness, and identity. Bordowitz organizes his questions into lists, paragraphs, and stanzas, which are themselves organized into five chapters: Questions, Topics, Aesthetics, Beliefs, and Morals. The resulting text is something like a spiritual guide crossed with an epic poem crossed with a transcription of the meandering thoughts of a philosophic insomniac, kept awake by such questions as “How can I touch creation as a principle without reproach?” and “How does gratitude unfold from virtue?” *
Suspending any responsibility to answers, Volition presents all the ways questions approach their objects—seducing, beseeching, mocking, taking, giving, shining, withdrawing. Reading his questions aloud over the course of an afternoon, Bordowitz will exhaust the will to know through a kind of public liquidation.
Starting at 2PM and continuing (with breaks) until approximately 7PM, the performance will be segmented into four sections. Food, beer, wine and tea will be served.
2:00 PM Welcome
2:15PM—3:00PM
Book I: Questions
Book II: Topics
3:15PM—3:45PM
Book III: Aesthetics
4:00PM—4:30PM
Book IV: Beliefs
4:45PM—6:45PM
Book V: Morals
Appendix: On Why
* Volition is published and distributed by Printed Matter; description taken from catalog
http://printedmatter.org 195 10th Avenue New York, NY 10011 (212) 925-0325
Gregg Bordowitz (Born August 14, 1964, Brooklyn, N.Y.} is a writer, film and video maker and teacher. A collection of his essays, titled The AIDS Crisis Is Ridiculous and Other Writings 1986-2003, was published by MIT Press in the fall of 2004. For this collection, Bordowitz received the 2006 Frank Jewitt Mather Award from the College Art Association. Recently, his writings have appeared in Massachusetts Review, Fence, Casco, and Texte Zur Kunst. A long poem titled Admissions was included in the book Considering Forgiveness, edited by Aleksandra Wagner and Carin Cuoni (Vera List Center, 2009). His most recent book consisting entirely of questions, titled Volition, was published by Printed Matter (2009). His films, including Habit (2001), The Suicide (1996), A Cloud In Trousers (1995), and Fast Trip Long Drop (1993) have been widely shown in festivals, museums, movie theaters and broadcast internationally. In addition, he has received a Rockefeller Intercultural Arts Fellowship and a John Simon Guggenheim Memorial Fellowship, among other grants and awards. Bordowitz is Chair of the Film, Video, and New Media Department at the School of the Art Institute of Chicago, and he is on the faculty of the Whitney Museum Independent Study Program.
ISSUE’s Littoral Series is supported, in part, by The Casement Fund and by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
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