Share – free audio & video jam – with featured guests SKIF++ In the Munch Room @ The (OA) Can Factory
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 will take place in the Munch Room tonight. The Munch Room is located on the first floor of The (OA) Can Factory.
Tonight’s featured guests:
SKIF++
http://hardhatarea.com/SKIF++
The electronic audio-visual trio SKIF++ is a collaboration of Jeff Carey (laptop SuperCollider), Robert van Heumen (laptop LiSa) and Bas van Koolwijk (laptop Max/MSP/Jitter). Sound gets processed into video and back, ranging from sonic bursts to melodic melancholy, using joysticks and selfmade controllers to keep it all in line (most of the time). Every SKIF++ performance is improvised, but based on structures that give each set its distinct character.
This time SKIF++ will play as a duo, where Van Koolwijk is represented by an interactive Jitter patch.
The SKIF++ video is generated live with a digital application that was inspired by the workings of the 1972 Rutt/Etra scan. processor The Rutt/Etra scan processor was essentially an analog computer which allowed for electronic real-time manipulation of the deflection signals that generate the television raster. The SKIF++ digital application uses audio signals for input and scans the incoming data to produce its characteristic graphics, delivering a very tight connection between the three players. The SKIF++ audio is generated by SuperCollider3 and LiSa X – SC3 delivers highly complex synthesized audio blocks while LiSa takes care of magnifying sampled
material into territories unknown – all in a highly responsive environment. While the interaction from audio to video is digital, the counterpart is the musical response of the players to the green thing projected on the screen.
—————-
Jeff Carey
http://www.radiantslab.com/87central
Electronic music composer Jeff Carey, based in the US and in the Netherlands, has been working with experimental, improvised and composed electronic, electro-acoustic, and acousmatic music since the early 90′s. Originally from the suburbs of Washington DC, he has performed a handful of hardcore bands and has played electronic music or presented pieces and installations in the US and Europe at festivals and venues such as Boralis (NO), Gaudeamus Music Week (NL), Chelsea Museum of Art (US), Transmediale (DE), NuMusic(NO), Sonic Acts (NL), Ekko Festival (NO), Cave 12 (CH), DNK-Amsterdam (NL), Trondhiem Matchmaking (NO), MOCADC (US), The Network (BE), and Placard (UK). Having studied Audio Technology at American University (1994), and computer music composition at the Instituut voor Sonologie in the Koningklijk Conservatorium in Den Haag (2002), his work has evolved from an interest in no-input-mixer and field recordings to include a focus on non-standard synthesis, algorithmic composition and digital instrumentalism. Apart from purely acousmatic and electro-acoustic composition, he is focused on performative aspects of computer music and improvisation. He has played in the groups 87 Central, Office-R(6), SKIF++, USA/USB, N-Ensemble, and collaborated or performed with Francis Marie Uitti, Gert-Jan Prins, Cor Fuhler, Oren Ambarchi, Tobias Delius, Jaap Blonk and the numerous members of the N-Collective to name a famous few. Recent compositions include the acousmatic pieces ‘Blueshift’, ‘Music for Broken Flute and Stolen Computer’, and ‘Point Source 01′ for Double Bass and computer. Carey builds custom electronic instruments for musicians (most notably, MoHa!) and teaches courses in the synthesis programming language SuperCollider 3, recently at new media/arts institutions including NoTAM, BEK, TEKS (NO), STEIM (NL), and ITP (US). He is one of many founding members of the N-Collective, a pan-European music collective, and works to promote and present N-Events in the Americas.
————–
Robert van Heumen
http://hardhatarea.com
Robert van Heumen works with electronic means to create soundworlds. As a musician Van Heumen uses
STEIM’s live sampling software LiSa and real-time audio-synthesis software SuperCollider, controlled by various physical devices. His soundworlds are a mixture of digital crackles, heavy distortion, melancholic melodies, environmental sounds, voices and sounds from kitchen appliances, some of the time smashed beyond repair. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, exploring cycles of repetition beyond episodic improvisation.
Recent fixed-media works include the compositions Stranger and Fury, which are performed in multichannel and semi-improvised environments. Fury was presented at ICMC08, and Stranger premiered as a diffused work at Culturelab in Newcastle (UK) and was performed live at the Sound and Music Computing Conference in Porto in 2009. Both compositions are available on Creative Sources Recordings. In the fall of 2008 Van Heumen constructed the radioplay No Man’s Land, commissioned by the CEM studio at WORM in Rotterdam, NL.
Van Heumen is performing regularly with the audio-visual trio SKIF++ (with Jeff Carey & Bas van Koolwijk), Shackle (working with electro-flutist Anne LaBerge on restriction), ABATTOIR (with cellist/vocalist Audrey Chen) and Whistle Pig Saloon (with guitarist John Ferguson deconstructing the guitar). He has shared the stage with dj sniff (Takuro Mizuta Lippit), Michel Waisvisz, Richard Barrett, Sakata Akira, Nicolas Collins, Oguz Buyukberber, Luc Houtkamp, Guy Harries, Tom Tlalim, Nicolas Field, Morten J. Olsen, Daniel Schorno, Roddy Schrock, Nate Wooley a.o.
Van Heumen is Managing Director of the STEIM foundation in Amsterdam, curator of the Local Stop concert series and member of STEIM’s Artistic Committee. In a previous life mathematician, trumpet player and software programmer. He still reads L.E.J. Brouwer.
http://www.share.dj/share/event_info.php?eventID=667
———
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 – with featured guest Sean McIntyre
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:
Sean McIntyre has been a part of SHARE since August 2009. Though he was timid when he first started, now he’s enjoying his 15 minutes of fame. Sean plays an electric two-string junk guitar, which he constructed under the tutelage of Brooklyn sound artist Ranjit Bhatnagar. The sound is processed using custom SuperCollider software.
Sean would like to dedicate this performance to Queens.
http://www.share.dj/share/event_info.php?eventID=671
———
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 – featured guests Emil de Waal, Bruce Tovsky & Richard Garet
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 are Emil de Waal, Bruce Tovsky & Richard Garet
Emil de Waal: drums, percussion, electronics and laptop is one of the most heavily engaged drummers in Danish music, and has toured internationally and appeared on 150 releases since his debut in 1986. Emil de Waal is also known as a band-leader, programmer, composer and arranger. Since 2004, Emil de Waal+ has released three albums with his “Emil de Waal+” project that have been appraised by reviewers a.o. in British “The Wire”. Emil de Waal+ has toured in China, US, Belgium, Germany, Sweden, Norway and Denmark with diverse guests such as Wayne Horvitz, Danny Frankel, Erik Sanko, Bruce Tovsky, Andy Green, Kato Hideki, Hasse Poulsen and Yan Jun.
http://myspace.com/emildewaal
http://emildewaal.com
Bruce Tovsky:
Multifaceted media artist Bruce Tovsky’s 30 year career cuts a broad swath across disciplines, from his skills as a recording engineer and producer of bands like Liquid Liquid, the seminal 80’s downtown NYC cult band, to his successful career editing and designing award-winning TV commercials, documentaries and music videos, to his evocative video/sound works that are extensions of his visual arts practice. His multimedia works have drawn acclaim in festivals, museums and galleries in the USA, Europe, Japan and around the world. Tovsky collaborated extensively with choreographers during the 80’s and 90’s, scoring and creating sound and video design for works by artists such as Muna Tseng, Cydney Wilkes and Charles Dennis at venues like The Kitchen, PS122, The Joyce Theater, Lincoln Center and elsewhere. Since the early 2000’s he has been associated with Issue Project Room, both as performer and curator, and he has recorded and produced many of the shows he was involved in, most recently recording and producing the amazing collaboration between Genesis P-Orridge and Tony Conrad that was recently released on vinyl by Dias Records and received a glowing review in the UK music magazine The Wire. His 30 year associtaion with Liquid Liquid continues to this day, with his 2009 production of Domino’s UK release of the definitive reissue of their entire output, including rare bonus tracks from his archive.
http://www.skeletonhome.com
Richard Garet: Richard Garet’s video works investigates the possibilities found in today’s technology to create moving image. These works examine process, color, motion, digital glitches, RGB phenomena, afterimage, and the sensory gaps between the eye and the mind. The techniques employed to interact with the work intend to push the boundaries of digital moving image and emphasize the media, digital permutations, and software processing as a pure and fundamental artistic gesture. Additional methods utilized are image scanning, analog and digital processes to treat light and image, film degradation, film decay, and rigorous and repetitive systems of digital corruption.
Garet has collaborated with artists such as: Andy Graydon, Gill Arno, Ben Owen, Gil Sansón, and André Goncalves through the EA collective; and with: Asher, Brendan Murray, Bruce McClure, Bruce Tovsky, Shimpei Takeda, Sawako Kato, Chika Iijima, Wolfgang Von Stürmer, Zimoun, Zach Layton, and Bonnie Jones. His sound compositions have been published on the following labels: And-Oar, Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, and White_Line Editions. Additionally Garet currently directs the independent media label Contour Editions publishing works that explore the various possibilities of sound and light. Garet also co-curates with Louky Keijsers Koning, the monthly performance event LMAKseries, which integrates film, video, sound art, and media performance into the gallery’s mission at LMAK Projects in the L.E.S, NYC.
http://www.share.dj/share/event_info.php?eventID=665
———
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
Analogous Interactions (AI) – at ICMC 2010 (International Computer Music Conference)
Analogous Projects and Issue Project Room present three selected submissions exploring the intersection of computer music and emergent phenomena as part of the International Computer Music Conference 2010. Drawing inspiration from generative sound- and video-works, performative ecologies and installations, live-coding and musical improvisation, reality-based games and social experiments, biomedical hacking and new technology, artificial intelligence and chaordic systems, these nondeterministic works will be performed live following a short conceptual introduction by the composer.
Arne Eigenfeldt “In Equilibrio”
Jon Weinel “Entoptic Phenomena”
Will Orzo “Giraffe”
A BIRTHDAY CELEBRATION FOR SUZANNE FIOL: Jonathan Kane’s February + Audrey Chen
Join us as we celebrate the birthday of our beloved founder, Suzanne Fiol, with some of her favorite musicians.
Before creating February in 2005, drummer Jonathan Kane was a co-founder of the No Wave legends, Swans and instigated their half time, slow rhythmic crawl. He played in LaMonte Young’s Forever Bad Blues Band, and is the only drummer in Rhys Chatham’s 100 electric guitar orchestra. He plays with a galaxy of downtown luminaries including Kropotkins, Transmission, and Elliott Sharp. As teenagers in the 70s, Jonathan and his brother Anthony took their freshly inked fake IDs to Chicago where they ended up opening for the likes of Muddy Waters, Willie Dixon and James Cotton.
Come dance, trance, and (most importantly) make some NOISE for the band that WFMU describes as “Avant Roadhouse, the music that makes me proud to be human”.
‘Wedding the brutal severity of Delta country boogie and Seventies German pulse rock – all dead-ahead motion and mounting detail…Epic.” – Rolling Stone
“Somewhere between Sonic Youth and Steve Reich is the drummer Jonathan Kane. Interested in the crossroads of new-music iconoclasm and experimental rock, he has a drummers sense of steady dynamic development and an unapologetic love of noise. Virtuosic.” – New York Times
“Intensely propulsive motorik blues…its muscularity and greased relentlessness is never less than exhilarating.” – Uncut
AUDREY CHEN is a Chinese-American musician who was born into a family of material scientists, doctors and engineers, outside of Chicago in 1976. Parting ways with the family convention, she turned to the cello at age 8 and voice at 11. After years of classical and conservatory training in both instruments, with a resulting specialization in early and new music, she parted ways again in 2003 to begin new negotiations with sound in order to discover a more individually honest aesthetic.
Now, using the cello, voice and analog electronics, Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her music is improvised and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of a homemade analog synth, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language.
Recently, her primary focus has been her SOLO project but she is also involved in many various collaborations. Among musicians, she has worked with Phil Minton, Tetuzi Akiyama, Toshimaru Nakamura, Ko Ishikawa, Elliott Sharp, Aki Onda, Phill Niblock, Frederic Blondy, Jerome Noetinger, C. Spencer Yeh, Alessandro Bosetti, Mats Gustafsson, Mazen Kerbaj, Michael Zerang, Tatsuya Nakatani, Le Quan Ninh, Joe Mcphee, Susan Alcorn, Michele Doneda, Paolo Angeli, Gianni Gebbia, plus many more. Some current projects include: duos with Phil Minton, Frederic Blondy, Robert van Heumen, Katt Hernandez, Nate Wooley, and Id M Theft Able. Trio with Nate Wooley and C. Spencer Yeh. Plus three new quartet projects with Jeff Carey/Morten J. Olsen/Raed Yassin, Miya Masaoka/Hans Grusel/Kenta Nagai and also with Frederic Blondy/Michael Johnsen/Jerome Noetinger.
Chen has performed in Europe, Russia, Australia, New Zealand, China, Japan, Taiwan, Canada and the USA. She is currently based in Baltimore, MD USA but primarily maintains an active touring schedule throughout Europe.
Paul S. Ray’s “Sleeperhold”, an opera
A multimedia opera by Paul Steven Ray featuring
Nobuko Hori/ Sharda Shakti Singh/ Renesha Yusuff
Paul Steven Ray has been composing and performing various mutations of electronic-ritual music for over 20 years. He arrived in NYC in 1981 and has been heard in experimental venues such as Issue Project Room, The Stone, The Knitting Factory, TONIC, MonkeyTown and festivals such as the Noise Festival at the Ontological Theater, the International Electro-Acoustic Festival, Cosmoson, Ivy Salon Paris, CERF Festival , New York Jazz Festival and the NORTH RIVER MUSIC SERIES. He has collaborated with such artists as Theresa Rosas, Bora Yoon, Oblaat, Pheeroan Ak Laff, Vernon Reid, Nate Wooley, Cyro Baptista, Yuko Fujiyama, Val-Inc., Ha-Yang Kim, Eli Fontaine, Julian Thayer and Susie Ibarra. He holds a B.A. in music and dance of the African diaspora from Indiana University and a M.M. in composition from Brooklyn College. Ray has studied composition with Amnon Wolman and John Eaton. His compositions for other media include work created for Laura Staton Dance ( Judson Movement Research Series) and the score for Sikay Tang’s Phrases/s Lesson 5 . In recent years, Ray has taken up the camera to create multimedia work and video art such as Lotus B.’s Haiku Dream for 4 channel video and live music. In 2006, Paul Steven Ray and Theresa Rosas formed the experimental duet, Aquiaconverse which is now based in Berlin as well as Brooklyn. His experimental opera, SALLY DISTANCE, for Soprano, e. guitar,laptop,live electronics, and video was premiered in 2007 at Galapagos Arts Space and featured Bora Yoon. His listener activated sound environments are outdoor installations designed for an ultra-sensitive sonic experience for the “listener-performer”. He received the 2004 John Cage award for experimental composition. He is curator of the experimental concert series, PSYCHELOUNGE.
Theoretical: The Music and Theory of Kenneth Gaburo with Chris Mann, David Dunn, Larry Polansky and Nate Wooley
Kenneth Gaburo (1926-1993) was renowned as a teacher, pioneer of electronics in music, jazz pianist, writer, ecologist, publisher, and proponent of compositional linguistics. Over the course of a dedicated career, his uncompromising work carved out its own patch in the territory of American experimentalism. But despite being sought after for his radical work in the fields of music composition, teaching, publishing and writing, and having had a profound influence on a generation of musical thinkers, Kenneth Gaburo remains an undersung hero.
Born in 1926 in Somerville, New Jersey, to an immigrant Italian family in the laundry business, Gaburo excelled at musical studies, playing the piano and singing in choirs at an early age. As a child he was familiar with the New York jazz scene, and an underlying jazz feel can be sensed in even the most experimental of his later works. His time at the Eastman School of Music which began in 1943 was interrupted by service in the army. Initially stationed in the Philippines as a strafer bomber his musical skills were soon recognized. He spent the remainder of the war travelling with a jazz band around the Pacific as pianist and arranger.
After returning to complete his M.M. degree at Eastman with Bernard Rogers, Gaburo taught at Kent State University, Ohio, and then McNeese State College, Louisiana. A Fulbright Fellowship in 1954 enabled him to travel to Rome to study composition with Goffredo Petrassi at the Conservatorio de Santa Cecilia. In 1962 he completed his D.M.A. at the University of Illinois, studying composition with Burrill Phillips and Hubert Kessler. He remained there on the faculty until 1968. During this time he was an active organizer of the annual international Festival of Contemporary Arts. In 1955 he began to work with combining concrete sounds on tape with live performers; an interest that was to continue for the rest of his life-the series of ten Antiphonies featuring live instruments and pre-recorded tape were made from 1958 to 1991.
Growing from a concern for music-as-language and language-as-music Gaburo started formal studies in linguistics in 1959, formulating the term Compositional Linguistics. In 1965 he founded the New Music Choral Ensemble (NMCE) one of the first choirs in the U.S. to perform avant-garde music for voice. This group performed over 100 new works in the decade of its existence, from the choral music of Schoenberg, Nono, Oliveros, Kagel, and Messiaen, to the theater works of Becket and Albee. Improvisation was combined with electronics, body and verbal linguistics, computers, dance, mime, film, slides, and tape. For his work up to this time Gaburo had received awards from the Guggenheim, UNESCO, Thorne, Fromm, and Koussevitsky Foundations.
In 1967 he joined the faculty at the new San Diego campus of the University of California where in 1972 a Rockefeller Foundation grant enabled him to start NMCE IV, this time with one singer, one actor, one speaker, one mime, and one sound-movement-instrumentalist. Until his resignation from UCSD in 1975 he produced a large number of integrated theatrical works, such as the collection Lingua and Privacy.
In 1974 Gaburo founded Lingua Press Publishers, dedicated to putting forth unique artist-produced works in all media having to do with language and music. Many of the publications have been exhibited in book art shows throughout the world. Gaburo lived in the Anzo-Borrego desert writing and teaching from 1980 until 1983. In 1980 he was artistic director for the first “authentic” production of Harry Partch’s The Bewitched for the Berlin Festival (recorded on Enclosure Five: Harry Partch, innova 405). His understanding of Partch’s concept of corporeality has deep connections with his own concern for physicality and how it informs compositions. His 1982 tape work, RE-RUN, for instance, was generated after a 20-hour sensory deprivation exercise.
He became Director of the Experimental Music Studio at the University of Iowa in 1983. The studio put intensive focus on composition, technology, psycho-acoustic perception, performance, and the affirmation of the uniqueness of the individual to create his/her own language reality. At the studio he founded the Seminar for Cognitive Studies, a forum for discussion of the creative process. His concern for the investigation of music as legitimate research, and composition as the creation of intrinsic appropriate language, led to a series of readings in compositional linguistics for solo performer.
Antiphony VIII: Revolution, for percussion (Steve Schick) and tape, Antiphony IX: A Dot for orchestra, children, and tape, and Antiphony X: Winded, for organ (Gary Verkade) and tape, continued his series of works for live instruments and tape as well as the use of graphic notations and random processes to generate small and large scale events. Gaburo’s archive is housed at the University of Illinois Music Library and Lingua Press is represented by Frog Peak Music.
(SOLD OUT) “Anthony Braxton – Tri-Centric Modeling: Past, Present, and Future”
“Anthony Braxton – Tri-Centric Modeling: Past, Present, and Future”
The Tri-Centric Foundation presents a two-day benefit fundraiser event
celebrating the artistic legacy of composer Anthony Braxton, in honor
of his 65th birthday. In addition to rare NYC appearances by Braxton
himself, the two concerts will feature a host of performers who have
performed with or been deeply influenced by his music, playing both
their own music and Braxton compositions.
All proceeds will go to benefit the Tri-Centric Foundation, a
not-for-profit organization dedicated to perpetuating and realizing
the most ambitious projects in the ongoing work and legacy of composer
Anthony Braxton, and to cultivating and inspiring the next generation
of creative artists to pursue their own visions with the kind of
idealism and integrity that Braxton has demonstrated thoughout his
five decade career.
At Le Poisson Rouge, June 18, doors will open at 5:30pm, and performers
will include the Anthony Braxton 12+1tet, plus performances by Marilyn
Crispell-Mark Dresser-Gerry Hemingway trio; Steve Coleman-Jonathan
Finlayson duo, Nicole Mitchell, Richard Teitelbaum, Matthew Welch,
John Zorn-Dave Douglas-Brad Jones-Gerry Hemingway quartet, and more
special guests to be announced.
At Issue Project Roon, June 19, doors will open at 5:30, and the
performance will include excerpts from Braxton’s recently recorded
four-act opera, Trillium E, in addition to sets featuring the recent
generation of Braxton-influenced artists, including Taylor Ho Bynum,
Mary Halvorson & Jessica Pavone, Chris Jonas & James Fei, Andrew Raffo
Dewar, Tyshawn Sorey, and many more musicians to be announced.
music of Luc Ferrari, presented by David Grubbs with Ensemble Pamplemousse
Darmstadt Institute in collaboration with David Grubbs Presents:
Luc Ferrari, Two Works for Ensemble with Memorized Sounds
Tautologos III (1969; Chicago version, 2001)
Et tournent les sons dans la garrigue (1977)
PLUS A RARE SCREENING OF: “Luc Ferrari facing his tautology – 2 days before the end”, a film by Guy Marc Hinant and Dominique Lohlé”
NEW YORK PREMIERES
Performed by Ensemble Pamplemousse with David Grubbs
French composer Luc Ferrari (1929-2005) was one of the progenitors of musique concrète and a pioneer of and resonantly idiosyncratic voice within electroacoustic music. Following upon studies with Alfred Cortot, Olivier Messiaen, and Arthur Honegger, Ferrari was an early participant in the Groupe de Musique Concrète and, with Pierre Schaeffer and François-Bernard Mâche, co-founded the Groupe de Recherches Musicales (GRM) in 1958. In the early 1960s, largely unaltered environmental recordings began to work their way into his compositions. This process culminated in the tremendously influential Presque rien No. 1 (Le Lever du Jour au bord de la mer) (1970), a work whose source material was comprised exclusively of recordings made from a point overlooking a beach on the Dalmation coast. Throughout his career, Ferrari worked in multiple forms: instrumental works, vocal music, text scores, electronic and electroacoustic music, and Hoerspiele. Together with Gérard Patris he realized a series of documentary films about musicians in rehearsal, entitled Les Grands Répétitions, which will be released on DVD later in 2010.
Tautologos III is a text score for unspecified types of performers; it could as easily be realized by actors or dancers as by musicians. In this performance, Ensemble Pamplemousse and David Grubbs will be joined by the “memorized sounds” that Luc Ferrari created for a revised version of Tautologos III that was first performed in Chicago in 2001. Et tournent les sons dans la garrigue also presents live performers in combination with electroacoustic sonds prepared by Ferrari, but to altogether different ends.
Somewhat astonishingly, these are New York premieres of these two works. Shame on you, New York!
ABOUT THE PERFORMERS
Founded in 2002 as a vehicle for musical exploration, Ensemble Pamplemousse (Natacha Diels, Andrew Greenwald, Kiku Enomoto, Rama Gottfried, David Broome, and Jessie Marino) presents concerts of extraordinary focus and clarity. Comprised of virtuosic musicians trained in classical, electronic, and improvisational realms, the group consistently delivers fresh, exhilarating new concepts in sound. The members’ eagerness for aural discovery has allowed for ample experimentation processes, where boundaries are non-existent, and from which a strong dialogue has emerged. Among the group’s vernacular resides formerly unfathomable sound landscapes formed by the acute relationships the performers have forged with each other, and with the composers who are an intrinsic part of the ensemble.
David Grubbs is assistant professor in the Conservatory of Music at Brooklyn College and director of the graduate programs in Performance and Interactive Media Arts (PIMA). He has released eleven solo albums, the most recent of which is Hybrid Song Box.4 (Blue Chopsticks), and is known for his cross-disciplinary collaborations with writers such as Susan Howe and Rick Moody, and with visual artists such as Anthony McCall, Angela Bulloch, and Stephen Prina.
This event is made possible, in part, through generous support from the Experimental Television Center’s Presentation Fund. The Experimental Television Center’s Presentation Funds program is supported through mediaThe Foundation and with public funds from the New York State Council on the Arts, a state agency.
Cadillac Moon Ensemble + Magic Names Group
Cadillac Moon Ensemble is changing the idiom of quartet music. With its unique instrumentation of flute, violin, cello, and percussion, the ensemble is dedicated to retaining the intimacy and artistry of traditional chamber music while constantly challenging the way composers view a quartet. CME is focused on commissioning new works from and developing integral relationships with emerging and established composers.
CME presents a concert of works for a traveling quartet:
Program:
Christian Wolff – Pairs (1968)
Matthew Welch – “…for fear that my shadow may enter the world…” (2010)*#
Wolfgang Rihm – Deploration (1979)
Pawel Szymanski – Limericks (1979)
Nicholas Chase – Street Mix No. 1: New York (2010)*#
* world premiere # written for CME
Danielle Weinberg, percussion
Andie Springer, violin
Roberta Michel, flutes
Evelyn Farny, cello
Magic Names is a 6-member self-led vocal ensemble, founded in 2007 to champion Karlheinz Stockhausen’s Stimmung, which the group premiered after an intensive 18-month rehearsal period in May 2009 at New Museum in New York City. Members are Dafna Naphtali, Nick Hallett, Gisburg, Robert Osborne, Daisy Press, and Peter Sciscioli. Magic Names, presents Karlheinz Stockhausen’s “Stimmung” and a new work by Dafna Naftali entitled “Panda Half-Life” made possible through funding from the Jerome Composers Commissioning Program of American Composer’s Forum.
Music for Winds, Brass and Electronics: Tabor Wind Quintet + Batteries Duo
TABOR is a multi-dimensional ensemble bringing new and imaginative works to the foreground of contemporary music. The members of TABOR combine their unique doubling skills, versatility and artistic verve to create something far beyond a traditional wind quintet. Refusing to be confined to a single genre, TABOR explores a diverse range of musical and multi-media landscapes, including electronics, interactive film, jazz and art installations. They have performed in a wide array of venues; concert halls, museums, galleries, schools, libraries, trains, boats and outdoor parks. Emerging from some of the top music schools in the nation, the members of TABOR hold degrees from Yale University, the Eastman School of Music, Mannes College-the New School for Music, Stony Brook University and the Aaron Copland School of Music-Queens College.
The Batteries duo (Gareth Flowers and Joshua Frank trumpets) is the first and only electro-acoustic trumpet duo of it’s kind in New York’s creative music scene. Using primarily trumpets and samplers, the Batteries duo creates a unique breed of sound art. Drawing on inspiration from Medeski, Martin and Wood to DJ Spooky to Beirut, the Batteries duo combines found sounds and samples which they mashup with their virtuosic and vibrational trumpet playing to create a special variety of nu jazz/indie/post-classicism. The Batteries Duo has performed on the Ignite a Noise Series at Ibeam music studio, The Rose Studio of Lincoln Center, Interchurch, and the Gershwin Hotel and hopes to release their self-titled debut EP late spring 2010.
Mikael Karlsson moved to New York from Sweden in 2000. He graduated summa cum laude with a master degree from the Aaron Copland School of music in 2005.His music has been performed at Carnegie Hall, Lincoln Center, MoMA, Galapagos Art Space, and many other venues in New York, and is rapidly gaining ground in concert halls and museums in Europe. Mikael has written a dozen soundtracks to date, including two for Bruce LaBruce, and two for the enormous Battlefield Bad Company video game franchise. He often collaborates with pop artists (Lykke Li, Kleerup, Taken By Trees…) and artists from other fields (Cedar Lake Contemporary Ballet, Francois Rousseau, Rob Stephenson…). Box is the latest in a long series of projects for which he has had the pleasure to work with Christopher McDonald. Mikael has released 7 albums and 2 EPs to date. www.mikaelk.com
After leaving Brooklyn two years ago, Christopher McDonald launched a retreat-style recording studio at a farm in Killingworth, Connecticut which now features approximately 13 chickens, four goats (with two more soon to be born), one Steinway, many sweet microphones, great vintage gear and an SSL console. In addition to recording and producing albums for artists in a wide range of genres, he was the engineer and music producer for video work selected for this past year’s Venice Biennale and Sundance Film Festival. He frequently collaborates with composers, bands and video artists and is very excited about this new venture with the Tabor Quintet and longtime collaborator Mikael. Christopher’s visual art involving machines and photography has been selected for festivals and exhibitions in the U.S. and abroad.
“Gathering Together” featuring Kathleen Supove, Emily Manzo, Stephen Gosling & Michael Century
Kyle Gann of the Village Voice has called Emily Manzo a “dynamite young pianist,” and the New York Times has called her “exceptional”. Emily has performed throughout the U.S. and Europe at festivals including the Sosterberg Music Festival in Holland and the Acanthes Festival in France. She has premiered the works of John Luther Adams, Susie Ibarra and Rodney Sharman and has played in ensembles conducted by Tim Weiss and Tania Leon. Her degrees were earned at the New England Conservatory (pre-college), the Oberlin Conservatory of Music (BM) and Columbia University Teachers College (MA) where her teachers included Jean Stackhouse, Stephen Drury, Lydia Frumkin, and Jeanne Golan. She has played in masterclasses for Seymour Lipkin, Loren Hollander, Roger Muraro and Florent Boffard, among others.
She currently resides in New York where she performs regularly as a classical solo and chamber musician, as well as with her group, Christy & Emily, which has a new release on The Social Registry. She has a long-term collaboration with video artists Paul Rowley and David Phillips based around John Cage’s piano music from the ’40s. Emily is a founding member of Till by Turning, an ensemble dedicated to developing educational resources for new music. She is also a mentor, piano instructor and band member for the viBe SongMakers, one of several workshops run by viBe, a local nonprofit and performing-arts education program for teenage girls.
Pianist Stephen Gosling’s playing has been hailed as “electric” and “luminous and poised” (New York Times), and possessing “utter clarrity and conviction” (Washington Post) and “extraordinary virtuosity” (Houston Chronicle).
Mr. Gosling earned his Bachelor’s, Master’s and Doctoral degrees at the Juilliard School. During his tenure he was awarded the Mennin Prize for Outstanding Excellence and Leadership in Music and the Sony Elevated Standards Fellowship. He was also featured as concerto soloist an unprecedented four times.
Mr. Gosling is a member of New York New Music Ensemble, Ensemble Sospeso, Ne(x)tworks and Columbia Sinfonietta. He has also performed with Orpheus, the Chamber Music Society of Lincoln Center, American Composers Orchestra, Orchestra of St. Luke’s, Riverside Symphony, Speculum Musicae, Ensemble 21, DaCapo Chamber Players, Continuum, SEM Ensemble, the League of Composers/ISCM Chamber Players, and Da Camera of Houston.
Mr. Gosling has recorded for Albany, Bridge, Centaur, CRI, Innova, Koch, Mode, Morrison Music Trust, Naxos, New World Records, and Rattle Records.
Michael Century, M.A. (music history and theory), Berkeley, was educated in musicology, piano performance at the Universities of Toronto , and California at Berkeley, and science/technology policy at Sussex University (U.K.). In his scholarly work, he studies the history and sociology of art-technology interactions in the twentieth century, highlighting the dynamics of innovation in creative software cultures. Long associated with The Banff Centre for the Arts in Canada, Century founded the Centre’s Media Arts Division in 1988, and headed the Inter-arts program and Jazz workshop there from 1981-87. From 1993-2002 he was a program manager, consultant, and policy advisor for art and technology, serving public institutions, foundations, and research laboratories in Canada. Pioneering work in the field of new media art, included The Art and Virtual Environments project (1991-94), one of the first large-scale and sustained investigations of virtual reality technologies as a new medium for artists, also one of the organizers of International Symposium on Electronic Art in Montreal, 1995. Century wrote Pathways to Innovation in Digital Culture for the Rockefeller Foundation, which was published by Leonardo Journal as an Electronic Monograph. He was panelist and co-author for the U.S. National Academy of Science 2003 report on information technologies and creative practices, Beyond Productivity. Century is also a pianist and composer with a broad interest in solo and chamber classical repertoire, and he composed a series of works for piano and computer-processed voice that have been performed at music festivals in Canada and the U.S., and broadcast nationally on the CBC.
William Basinski’s “Vivian and Ondine” @ 110 Livingston (EARLY SHOW – ONLY A FEW SEATS AVAILABLE!)
UPDATE: Due to an overwhelming number of RSVPs, we will now present two performances from William Basinski at 7pm and 9pm.
ISSUE Project Room invites you to join us for the second public performance at ISSUE Project Room’s future home. William Basinski will present the hauntingly beautiful “Vivian and Ondine” at the former Board of Education Building at 110 Livingston. The performance will feature light by Seth Kirby and Brock Monroe — members of The Joshua Light Show.
6:30pm, Doors for Early Show
7pm, Early Show Performance – ONLY A FEW SEATS STILL AVAILABLE FOR THIS SHOW!
8:30pm, Doors for Late Show
9:00pm, Late Show Performance — RSVP NOW CLOSED – We are at capacity for this show
10:30pm, Post-Show Reception
Admission is free. RSVP
Note that the entrance to our theater within the 110 Livingston building is through 22 Boerum Place. Click here for map & directions.
William Basinski is a classically trained musician and composer who has been working in experimental media for over 25 years in nyc. his haunting and melancholy soundscapes explore the temporal nature of life resounding with the reverberations of memory and the mystery of time. his epic 4-disc masterwork, the disintegration loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by pitchfork media. art forum selected the river, his transcendental 2-disc shortwave music experiment on raster-noton.de, germany as one of the top ten albums of 2003. his concerts and installations and films made in collaboration with artist-filmmaker, james elaine have been presented internationally, most recently at the venice biennale of music, venice, italy, happy new ears festival, belgium, focus one festival, poland, filosophia festival, carpi, italy, cite de la musique, paris, among others. basinski’s latest albums, “92982″ and “vivian & ondine” were released in spring 2009 on 2062/usa and distributed internationally. his entire catalog is available for digital download through i-tunes, amazon.con, and numerous legitimate digital retailers worldwide. basinski’s works are distributed in europe by die stadtmusik.de, in the u.k. by cargo records.co.uk, in japan by p*dis distribution and in the united states by forcedexposure.com. digital distribution through cargorecords.uk.co booking agent: danilo pellegrinelli, www.shaktimusic.ch www.mmlxii.com
Flutronix + Katherine Young (Emerging Artists Commission)
Flutronix is Nathalie Joachim and Allison Loggins-Hull, a pair of fresh and eclectic flutists who are paving the way from their classical roots to the future of music. Performing the works of notable pioneers of new music along side their own creations, Flutronix displays an innovative combination of flute and mixed media elements. Their original compositions comfortably navigate daring forms of popular, experimental, and contemporary classical music while implementing video, electronics, and digital effects. The duo pays tribute to groundbreaking work by exposing audiences to composers who have contributed to new bodies of literature that expand the language of the flute.”
http://www.myspace.com/flutronix
Composer and bassoonist Katherine Young writes acoustic and electro-acoustic music, often using flexible forms and expressive notations for specific aims. Her works have been performed throughout the U.S. in independent productions and by groups such as the FLUX Quartet.
For ensembles varying in size from solo to 20 people, Katherine’s compositions include works for piano solo; percussion trio; a septet for trombone, 2 electric guitars,2 contrabasses, 2 percussionists, with electronics; and a duo for typing pianist and live electronics.
As a bassoonist, Katherine improvises, performs new music, and plays with rock bands. Katherine is a founding member of the contemporary chamber music collective Till by Turning. She has toured with Anthony Braxton and is a member of his Falling River Quartet.
She performs regularly in Architeuthis Walks on Land, her duo with violist Amy Cimini. With the trio Civil War, she has released two recordings on the Longbox label, When Fact Threatens Belief (2005) and The Brutality of Fact (2006). She plays with the chamber-pop quartet The Fancy, and her project slyo with bassist Nat Slaughter investigates sight-specific performance. Other projects past and present include: British rockers the Nightingales; flutist and instrument-builder Michael Pestel’s ensembles; Jason Ajemian’s Who Cares How Long You Sink; Jacob Wick’s A Mown Lawn; a duo for bass, bassoon, and electronics with Jonathan Zorn; Chicago-based pop band Roommate; and piratical crew The William Young.
Katherine studied bassoon performance and comparative literature at Oberlin College and Conservatory. Working with Anthony Braxton, Ron Kuivila, and Alvin Lucier, she completed her masters in composition at Wesleyan University and now lives in Brooklyn.
Katherine’s new work is commissioned as part of ISSUE Project Room’s Emerging Artists Commission and is made possible, in part, through generous support from the Greenwall Foundation and with public funds from the New York State Council on the Arts, a state agency.
Ensemble Laboratorium
With members hailing from 14 countries on 5 continents, Ensemble Laboratorium presented its debut performance at the 2005 Lucerne Festival. A truly international ensemble, Laboratorium seeks to discover and develop an interactive exchange between the cultures represented by its members, often in the form of projects exploring a wide range of contemporary music. In its first American tour, the ensemble presents works by European composers such as Vinko Globokar, Klaus Huber, Michael Jarrell, Isabel Mundry, along with works from Americans Jacob Druckman, Anthony Gatto, Bernard Rands, and Roger Reynolds. The Issue Project Room performance will feature graphic works by composers including Richard Barrett, Heinz Holliger, and Franz Furrer-Münch.
(Presented by the 2nd annual Darmstadt Institute)
Talibam! featuring Artist-in-Residence Matt Mottel
Hailing from New York, Talibam! has been making their presence felt since 2003 through numerous live gigs, self-released cdr’s and label releases. Talibam! has toured Europe ten times since 2006 and released 18 records during this period.
They have releases on ESP Disk, Roaratorio, Azul Discografica, Evolving Ear, Pendu Sounds, Wallace Records, Holiday Records, Thors Rubber Hammer, Ecstatic Peace, Gaffer Records, Blackest Rainbow, and others.
Talibam! Is one of the most potent and fascinating bands in contemporary music. The six plus years of interplay between Mottel and Shea has created one of the most unique and exciting live shows and some of the most powerfully recorded documents of any era. At a time when most culture sticks to conservative niche opportunities, Talibam! is interested in expansion and exploration; They manage to part the sea by not sticking to genre, aesthetic predisposition or the usual norms of what being a ‘band’ is. More inclined to put on a show that any and all will like, and not be stymied by ‘avant’ type casting, they have won over both unsuspecting and in the ‘know’ audiences worldwide. The energy of Kevin Shea’s full steam drumming is not to be missed, nor is the primal tone of Mottel’s synth run through a Marshall Half Stack.
TALIBAM! is collaborating with some of the most accomplished musicians working today. On their past two studio albums, they have been joined by Cooper-Moore, Jon Irabagon (Thelonious Monk Jazz Saxaphone Award Winner 2008), Peter Evans and countless others monster players. Working with both jazz and rock musicians, Talibam!’s former collaborators are in BATTLES, TV ON THE RADIO, GRIZZLY BEAR, WOODS, AKRON FAMILY, and more.
Matt Mottel’s visage should be familiar to anyone who’s been going to shows in NYC in the past ten years. He’s been hanging around NYC clubs since he was like 16, and dropping electric mind bombs with his synthesizer in those clubs nearly as long with folks like Awesome Color, Akron/Family, Jeffrey Lewis, Chris Taylor (Grizzly Bear), Kenny Wollesen, Chris Corsano, Ras Moshe, Cooper-Moore, Sean Meehan, and his new band Shadow Maps.
Kevin Shea’s drumming and stage gymnastics have been gazed at with wide wonder through his membership in bands like Storm & Stress (Touch & Go), Coptic Light (No Quarter), People (I and Ear), Peter Evans Quartet (Firehouse 12), Kyp Malone (TV on the Radio), Tyondai Braxton (Battles) Sexy Thoughts (rcarchives.com), Mostly Other People Do The Killing (Hot Cup), etc.
ISSUE’s Artist-in-Residence program is made possible, in part, through generous support from the Jerome Foundation and with public funds from the New York State Council on the Arts, a state agency.
Antoine Chessex + Valerio Tricoli + Gilles Aubrey
Three well-known figures in the european experimental music scene, Chessex, Aubry and Tricoli will join forces in this 2010 U.S tour presenting each a solo performance of their recent works. The aim of this project is to give a varied insight on the sonic practices of these three sonic researchers. The sound through its most physical and anthropological aspects will be presented in three intense pieces of electro-acoustic music.
Chessex, Tricoli and Aubry have been colloborating with musicians like Keiji Haino, Zbigniew Karkowski, Chris Corsano, Lasse Marhaug, C. Spencer Yeh, Dean Roberts, Oren Ambarchi, Anthony Pateras, Femail, Axel Dörner and presented their works worldwide since the mid nineties.
For this North American tour, concerts and lectures will happen in San Francisco (The Lab), Los Angeles, Portland, Chicago, Boston, Washington, New York and Canada.
Antoine Chessex is a composer, saxophone player and performer born in 1980 in Vevey, Switzerland.
Chessex investigates the possibilities of both experimental electronic and acoustic music. His sonic researches include compositions for
ensembles, solo performances and collaborations with other fellow artists. Chessex’s works are mostly based on the exploration of the physicality of sounds and spaces with a strong focus on live performances and composition. His solo performances are experiences in total immersion in the sound. Chessex presents his works worldwide, performing in major experimental music festivals and venues in Japan, China, Russia and all around Europe.
Collaborations with musicians like Lasse Marhaug, Zbigniew Karkowski, Chris Corsano, C.Spencer Yeh, Axel Dörner, Didi Bruckmayr, Thomas Ankersmit, Valerio Tricoli, Hans Koch, Robin Hayward, Lucio Capece, Kasper Toeplitz, Monno, Ilios, Sudden Infant, Dave Phillips, architect Christian Waldvogel and media artist Ulrike Gabriel.
“Chessex is a key in Europe’s experimental music community” Transmediale Festival, Berlin.
Gilles Aubry is a Swiss sound artist & musician living in Berlin since 2002.
He uses environmental recordings, computer programming, surround sound technology and improvisation to create live performances, sound installations, CD and radio pieces.
Gilles Aubry’s work is informed by personal investigations on formal, perceptual and anthropological aspects of sound production and reception, including auditory perception, cultural acoustics, space representation and history of sound technologies.
Recent works include ‘Berlin Backyards’ (2007, audio piece awarded at the Phonurgia Nova Competition’07), ‘Modulor’ (2008, sound installation at Singuhr Galery, Berlin), ‘Outside of the Plane’ (2008, sound installation for the Cairoscape Exhibition, Kunstraum Bethanien, Berlin), ‘Planes’ (2009, sound installation for the Laptopia Sound Exhibition, BatYam Museum, Tel Aviv) and ‘les écoutis le caire’ (2009, audio piece premiered on Deutschland Radio).
Valerio Tricoli (*1977 in Palermo, based in Berlin) works as a concrete music composer, improviser, sound installation artist, producer, sound engineer, and curator. His compositions bridge musique concrète and conceptual forms of sound (i.e. the radical interest in how reality, virtuality, memory relate to each other during the acoustic event): music, as a recorded or as a
synthetically-modeled sound, is always hovering between the “here and now” of the event and the shady domain of memory – distant but at the same time present, like a déjà–vu experience. Tricoli plays live music with electronic instruments – most of them analogue – (reel-to-reel tape recorders, synthesizers, microphones, light effects, ultrasonic speakers), however the structure of the device is ever-changing, seeking multiple relations between the performers, the device and the space in which the event takes place.
He is one of the founders of the Bowindo label/collective (“arguably the best thing to come out of Italy since Luigi Nono”, Dan Warburton, The Wire), and of the band 3/4HadBeenEliminated, a daring synthesis between improvisation, electro-acoustic composition and avant-rock
sensitivity. “Metaprogramming From Within The Eye Of The Storm”, “an intense investigation of disembodied perception in the form of a single electro-acoustic composition” (Daniel Sorenson), is his latest composition, released in 2006 and welcomed with great critical interest.
http://www.lastfm.fr/music/Valerio%2520Tricoli?ac=valerio%20tricoli
Aaron Siegel and Christy Edwards’ “Preparing the Past” with Mantra Percussion + Wet Ink Ensemble (presented by Darmstadt Institute)
video still by Christine Edwards
Preparing the Past is an “evocative” three-movement work for 4-hand piano, two vibraphones and two glockenspiels. It is inspired by the activities taking and looking at photographs—from the actual picture-taking moment through the reconsideration of that moment as a physical artifact.
This premiere performance of the entire “Preparing the Past” features Mantra Percussion, who have collaborated with Aaron Siegel on performances of “Our Reluctance is Overstated” for six timpanists and on “Science is only a Sometimes Friend” for eight glockenspiels and organ. “Science…” was premiered in an outdoor performance in June 2009 that was hailed by The New Yorker Magazine as “a hypnotic cloud of chiming tones.” Pianists Emily Manzo and Anna Dagmar join the percussionists for the 40-minute “Preparing the Past,” which alternates between dense percussion drones, stark tolling and waves of consonant chimes. Visual artist and guitarist Christy Edwards, from the bands The Totallys and Christy & Emily, will accompany the music with a live edit of her lyrical video footage.
Aaron Siegel is a composer of acoustic experimental work that raises questions about the relationship between performers, audience members and the space they occupy together. His music has been performed by pianist Emily Manzo, Till by Turning, Mantra Percussion, Kyklos Ensemble, Iktus Percussion Quartet, Cadillac Moon, the Flux Quartet and the Aaron Siegel Ensemble. The first recording of the Aaron Siegel Ensemble, Every Morning, A History, was praised by Signal to Noise as being “representative of the flowering DIY chamber music scene in Brooklyn.” The Aaron Siegel Ensemble premiered Science is Only a Sometimes Friend for 8 glockenspiels and public participants in the East Meadow of Central Park as part of the 2009 Make Music New York Festival. Recent ensemble performances have included a preview of Preparing the Past at Roulette in New York and a reprise of Science… at Issue Project Room in Brooklyn. For more information visit aaronsiegel.net.
Hailed by the New York Times as “…finely polished…a fresh source of energy,” Mantra Percussion is dedicated to expanding the future of percussion, living in the present, and celebrating the past. Mantra Percussion commissions pieces by prominent composers to substantially expand the percussion repertoire, commissions young composers to breathe new life into the art, and performs classic repertoire from the past to remind us why we are here. Members of Mantra Percussion have performed at concert series and festivals such as the Lucerne Festival, Bang on a Can Marathon, Bang on a Can Summer Music Institute, Darmstadt, the International Ensemble Modern Academy, and Tanglewood and have performed with groups such as the San Francisco Contemporary Players, the Lucerne Festival Percussion Group, the Bang On A Can All-Stars, the New Jersey Percussion Ensemble, Sospeso Ensemble, Either/Or, Philadelphia Virtuoso Society, Red Light New Music, S.E.M. Ensemble, Argento Chamber Ensemble, International Contemporary Ensemble, Wet Ink Ensemble, Zs, and Hi Red Center.
Christy Edwards learned to play guitar from a Metallica Ride The Lightning tablature book, and started playing in bands during her stay at the Rhode Island School of Design. Christy plays guitar and sings in Christy & Emily and the Totallys. She mentors in an after school program called the Vibe Songmakers, helping students to write their own songs. Her animated video for the C&E song “105& Rising” was premiered on the TheFader.com, and her drawings have been shown and sold at the Scope Art Fair in New York.
Thee Majesty
photo: Craig Adams
Thee Majesty began in 1998 as a spoken word project, originally founded by Genesis Breyer P-Orridge of Throbbing Gristle, Psychic TV and Bryin Dall of 4th Sign of the Apocalypse, A Murder of Angels and Dreams Into Dust. Featuring P-Orridge, Thee Majesty is made up of a revolving group of members including Morrison Edley of Psychic TV. Thee Majesty’s music is a mix of spoken word performance art against Dall’s free-flowing guitar rhythms and Edley’s atmospheric percussion.
Totem: An Installation by Heather Dewey-Hagborg (opens April 24th)
Heather Dewey-Hagborg’s Totem: Opening April 24th at ISSUE Project Room
Visual artist Heather Dewey-Hagborg’s Totem is a new installation created for Issue Project Room exploring language as an act of power and a force of control. Drawing inspiration from surveillance culture, artificial intelligence, and the research of Julian Jaynes on the origin of consciousness, Totem assumes the form of a ritual icon, eavesdropping on the conversation in its vicinity.
Drawing only on patterns of sound in its immediate environment Totem defines its own language: a grammar and lexicon based on machine intuition, an inductive bias that shapes what is heard. Divorced from their original context words assume new character, meaning and intentionality. Totem transforms overheard conversation and incidental noises into a constantly evolving composition of sound.
Totem is the second in a series of new body of work Dewey-Hagborg has created in the past year dealing with the politics of listening. The first, Listening Post, was installed in downtown Buffalo for five months as part of the Conversation Pieces exhibit at CEPA Gallery.
Totem was made possible by generous contributions from the Foundation for Contemporary Arts and the support of Issue Project Room.
More information is available on the artist’s website: www.deweyhagborg.com
Man Forever + Elliott Sharp, Frank Vigroux, Zeena Parkins and Hélène Breschand
Elliott Sharp is a composer, multi-instrumentalist, and producer and central figure in the avant-garde music scene in New York City for over thirty years. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction. His collaborators have included Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Radio-Symphony of Frankfurt; pop singer Debbie Harry, computer artist Perry Hoberman; blues legends Hubert Sumlin and Pops Staples; jazz greats Jack deJohnette, Sonny Sharrock, Oliver Lake, and Billy Hart; turntable innovator Christian Marclay; and Bachir Attar, leader of the Master Musicians Of Jahjouka from Morocco. Sharp’s work was featured in the 2008 New Music Stockholm festival with the premiere of “Sidebands” and at the Hessischer Rundfunk Klangbiennale in May 2007 with the premiere of his orchestral work “On Corlear’s Hook”. He is now woorking on a commissioned opera for the Bavarian Opera in Munich. The documentary film about Sharp’s work by Bert Shapiro, “Doing The Don’t”, has just been released on DVD and screened at international film festivals
Franck Vigroux works in the fields of electronic music, new media, composition and improvisation. He leads many bands and projects such as Push the triangle, Supersonic Riverside Blues. He has played or recorded with musicians such as Bruno Chevillon, Elliott Sharp, Marc Ducret, Ben Miller, Helene Breschand, Joey Baron, Michel Blanc, Stephane Payen,Andrea Parkins, Matthew Bourne, Edward Perraud, writer Kenji Siratori, video artists Scorpene Horrible, Philippe Fontes, Mariano Equizzi. In 2009 he won the prize Villa Medicis Hors les Murs for an artist residency in New York. Franck Vigroux is also the founder of d’Autres Cordes a record label dedicated to aventurous music. He has played in hundreds of festivals and clubs in Europe and Asia, as a guitarist or turntablist and conducted improvisers orchestras worldwide ( Nagoya, Barcelona, Leeds,etc…), he has been commissioned by Ars Nova ensemble instrumental and Radio France . He also presents audiovisual installations such as Recolte and O. Recent works for theater “septembres” by philippe malone, music for films “the nishiazabu affair” by mariano equizzi, “dust” 30mn, directed by franck vigroux in 2007, “recolte” video suite, 2009, by franck vigroux
Zeena Parkins Multi-instrumentalist, composer, improvisor, well-known as a pioneer of the electric harp she describes her harp as a “sound machine of limitless capacity”. Zeena’s unique vision is one that seeks to both meld and highlight opposites. She has broken musical boundaries to create a highly personal and stunning body of work. Or, to quote the WDC Period “Music that makes you hike up your britches and howl like a coyote”.
Made possible with the support of the Cultural Services of the French Embassy, FAJE, Chamber Music of America, the Doris Duke Charitable Foundation, the Florence Gould Foundation, SACEM, and CulturesFrance.
MAN FOREVER is the solo endeavor of ONEIDA drummer Kid Millions. The self-titled debut–two monolithic, hypnotic improvisations for arrays of drums in just intonation– is due out in an edition of 300 LPs featuring hand-pulled screens on recycled record jackets from Jagjaguwar vinyl imprint St. Ives. The touring quintet of Kid Millions, YEAH YEAH YEAHS drummer Brian Chase, Oneida cohort and KNYFE HYTS drummer Shahin Motia, drummer Allison Busch of AWESOME COLOR, and SIGHTINGS bassist Richard Hoffman, will be augmented by local percussionists in each city.
“Kid Millions, who, as drummer, is unsurpassed in his generation, finds an opportunity with slippery polyrhythmical approaches here, as if to say that the human drummer is the thing that is most controversial in the age of the click track, so there’s no pulse, no melodic home, no melody at all, really, just the thunderous ebbing and flowing of multiple rolls and fills, to replace the massaged rhythmic pulse of the Pro Tools era. It’s a provocation, yes, and a welcome one. And with the provocation comes a fair amount of dizzy joy, and a ritualized release of dammed-up energy.” – Rick Moody, therumpus.net
http://www.nytimes.com/2010/06/23/arts/music/23drummer.html
With accompanying live 16mm film performance by Mighty Robot AV Squad!!!
Artist In Residence: Matt Mottel – Osmotic Imagination
‘A developmental work’ conceived by Matthew Mottel
photography by Syeus Mottel
photographic alteration/cinema by Brian House
lighting design by Ben Furgal
sound design by Matthew Mottel
Matthew Mottel, a native New Yorker, was influenced by many cultural ideas and people to shape his present. He has discovered that his father, Syeus Mottel, a photographer and theater director, documented many of the people that would have strong cultural value for his son. Syeus Mottel, a journalistic photographer, has one of the great underpublished narratives of cultural and political history of the late 1960′s – 70′s. His son has focused on his archive to create a contemporary ‘cinema of images’ that presents this photographic record not just as ‘pictures on a wall’ but in an environmental ‘dream state’ that hallucinates visual photographic interaction between Martin Luther King, the Silver Apples, John Cage, Ornette Coleman, journalistic photography at political rallies of the late 60′s/70′s, and iconic landscapes of America such as Big Sur, San Francisco, Washington DC and New York City.
Matthew Mottel will create an environment where photography will be digitally altered and projected at ISSUE Project Room with a backing soundscape that Mottel will perform with ‘electronically affected’ piano, oscillators and samplers. In a sense, his music is a personal take on the sum of his influences. The Silver Apples, John Cage, and Ornette Coleman factor heavily into his sound world, but his father did not introduce these artists directly to him. Instead, it must have been ‘influence via osmosis’ as these artists and more appear in Syeus Mottel’s photographic record of where and who he hung out with during this period.
‘Osmotic Imagination’ is a merger of visual stimuli and sonic alchemy. It attempts to contextualize contemporary culture to that of the past not by treating these images ‘unaltered in stoic preservation’ but to mutate historical documents and imagine a new life and future between people/places/time/thought of a past generation that have been fermented in ‘standard TIME MAGAZINE ideology’ that has not created a progression to betterment, but an end point. This work is a candid study of the past, and re-configures it for today’s society to hopefully inspire further social, artistic and political development.
Matthew Mottel, is an internationally recognized musician and artist, performing most notably with Talibam! for the past seven years. He has worked with Karole Armitage, Rhys Chatham, Cooper-Moore and many others.
Syeus Mottel is a published photographer, most notably documenting Lee Strasberg and the Actors Studio, and Buckminster Fuller. In 1973, he published a photojournalistic book ‘Charas The Improbable Dome Builders’ which documented the attempt to build geodesic domes on the Lower East Side on Manhattan.
Brian House is a bricoleur interested in art, code, and cognition. Brian’s work has been presented by the Museum of Modern Art (New York), the Museum of Contemporary Art (Los Angeles), Rhizome at the New Museum for Contemporary Art, and has been featured in the New York Times, Dagens Nyheter, Metropolis, and Wired magazine.
Ben Furgal is an artist living in Brooklyn NY. He has exhibited at the Ridgewood Residency Program, Queens, NY, Video Gallery, Brooklyn, NY, Current Gallery, Baltimore MD, and his original artwork graces the cover of Dan Deacon’s Spiderman of the Ring’s LP.
Click here to read an in-depth discussion with Mottel on his residency.
ISSUE’s Artist-in-Residence program is made possible, in part, through generous support from the Jerome Foundation and the New York State Council on the Arts.
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 ...
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