Martha Colburn with Thollem McDonas
Martha Colburn
Martha Colburn’s work utilizes the language and materials of filmmaking to comment on popular culture, consumerism, politics and sexuality. Through a collage of live action (paint-on-glass) animations, found footage, and documentary filmmaking techniques, she addresses contemporary topics to express her personal anxieties and passions. Martha’s films are a disturbing and at times humorous take on popular and political culture. She creates elaborately layered collages,paintings, and installations that incorporate transparencies,recordings, and live performances. As her conceptual process grows, so follows advances in an already detailed and labor-intensive animating process. Martha is expanding her technique into working with multi-plane glass animation, which represents a physical manifestation of her conceptually layered ideas.
Currently, Martha is working on films that combine art historical representations and current depictions of politics to challenge our notions of truth and fantasy. As a descendent of some of America’s earliest settlers (ministers, farmers and wagon train members), her work demonstrates an awareness of the repository of the guilt haunted twisted history of the American soul. Martha’s current work draws from this perspective and personal experience to address issues such as Methamphetamine use, environmental catastrophes, and man’s relationship to nature.
Thollem McDonas
Thollem McDonas is a pianist and composer of Irish and Cherokee descent, born and raised in the San Francisco Bay Area. Not long after birth, he began studying the keyboard repertoire from the Medieval era to the 20th century. After graduating with degrees in both piano performance and composition, he dedicated his time to grassroots political movements and ecological restoration projects, before returning to music with his full focus. Currently on tour, his extensive travels as a performer and teacher have covered much of the North American continent and Europe (he often leads listening and group improvisation workshops). He is a founding member of several innovative ensembles, all of varying and disparate musics. In the past 6 years, he has added 20 albums to his discography on 9 different vanguard labels in 4 different countries.
As the founder and Artistic Director of Estamos Ensemble, Thollem McDonas is the recipient of the 2009 US Artists International Award, as well as a 2010 CAP grant from the American Music Center. He was commissioned by The Limon Dance Company for a large-scale commemorative piece for their 50th year anniversary. In September 2008, he was invited to perform the late works of Claude Debussy on the piano on which they were written, as well as his own comprovisations with Stefano Scodanibbio. On Debussy’s Piano And…(Die Schachtel, Fall 2010) is the first album ever recorded on Debussy’s piano.
A Sublime Frequencies film screening: THIS WORLD IS UNREAL LIKE A SNAKE IN A ROPE
THIS WORLD IS UNREAL LIKE A SNAKE IN A ROPE
A film by Robert Millis (Sublime Frequencies)
55 minutes
A collage of sights and sounds from the eternal never-ending collage that is INDIA. A trip through the Southern Indian state of Tamil Nadu featuring Hindu trance ceremonies, nagaswaram improvisations, impossibly loud cities, processions, devotion, blessings, color, abstractions, detail, music and more. India is impossible to know: it is too vast, too rich and too much of a dream. Offered here is one perspective, one dream, subjective and flawed, hanging by a thread. Robert Millis is a musician and artist, a founding member of Climax Golden Twins and AFCGT and a frequent contributor to the Sublime Frequencies and Dust-to-Digital record labels. His previous films include Phi Ta Khon: Ghosts of Isan and My Friend Rain and was the co-author of Victrola Favorites released on Dust to Digital in 2008.
EMERGING ARTISTS COMMISSION: Meredith Drum and Rachel Stevens Present “Hurricane Season”
“Hurricane Season” is a one-night screening of experimental documentary shorts reflecting the recent history of the U.S. Gulf Coast— catastrophic storms, an oil spill, a pattern of government un-response and other evidence of a complex system out of balance. The screening is programmed by Meredith Drum and Rachel Stevens.
Still From Liza Johnson's South of Ten
Produced primarily in the Gulf region, the work included in “Hurricane Season” responds to complex issues with experimental strategies in an attempt to represent the landscape, people, the system, industry and their interrelationships. Representing a range of styles that are more lyrical and differently mediated than images seen in popular culture immediately following each disaster, the line-up features work produced since 2005, including some very recent work that is still in progress. Liza Johnson’s South of Ten considers how Mississippian survivors of Katrina are framed, with gesture and performance as alternatives to conventional interview-based forms of bearing witness. Pawel Wojtasik’s immersive video Below Sea Level (courtesy Priska C. Juschka Fine Art), partly shot with a 360° panoramic camera in and around New Orleans, articulates asense of impermanence inherent in the location, underscored by Steven Vitiello’s soundscape. A collaborative film/video by Courtney Egan and Helen Hill takes a more personal and fleeting look at one block, blending flood-damaged film found after Katrina with video shot of the same site. Work currently in progress examining the BP oil spill will include pieces by Ghen Dennis and Christina McPhee.
Framing the contemporary work will be excerpts from Robert Flaherty’s Louisiana Story from 1948 (courtesy Flaherty Film Seminar) and Tony Oursler’s Son of Oil from 1982. Louisiana Story, a lushly shot docudrama in black and white commissioned by Standard Oil, features an idyllic Bayou setting and an innocent boy’s adventures there as changes come to the region through the construction of an oil rig. The landscape and lifestyle of the Cajun people appear undisturbed by the drilling process, and even improved by the arrival of the oil industry. Tony Oursler’s colorful diatribe against the oil industry and our culture’s oil addiction is playfully enacted by performers and paper sets.
Although the program is regionally focused, the intricately intertwined economic, environmental, social, public and private issues suggested by the films and videos speak to a larger context as we collectively grapple with a gross consumption of fossil fuels, global warming, environmental erosion, newly diminished ways of life and unstable economies—and how to represent these things.
For a full list of work to be screened please visit http://hurricaneseason2010.wordpress.com .
ISSUE Project Room’s Emerging Artists Commission program is made possible, in part, through generous support from the Greenwall Foundation and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York’s 62 counties.
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 – all night free audio & video jam – 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.
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: Ariana Reines + Laurel Nakadate
ISSUE’s Littoral Series began in 2006. It is a monthly event curated by Tony Antoniadis, pairing writers with musicians, sound artists, and video artists. Named after IPR’s former location on the edge of the Gowanus Canal, Littoral is an attempt to cross-pollinate poetry and fiction with image and sound, and to bring New York City’s innovative (but often separated) creative communities together.
Ariana Reines will read from The Little Black Book of Grisélidis Réal
Ariana Reines is the author of The Cow (Alberta Prize, FenceBooks 2006) and Coeur de Lion (Mal-O-Mar 2007) and the translator of My Heart Laid Bare by Charles Baudelaire, for Mal-O-Mar, and The Little Black Book of Grisélidis Réal: Days and Nights of an Anarchist Whore by Jean-Luc Hennig, for Semiotext(e). TELEPHONE, her first play, was produced by The Foundry Theatre and presented at The Cherry Lane Theatre in New York, February 2009. The production won two Obies. TELEPHONE will be published in Fall 2009 in PLAY: A Journal of Plays.
The Little Black Book of Grisélidis Réal
The Little Black Book of Grisélidis Réal is the portrait of a true humanist who made a career out of compassion. Hailed as a virtuoso writer and a “revolutionary whore,” Grisélidis Réal (1929–2005) chanced into prostitution at thirty-one after an upper-class upbringing in Switzerland. Serving clients from all walks of life, Réal applied the anarcho-Marxist dictum “from each according to his abilities, to each according to his needs” to her profession, charging sliding-scale fees determined by her client’s incomes and complexity of their sexual tastes. Réal went on to become a militant champion of sexual freedom and prostitutes’ rights. She has described prostitution as “an art, and a humanist science,” noting that “the only authentic prostitution is that mastered by great technical artists … who practice this form of native craft with intelligence, respect, imagination, heart…”
This volume includes lengthy dialogues from 1979–1981 with Réal conducted by journalist and author Jean-Luc Hennig, in which she eloquently discusses the theoretical implications of sex-positive whoring and relates her experiences both inside and outside the profession: from her lengthy love affair with the “Berber” to such “psychological” and “special” clients as the “moldy rhinoceros.” The “Little Black Book” that rounds out this book is drawn from the logs in which Réal kept track of her many clients, from “Pedro, hilarious fat Spaniard, devoted, simple, honest, fat peasant face, 70F” to “Pierre 8 (from Basel), blue eyes, fifties, slightly balding, cultivated, sweet-violent … licks my finger after I remove it from his anus … 100–400F.” It is a journal that not only chronicles Réal’s working life, but offers a clinically direct, investigative sociological analysis of the sexual subcultures of her time.
Laurel Nakadate will screen a number of short videos.
Laurel Nakadate is a photographer, video artist and filmmaker. She was born in Austin, Texas and raised in Ames, Iowa. She received a B.F.A. from Tufts University and The School of The Museum of Fine Arts, Boston and an M.F.A. in photography from Yale University. Her work has been exhibited at P.S.1/MoMA, The Yerba Buena, The Getty Museum, and The Reina Sofia. In 2009, her first feature film, STAY THE SAME NEVER CHANGE, premiered at the Sundance Film Festival and went on to be featured in New Directors/ New Films at The Museum of Modern Art and Lincoln Center. Her second feature film, THE WOLF KNIFE, premiered at the 2010 Los Angeles Film Festival. Nakadate’s work is in many public and private collections including the Yale University Art Gallery, The Saatchi Collection and the Museum of Modern Art. She lives in New York City.
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.
ISSUE PROJECT ROOM and SAGIndie present “ACTOR AS AUTEUR” with STEVE BUSCEMI
John Hockenberry Leads Brunchtime Conversation
To Benefit ISSUE Project Room
Actor, writer, film director and ISSUE board member Steve Buscemi will talk with Emmy Award-winning journalist and Co-Host of WNYC Radio and PRI’s The Takeaway, John Hockenberry, about creating unforgettable characters that ultimately drive a film’s narrative and impact. The brunch which is presented in collaboration with SAGIndie, an organization that unites working thespians of the world with passionate filmmaking mavericks who buck the system. The afternoon will feature film clips from the actor’s career and will be held at Bussaco located in Park Slope, Brooklyn.
Actor as Auteur – There are numerous iconic characters in film history, from The Little Tramp to Charles Foster Kane to Colonel Kurtz to Travis Bickle, all of them well drawn and directed. However, had Chaplin, Welles, Brando or DeNiro not played these roles would the film had the same powerful impact on our culture? Can a case be made for actor as auteur?
It is difficult to imagine Buscemi’s roles and their indelible effect on each film without his personal, stylized approach in bringing them to life. They emit essential energies striking a balance between deeply held neuroses and outward bombast. From lead roles in films like Fargo, Resevoir Dogs, Living in Oblivion, Trees Lounge, and Ghost World to supporting roles and cameos in films such as The Big Lebowski, and Barton Fink, his presence breathes life into every corner of a film. “Buscemi is a quiet tyrant of artistic fury who threatens to overrun every frame he’s in with the inner desperation he projects even in his most subtle performances,” says Hockenberry.
An active Board Member of ISSUE Project Room, Buscemi began his career in, and continues to support experimental theater, writing and performance. All proceeds from the event will benefit ISSUE Project Room, one of the country’s preeminent centers for experimental culture.
“Actor as Auteur” Brunch To Benefit ISSUE Project Room, Presented in Collaboration With SAGIndie
Sunday, June 6, 12 pm – 2 pm
Bussaco, 833 Union Street, Brooklyn, NY 11215
$125 Per Person ($95 tax-deductible, three-course brunch is included.)
SEATING IS LIMITED. Buy Tickets
For more information please call 718-330-0313.
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 – 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
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.
Biomusic: Branden Joseph with David Dunn & Bruce McClure
DARMSTADT INSTITUTE PRESENTS:
Branden Joseph presents a talk regarding “biomusic and the end of representation” with performances by filmmaker Bruce McClure and composer David Dunn.
Bruce McClure
Producing a totally sensory experience, McClure’s projector performances are informed by the way the brain reacts to light and sound. Using an array of modified 16mm projectors, film loops, and guitar pedals, his work challenges cinematic conventions. Film loops patterned with patches of emulsion on a translucent base are combined with an optical soundtrack to create a physically intense adventure. His performances have amazed audiences at the Whitney Biennial and the Rotterdam Film Festival, and have garnered him the 2008 Alpert Award in the Arts.
VENTROLIQUENT AGITATOR (2010)
Four projector performance with each projector modified using variable transformers introduced into the lamp circuits and fitted with identical metal plates rotated 90 degrees and inserted in the film shoe assembly. Each machine is threaded with loops of patterned emulsions consisting of one frame base to five frames of emulsion. Sound originates from the emulsion pattern as optical sound signal and is processed by guitar effects pedals – metal distortion, delays and equalizers.
BRING IN THE LIGHT PUPPETS! Jointed figures that shadow the screen still another time but uniquely patterned as zona pellucida, penumbra and umbra making an inscrutable plasma in their elastic envelope. Customarily, projector mechanisms precondition the conjunction of light and shadow while film trims and ornaments it. Outfitted in this manner projection navigates by a nuance of filmic trim tabs that target expectancy. This performance, however, occasions turbulence by salient agitators that intercede and emancipate the projector and its incandescence from servitude to film’s foreground scenics. Liberal, the agitators are tolerant and work vestiges of film’s hegemony restructuring them on the screen by their metallic intervention into a four square sectorial gestalt, Sound on film, admitted in 1927, is preserved and the constancy of the projector’s unseen binary is celebrated on the photoelectric cell. This miniature theater contains the conditioned reflexes delayed in the wings but patiently awaited but the earmarked assembly poised for ossicular applause. These ventroliquent agitators, mechanical agents, are like arctic explorers amid treacherous regions where one entirely looses the directing compass since at the pole the needle indifferently respects all points of the horizon alike.
Branden W. Joseph is Frank Gallipoli Professor of Modern and Contemporary art in the Department of Art History and Archaeology at Columbia University. He is the author of Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press 2003), Anthony McCall: The Solid Light Films and Related Works (ed. Christopher Eamon; Northwestern University Press/Steidl, 2005) and, most recently, Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008). His writings have also appeared in Artforum, Bookforum, Art Journal, Critical Inquiry, October, Texte zur Kunst, Parkett, and Les Cahiers du Musée national d’art moderne, as well as in such catalogues as CTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother (2002), X-Screen: Film Installations and Actions in the 1960s and 1970s (2003), andRobert Rauschenberg: Combines (2005). He is also a founding editor of Grey Room, a journal of architecture, art, media, and politics, published quarterly by MIT Press since 2000.
“This talk will discuss the emergence and development of the notion and practice of ‘biomusic’ in the late-1960s and 1970s. At stake was an epistemological shift in the notion of advanced musical practice—from ‘experimental music’ to what composer Manford L. Eaton termed ‘experiential music’—as it was understood to address and impact the intellect and physiology of the listener. At stake was the larger conception of music as a distinct art form, which was understood to cede before an implicitly audiovisual feedback loop that engaged with the »real« of the body as against the ‘imaginary’ of (audiovisual) representation and the ’symbolic’ domain of the musical score. Ultimately, the notion of biomusic proposed a new vision of the listening subject in line with cybernetic and proto-cybernetic models developing within the post-World War II era.”
David Dunn (b.1953, San Diego) is a composer who primarily engages in site-specific interactions or research-oriented activities. Much of his current work is focused upon the development of listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. Dunn is internationally known for his articulation of frameworks that combine the arts and sciences towards practical environmental activism and problem solving. From 1970 to 1974, he was an assistant to the American composer Harry Partch and remained active as a performer in the Partch ensemble for over a decade. Other mentors included composers Kenneth Gaburo and Pauline Oliveros, in addition to Polish theater director Jerzy Grotowski. He has been the recipient of over 35 grants and fellowships
for both artistic and scientific research, including the National Endowment for the Arts, the Rockefeller Foundation, Langlois Foundation, McCune Foundation, Meet the Composer, Ford Foundation, Delle Foundation, Tides Foundation, New Mexico Arts Division, and the US embassies to Argentina and Kyoto, Japan. In 2005, he received the prestigious Alpert Award for music, and the Henry Cowell Award from the American Music Center in 2007. His compositions and soundscape recordings have appeared in over 500 international forums, concerts, broadcasts, and exhibitions.
As a pioneer in the fields of acoustic ecology, bioacoustics, interspecies communication, and scientific sonification, he has composed a body of innovative and experimental musical work and has contributed to projects as diverse as sensory enhancement of healthcare environments, intervention strategies for forest and agricultural pests, reducing sensory deprivation problems in captive animals, and the design of international broadcast networks. He has investigated, among other things, the interrelationship between music and language and the ultrasonic world beyond human hearing. As an expert wildlife recordist, Dunn has invented microphones to record such phenomena as the sounds of bark beetles within trees and underwater invertebrates in freshwater ponds, and the design of self-organizing autonomous sound systems for interaction between artificial and natural non-human systems. As a scientific researcher, Dunn is about to co-file a provisional patent on a device and protocol for control of tree invading invertebrates using acoustic means. Underlying all his work is a common regard for music as a communicative source with a living world.
Ultrasonic Walk 1 (2009)
A few years ago I began to experiment with designs for building ultrasonic microphones that had an omni-directional response and with techniques for translating the resultant recordings into the audible spectrum of humans. Quite recently I have deigned and constructed a binaural version of these microphones capable of preserving the interaural phase and amplitude difference of human hearing after such ultrasonic sounds are slowed and stretched through sample rate conversion into the normal human hearing range. This piece represents a simple 6-minute walk in my backyard in Santa Fe, New Mexico, while wearing the binaural ultrasonic microphones. The sounds consist of small metal and bamboo wind chimes blowing in the wind, wild birds, the sound of my footsteps on dried leaves, and other neighborhood noises. All of the normally audible sounds were filtered out with the remaining high frequency audio component (20kHz to 96kHz) then converted to a new sample rate. This time stretched recording was then edited into the original source recording duration. No other signal processing was used. Only the original inaudible sound component remains but is now heard in entirely new time and frequency domains.
Thresholds and Fragile States (2010)
This live performance uses a one-of-a-kind set of non-linear chaotic oscillators capable of generating an infinite variety of “auditory behaviors” emergent from their status as autonomous electronic systems. Based upon the theory of “biological autonomy” and new principles in cognitive science, these circuits represent an alternative design philosophy for the creation of electronic sound synthesis. More akin to living systems than information processing devices, these circuits produce a dazzling assortment of complex noises andany sounds produced by the circuits emerge as a type of “conversation” that exhibits repetitive action at a local level but tremendous global diversity over extended time periods. In this sense the circuits resemble the closed nervous systems of living unities that are under constant perturbation from other similar closed nervous systems. The intention is not to simulate the high level functioning of biological organisms and their cognitive capacities but rather to take this question down to its most primary level of autonomous-closure machines where self-organization is more obviously inseparable from behavior. Ultimately the emergent complexity of these systems results from the dynamical attributes of coupled chaotic attractors interacting in a high dimensional phase space. The control of circuit parameters determines a range of instabilities and structural couplings between nested chaotic circuits, allowing these autonomous behaviors to emerge.
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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.
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.
Littoral: MUSIC OF THE HEMISPHERES (w/ The Lickets)
MUSIC OF THE HEMISPHERES
The idea for –MUSIC OF THE HEMISPHERES—originates in the work of neuro-philosopher Dan Lloyd, Thomas C. Brownell Professor of Philosophy and a faculty member of the Neuroscience program at Trinity College, Connecticut. Dr. Lloyd’s research focuses on taking patterns found in brain activity and converting them into musical score. These scores are not biofeedback or music cognition experiments, but rather extracting the ‘architecture of consciousness,’ as it occurs in the brain, and assigning its varying components musical tones. The result is musical scores meant to reflect brain activity itself. Through this, Lloyd found that recognizable musical structures emerge, and he thus formulated a theory that consciousness operates within a musical structure – or rather, that music is an expressive interpretation of how our brains work.
The “music” generated through Lloyd’s project seems oddly familiar, and is surprisingly harmonious and musical. Now, should this theory be proven, the philosophical implications are both joyous and endless. The idea that we are, in fact, music – or that music is, in fact, truly human: a reflection or interpretation of the human mind.
The event will serve as both an exhibition and an experiment. Elisa Da Prato, a Brooklyn-based filmmaker who had initiated the event and is currently working on a film concerning this theme, will be pairing Dan Lloyd with different ensembles/musicians who will be assigned with the task of interpreting the scores that are the result of his studies. The event will be divided into three parts: a screening of a short film about Lloyd’s experiments that would spell out the context for the experiment; the staging of these scores as interpreted by the musicians; and a discussion concerning both the aesthetics and the musical validity of the aforementioned scores. The panel is shaping to include Lloyd, a neuroscientist, a music theorist, and the musicians assigned to the task.
Da Prato states that her goal is to create a discussion about the emotional and biological necessity of music itself. She wishes to assimilate Lloyd’s theory to the scientific/philosophical equivalent of Woody Allen’s joke concluding his film Annie Hall: “we need the eggs.” The idea being that, for some reason, we need to both express and experience people in musical form. Almost a scientific case for joy.
The evening will feature:
DAN LLOYD is the Thomas C. Brownell Professor of Philosophy and a faculty member of the Neuroscience program at Trinity College, Connecticut. For several years, he has been pursuing the connections between music and mind, a project at the intersection of art and science. Using art to explore complexity is at the heart of several past and ongoing projects as well. He is the author of Radiant Cool: a novel theory of consciousness. (Cambridge:MIT Press, 2004), a book joining noir fiction with a theory of consciousness, and Simple Minds (MIT Press, 1989). His current projects include Ghosts in the Machine (Rowan and Littlefield, forthcoming), a philosophical drama about minds, brains, and computers, and Subjective Time (MIT Press, forthcoming), an anthology on the philosophy, psychology, and neuroscience of experienced temporality. He is the editor of the journal Frontiers in Theoretical and Philosophical Psychology.
ZORAN JOSIPOVIC, PhD, is a Research Associate and an Adjunct Professor in the Psychology Department and Center for Neural Science, New York University. His research focuses on the effects of meditation and other contemplative techniques on the brain, and on what these effects can tell us about the nature of consciousness. Zoran is a long-term practitioner of meditation in the nondual traditions of Dzogchen, Mahamudra and Advaita Vedanta. He has also worked as a psychotherapist and a bodyworker and has taught meditation at Esalen Institute for many years.
DOUGLAS BRUCE JOHNSON is a composer and music therapist, currently based in Hartford, CT. Performances of his compositions have been heard on three continents, and recorded on Zimbel (USA) and on BITMusik (Germany). Dedicated to live musicking, Johnson’s music celebrates the emotional connectedness that, together, performers and listeners can explore in music. His work in music therapy brings this interactive, celebratory approach to music into a variety of supportive and restorative healing contexts. From 1988 to 2009, Johnson was a member of the music faculty at Trinity College, Hartford
“THE LICKETS deploy a mini-orchestra of acoustic instruments—cello, flute, acoustic guitar, organ, sitar, harmonium, hand percussion, et al.—to call into being undulating vistas of luminous mantras and soundscapes. The Lickets’ raga-like settings suggest a strong Indian influence, and traces of visionary ‘60s jazz artists like John and Alice Coltrane, the time-transcending drones of La Monte Young and his Theatre of Eternal Music, and ‘60s psychedelic rock surface too as parts of the trio’s trippy mix.” – Textura
ELISA DA PRATO is a writer, director and editor currently living in Brooklyn, New York. She worked for documentary filmmaker Murray Lerner on several films featuring artists such as The Who, Bob Dylan and Leonard Cohen. As of late, Da Prato is developing a film aiming to narratively explore the intersection of philosophy, neuro-science, and music theory. Elisa is a regular video contributor to indexmagazine.com and theblackharbor.com. She studied motion picture production at Brooks Institute of Photography in Santa Barbara, CA.
Littoral series is made possible, in part, by the Casement Fund together with public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
Share – free audio & video jam
What is share? SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
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
Craig Baldwin Presents MOCK UP ON MU
MOCK UP ON MU
A radical hybrid of sci-fi, spy, Western, and even horror genres, Craig Baldwin’s Mock Up On Mu cobbles together a feature-length “collage-narrative” based on (mostly) true stories of California’s post-War sub-cultures of rocket pioneers, alternative religions, and Beat lifestyles. Pulp-serial snippets, industrial-film imagery, and B- (and Z-) fiction clips are intercut with newly shot live-action material, powering a playful, allegorical trajectory through the now-mythic occult matrix of Jack Parsons (Crowleyite founder of the Jet Propulsion Lab), L.Ron Hubbard (sci-fi author turned cult-leader), and Marjorie Cameron (bohemian artist and “mother of the New Age movement”). Their intertwined tales spin out into a speculative farce on the militarization of space, and the corporate take-over of spiritual fulfillment and leisure-time.
Craig Baldwin
Craig Baldwin is a filmmaker and curator whose interests lie in archival retrieval and recombinatory forms of cinema, performance, and installation. He is the recipient of several grants, including those from the Rockefeller Foundation, Alpert Award, Creative Capital, Phelan, AFI, FAF, and California Arts Council. Over the last two decades, his productions have been shown and awarded at numerous international festivals, museums, and institutes of contemporary art, often in conjunction with panels, juries, and workshops on collage and cultural activism. His own weekly screening project, Other Cinema, has continued to premiere experimental, essay, and documentary works for over a quarter century, recently expanding into DVD publishing.
After a 6-month world tour with his monumental 2-hour ‘collage narrative’ “Mock Up On Mu”, he has returned to studio work, and research on his next short feature “Invisible Insurrection”.
Craig Baldwin will be giving a short introduction to the film at 8:00 and follow with a Q&A. Screening will begin at 8:15.
Share – free open audio & video jam
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
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 – all night free open audio & video jam – featured guest Carver Audin
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s featured guest -
Carver Audain (b 1981) is a New York-based sound artist who has been creating music since 2001. Materially, he produces works using guitar, electronics, field recordings, organ, and other assorted sources. Strategically, he uses improvisational tactics to integrate a variety of pre-recorded and pre-arranged material with his live playing through the use of controlled feedback and situation-specific spontaneous composition. Sonically, he produces an array of textured sound fields with slow-shifting harmonies that both merge with and transform their physical surroundings.
http://www.share.dj/share/event_info.php?eventID=640
—————————————————————————
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 open audio & video jam – featured guests Benn DeMole w/ Catriona
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s featured guests:
Ben DeMole [audio] w/ Catriona [video art] - New York City is the final location on an eight month creative journey that has included Japan, Spain, and Turkey. Benn DeMole now brings his improvised melodic ambient noise to Share. He creates using tenor saxophone, didgeridoo, and voice with FX and looping pedals. He will be accompanied by Catriona on live video art.
Some downloadables of his music are at: http://www.pool.org.au/users/benn_demole
and more info can be found at: http://www.myspace.com/benndemole
http://www.share.dj/share/event_info.php?eventID=643
_____
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://www.share.dj/share/event_info.php?eventID=628
http://facebook.com/sharenyc
http://issueprojectroom.org
Zero Film Festival
Zero Film Festival - Focusing on a niche in the independent film community which has been under appreciated and ignored, Zero Film Festival is dedicated to screening self financed films from filmmakers all over the world.
In the age where the majority of festivals are Hollywood marketing campaigns, and even “indie” and “underground” festivals screen financed films, we are here to offer something different. We recognize authentically independent films and filmmakers who take risks and fight the odds to see their visions through.
The Zero Film Festival is the first festival EXCLUSIVE to self-financed filmmakers, providing a platform to screen their bold and innovative films in Los Angeles AND New York City.
In 2009 ZFF added our 1st annual West Coast Tour – screening selected 2008 films in Seattle, Portland, San Francisco, Hollywood and Orange County. 2010 will see the expansion into our 1st annual North American Tour alongside screenings in Europe and South America.
7:00 pm | Conflict Nations Program
Multi Disciplinary Art on
Afghanistan Experiences:
Sahar Muradi
Zohra Saed
Skateistan
Rethink Afghanistan
http://rethinkafghanistan.com/
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Zohra Saed will read a short piece about her friend Farhad, who went back to Afghanistan to rebuild and was involved in the oil pipeline and who was killed in a suspicious plane crash off the coast of Karachi, Pakistan. It’s very painful but an important story to tell.
Zohra Saed was born in Jalalabad, Afghanistan. She spent her childhood first in Amman, Jordan and later in Riyadh, Saudi Arabia before her father brought his family to Brooklyn. She is a poet, academic, and editor.
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Sahar Muradi
saharmuradi@yahoo.com
“I will be reading from memoirs about my family, as well as excerpts from diaries I kept while living and working in Afghanistan from 2003-2005. “
Futurist Film Funeral with Bradley Eros (and Performa)
An evening of kinetic cinema and musique plastique in three parts: 1) Synthetic History, a radical remix of the recent Transformers as a critical revenge on old and new fascist tropes, 2) Plastic Dynamism, a live celluloid cinerarium of burnt images and plasma sonics, and 3) Sirens of Destruction, an outdoor ceremony of the sacrificial incineration of the cinema apparatus. Commissioned by Performa. Co-presented by Performa and ISSUE Project Room.
Littoral Series: Melvin Van Peebles + Nondor Nevai w/ Mick Barr
Melvin Van Peebles is unquestionably a renaissance man and his reputation as a living legend is indisputable. The incomparable Van Peebles has found success in every medium of the entertainment industry as a director, producer, writer, actor, composer and editor. From music (a three time Grammy nominee) to television (an Emmy-award winner) to Broadway (eleven Tony nominations) this trail blazer and trendsetter does everything his way. While he is best known as the “godfather of independent film and modern black cinema”, he also has the honor of being another first—the first African-American trader on the American Stock Exchange.
Melvin Van Peebles was born in Chicago. After graduating from college two years before most, Van Peebles joined the Air Force where he became the youngest member of the Strategic Air Command. Upon leaving the Air force he went to Mexico made his living as a painter for awhile and then it was on to Europe to do graduate study in Astronomy at the University of Amsterdam in Holland. Several years later Van Peebles moved to Paris, taught himself French and worked as a journalist for a French Newspaper. Adapting Chester Himes’ writings as an ongoing cartoon series for “Harikiri” the legendary French Magazine, ignited a fire and Van Peebles went on to write five French language novels. One of those novels became the basis of his first feature film, La Permission: A Story of a Three Day Pass which won him the Critics Choice Award at the San Francisco Film Festival. The rest as they say is history.
Unfortunately, sometimes the reality of people who are simply trying to maximize their personal potential is often complicated by prejudice, discrimination, intolerance and systemic destruction of the ego. In their struggle for liberation pioneers like Van Peebles, with their discontent and refusal to accept the status quo, create eruptions so significant that they become the bedrock upon which new opportunities are born. Looking over the life of Mr. Van Peebles we can now on truly fully assess the enormity of his actions on History. Van Peebles calculating merger of his roles as a businessman and artist not only assured his projects meet with success, but opened the door for many African American Artist. Best said by his son, Mario Van Peebels, and I quote: “My father crashed the gates, then along with Gordon Parks and Ossie Davis broke down Hollywood’s color barriers. They made it possible for all of us to come marching up the hill: Spike Lee, the Brothers Hudlin, John Singleton, Bill Duke and myself.” In 2004 Mario Van Peebles honored his father by making Baadasss the story of his father’s struggles through Hollywood. The movie won the Academy’s Spirit Award. Today the Hollywood machine counts African-Americans filmmakers among some of their most lucrative producers.
The evening will also inlcude music performance by Nondor Nevai w/ Mick Barr as part of ISSUE’s Littoral Series co-curated by Suzanne Fiol and Tony Antoniadis.
nondor –
Nondor Nevai (drums/throat) is, according to Thurston Moore, “… a satanic power metal freak of nature…crushing, hilarious and delivers the damaged goods…A lot of Beefheartian voiced ruminations on straight up boner-boy sex with a shot of art history thrown in. Fucking weird and fucking awesome.”
For their performance expect an athletic display of psychonautical rigor that approaches and occasionally surpasses what is physically possible on this instrumentation; antagonizing the nonidiomatic and the panidiomatic, it will push the limits of extreme metal.
Mick Barr is an American avant-garde metal guitarist. Notable for his relentless speed and agility on his instrument[1], he is most well known for being one half of the band Orthrelm, currently signed to Mike Patton’s Ipecac Recordings label.
Some of Barr’s other projects have included Crom-tech, and a duo with drummer Zach Hill from Hella, as well as appearances with Quix*o*tic, and The Flying Luttenbachers. He has also released albums under the names Ocrilim and Octis, consisting of his own guitar over a drum machine. On the difference between the two, he says “Ocrilim is Mick Barr overthinking. Octis is Mick Barr underthinking. These names mean nothing when a live show is concerned. Come see Ocrilim and you may be forced to watch Octis.”[2]
In 2008, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award.
ISSUE’s Littoral Series began in 2006 and presents fresh and compelling writers of today working with innovative contemporary musicians to develop new ways of experiencing the works, in part by dissolving the boundaries between language, sonority and art.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
James Nares
James Nares is known for his paintings, films and to some extent, his music (most notably as a member of the Contortions).
He will be showing a selection of his films, with an emphasis on those which have a musical or sonic component.
“As befits a linchpin of film’s No Wave movement, director James Nares is barely recognized for his impact on cinema. His aesthetic a ragged, often wordless and colorless zoom on inanimate objects or people oddly reduced to the same state — set a precedent built upon by more accessible filmmakers such as David Lynch.” -Flavorpill
“James Nares’ films are like luminous jewels scattered in the dirt — as varied and striking as his paintings, his photographs and his train of thought.”
- Jim Jarmusch
“Nares’ “Motion Pictures” will tear you apart and put you back together all at once.”
Amy Taubin- Artforum.
Meredith Drum and Alison Ward
Selected Films by Meredith Drum and Alison Ward
Meredith Drum presents three low-ball sci-fi video works that form a loose trilogy, “The Tower”, “The Formula” and “The Double”. The narratives combine elements from old stories of conflict between feminine and masculine and interior and exterior loss and fulfillment. All three were filmed in the same feral park and graced by actress Juliana Francis Kelly.
Alison Ward explores the ideas and motivations behind her piece the Beastly Beauty in the form of a performance as slide lecture. She will re-envision her spectacular performance, an on-going farcical battle that most recently occurred on Coney Island’s beach and boardwalk in late August. The Punch and Judy battle between two characters embodying different elements of beauty and the grotesque features elaborate Baroque style costumes, one set adorned with pink ribbons and lace, the other with garbage bags and filth. Each are backed by six cheerleaders in armor, who taunt each other with chants that merge cheerleading rallies with traditional battle cries and King Kong-style beating of the chest. The battle is comical with each side flirting and fighting, hitting and kissing, much like two lovers in a fierce fight. The choreography combines wrestling moves with traditional dance and burlesque to create a spectacle that is simultaneously violent, sexual, and humorous. The idea behind The Beastly Beauty, is an effort to comment through use of physical humor and public performance, on the nature of violence, and to upend notions of traditional roles of the masculine and feminine.
Artist Bios:
Meredith Drum is a cinema artist who makes both experimental fiction and nonfiction as well as more conventional documentary. Her videos have recently shown at the Bronx Museum of the Arts, Galapagos Art Space, Monkey Town, Fales Library and Archive at NYU and been published online on Good Magazine and the New York Times Tmagazine. Recent honors include a Flaherty Film Seminar fellowship, an Artists-in-the-Marketplace residency and an award from the Experimental Television Center. Also, she was named an “artist to watch” by art critic Ken Johnson in his New York Times review of the AIM 29 show. Of late she has worked with Patrick Bensard, the director of the Cinémathéque de la Danse in Paris, on a portrait of Lucinda Childs and with artist / choreographer Grisha Coleman on a piece about artists and health care for Levering Investments in Creativity (LINC).
Alison Ward is an artist whose work incorporates performance, video and sculptural installation. She focuses on issues of identity interpreted through physical and slapstick humour. Exhibitions include Haven Arts, The Dumbo Arts Center, and the Bronx Museum as well as the CCCB Museum in Spain, RAW Space Gallery in Australia and Castlefield Gallery in England. She has done residencies at Raw Space in Australia, The Artist in the Marketplace Program, and the LMCC studio program. Currently she is an artist partner on board The Waterpod Project in New York City, and is an artist in resident in LMCC’s Swing Space Program.
This event made possible, in part, through funding from:
