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.
Joshua Abrahms + C. Spencer Yeh
Bassist & composer Joshua Abrams has been in the thick of Chicago’s vibrant music scene for fifteen years, playing & recording as a leader & as a sideman in projects across the genres. He co-founded the “back porch minimalist” band Town & Country (thrill jockey/box media) & with Matana Roberts & Chad Taylor the trio Sticks & Stones (thrill jockety/482 music). He has released four records under his own name as well as two under the moniker Reminder that navigate the realms of jazz and improvisation, electro-acoustic composition, beatmaking, minimalism and field recordings (Eremite/Delmark/Eastern Developments/Lucky Kitchen). He has appeared on over 50 recordings including records by Fred Anderson, Hamid Drake and Bonny “Prince” Billy. “Natural Information”, Abrams first record for Eremite focuses on creating sustained meditative, hypnotic, highly rhythmic spaces. At the music’s heart is the guimbri, a 3 stringed lute traditionally used by the Gnawa of Morocco in trance ceremonies. Abrams presents new melodies, structures, and situations for the traditional instrument to create a space that contrasts the rate/mindstate of contemporary technologically paced living. He will be performing with Chicago drummer Michael Avery.
C. Spencer Yeh was born in Taipei, Taiwan (1975), moved to the US in 1980, studied radio/television/film at Northwestern University, lived in Cincinnati, Ohio for over a decade, and is now based in Brooklyn, New York. Yeh works as a solo artist and improviser, most notably with his project, Burning Star Core. He has collaborated with a variety of artists and groups, including Tony Conrad, New Humans with Vito Acconci, Evan Parker, Thurston Moore, Amy Granat with Jutta Koether, Okkyung Lee, Paul Flaherty and Chris Corsano, John Wiese, Nate Wooley, Wally Shoup, Don Dietrich and Ben Hall (as The New Monuments), Clare Cooper, Prurient, and Jandek. He has performed at festivals and venues such as Sonar, FIMAV at Victoriaville, Frieze Arts Fair, Issue Project Room, No Fun Fest, High Zero, the 24 Hour Drone People at Fylkingen, The Kitchen, and ZKM Karlsruhe. His video and sound works have been showcased internationally.
Brian Chase is a drummer and composer living in Brooklyn, NY. Growing up on Long Island, he started taking private drum lessons at an early age which lead to earning a Bachelors of Music from the Oberlin Conservatory in Ohio. Brian is probably best known as a member of the rock group Yeah Yeah Yeahs, a band that has toured extensively throughout the world and has been nominated for three Grammys. Other recorded projects include a minimalist punk rock band called the Seconds, a duo ensemble with saxophonist Seth Misterka, and Jeremiah Lockwood’s Sway Machinery. Performance collaborations have also included Alan Licht, Okkyung Lee, Matt Welch, Stefan Tcherepnin, and Kid Millions’s Man Forever. Brian is also interested in the Just Intonation tuning theory and, heavily influenced by the work of La Monte Young introduced to him by guitarist Jon Catler, has begun an ongoing recording and performance project in which the principles of Just Intonation are applied to drums and percussion. Influential drum and percussion teachers are and have been Susie Ibarra, Greg Bandy, and Michael Rosen. Away from the drums, Brian is a regular practitioner of Ashtanga yoga.
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.
ARTIST-IN-RESIDENCE: Richard Garet
Richard Garet works interweaving multiple media including moving image, sound, live performances, and photography. He completed his mfa at Bard College, and was awarded a New York State Council on the Arts Grant. He currently has an artist residency at Issue Project Room, NY, and previously completed a residency at Taliesin West, Frank Lloyd Wright School of Architecture, Scottsdale, Arizona in 2006. Recent exhibitions and performances include: Never Can Say Goodbye at the former Tower Records Store; Sonochrome: an exhibition of recent works by Richard Garet, at the Public Trust Galllery, Dallas, Texas; Leervoll, Diapason Gallery; and previous exhibitions at the Museum of Contemporary Art (MACBA), Barcelona, Spain; Biennial Museo de Arte de Puerto Rico, San Juan, Puerto Rico; El Museo del Barrio, NYC; and more. His sound compositions have been published through sound based labels such as And-Oar, Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, White_Line Editions, and Contour Editions. Additionally Garet 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. Garet also currently directs the independent media label Contour Editions publishing works that explore the various possibilities of sound and light.
Richard Garet is interested in the phenomena found and produced in time-based media, and human beings’ relationship with both artificial and natural environments. His audiovisual exploratory steps are focused on concept and function, material and process, listening, viewing, and experience. even though garet’s work suits the standard gallery setting, many of his other activities as an artist explore the various practices of experimental sound and video performance. All of these modes are additional ways in which Garet’s work exposes the audience to real time explorations of audiovisual processes, emphasizing the experiential, the sensorial, and the active-reception of the body and mind. Richard Garet states, “when creating a piece I reflect on what the work is meant to accomplish, how it functions in relationship to the space, how it affects the audience, and how sound and visual content are connected to one another. These questions determine my choices and influence the direction of the work.”
Richard Garet is also interested in the vast landscape of noise that surrounds him, and how these noises establish the background-sonic-field that he experiences on a daily basis; consciously or unconsciously. The material for making his pieces emerges from this arena where sounds manifest from all directions and inevitably he becomes the receptor of such phenomena. He’s interested in how what he hears constantly derives from living situations and existential conditions and how the sonic world is constantly changing and modifying living experiences. Garet observes and pays attention to these mechanics and situations where sound is attached to function, purpose, commodity, decay, transformation, and environment. These sonic situations encapsulated in architectural structures or open without walls are very much responsible for activating sensations and states that trigger experiential, psychological, intellectual, emotional, and political responses. Some examples are media noise, the sounds of traffic, the sounds found in a nuclear plant, sounds created by electrical objects of commodity, the sounds of a street protest, the sounds encountered within the walls of a room, and appropriated sounds from mass media communication such as pop music and recorded sounds found in the Internet. The transformations and transpositions applied to each work focus on voicing not only the formal musical potential of the material but also the politics attached to its content. Garet’s intention is that his work function not only highlighting the experiential and listening qualities of the piece but also offering accessibility to its content, and that the subject matter activates the intellectual and political prospects of the work
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 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.
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.
Ann Liv Young presents Cinderella
Photo by Michael A. Guerrero
Ann Liv Young’s Cinderella is a reinterpretation of the classic fairy tale, inspired by versions as disparate as Disney’s and the macabre Grimm brothers’. It is a one-woman show starring Sherry, Young’s southern wildcat alter ego. Sherry, playing all characters, confronts personality extremes of kindness, helplessness, and wickedness in conjunction with the stereotype she deals with most directly in her own life, the aggressive woman. We watch as Sherry and these storybook characters tackle decisions together and learn from one another. What unlikely similarities will we find? Why does one tend to prefer the demure Cinderella over the bold and assertive Sherry? Ultimately, Sherry critiques male authorship which created one-dimensional female characters (Cinderella, the Fairy Godmother, the wicked Stepmother and Stepsisters) in ways which were pleasing to men. Our version of Cinderella pleases no one.
Ann Liv Young was born on the Outer Banks of North Carolina and has been creating performance work for over eight years. She is one of the youngest artists to be presented at major venues in New York City and Europe, such as P.S.1 Contemporary Art Center, Brooklyn Museum, The Kitchen, Dance Theater Workshop, P.S. 122, Judson Church, Danspace Project at St. Mark’s Church, Flea Theater, Laban Centre London, Impulstanz, Springdance, The Arches, Tanz Im August, City of Women, Théâtre de la Bastille, Kampnagel, Brute-Wien, Gender Bender and Inkonst, among others. A 2003 graduate of Hollins University’s prestigious dance program, Young has also studied at Laban Centre London. She was featured in Michael Blackwood’s documentary New York Dance: States of Performance (2010). Ann Liv performed “Sherry” in “Girl Monster Orchestra” presented by Chicks on Speed in Switzerland and Sweden in March 2010. She’s reinterpreted the stories of Snow White (2006–2008), George and Martha Washington (in The Bagwell in Me [2008–2009]), and, now, Cinderella.
PROPENSITY OF SOUND: Laurie Spiegel With Joseph Kubera
Laurie Spiegel is one of those rare composers in whom head and heart, left brain and right brain, logic and intuition, merge and even exchange roles. Though she is one of the highest-tech computer composers in America, Spiegel is also a lutenist and banjo player, and sees the computer as a new kind of folk instrument. She makes her most intuitive-sounding and melodic music from mathematical algorithms, and her most complex computerized textures by ear and in search of a desired mood. Form and emotion are as difficult to separate in her music as they are in that of her idol, J.S. Bach.
Spiegel was born in Chicago where in her teens she played guitar, banjo, and mandolin, and through them cultivated a devout philosophy of amateur music making. After receiving a degree in the social sciences, she returned to music. Having taught herself notation, she studied classic guitar and composition privately in London, then baroque and renaissance lute at Julliard, and composition with Jacob Druckman and Vincent Persichetti.
Having worked with analog synthesizers since 1969, she sought out the greater compositional control which digital computers could provide and wrote interactive compositional software at Bell Labs from 1973-79. She later founded New York University’s Computer Music Studio, and became famous in rock music circles for her music software for personal computers, notably MusicMouse.
Despite her innovative involvement with technology, Spiegel the composer has never been dominated by Spiegel the computer technician. Her music from the 70s used compositional algorithms (in one case a realization of Kepler’s “Harmony of the Planets”, included in the Voyager spacecraft’s record Sounds of Earth) to generate music in an accessible, minimalist vein. Some of that music was captured on her record on the Philo label, The Expanding Universe, containing works from 1974-6.
But in the early 80s, Spiegel distanced herself from the downtown New York scene that she had helped create, saying that the new music scene’s general direction was toward an “expansion of the collection of tools and techniques available to make music (useful, but not as the central content of a work)”. “For me,” she more recently explained, “music is a way to deal with the extreme intensity of moment to moment conscious existence.” Since breaking away, Spiegel has lived as one of New York’s most independent musicians, supporting herself by her software and circulating her music privately.
Those who fell in love with the folk like melodies and early algorithms of The Expanding Universe may be surprised to hear how much darker and more complex Spiegel’s recent music has become. “Minimalism” may still aptly describe the slow movement of pitch in these pieces (Unseen Worlds), but it gives no hint of their complex timbres, glacial momentum,and cathartic climaxes. Such vibrant, expressive music could only have come from a composer who put her intuition and imagination first, yet who had the immense technical know-how needed to meet the challenges they posed.
Pianist Joseph Kubera has been a leading interpreter of contemporary music for the past three decades. He recently performed at Monday Evening Concerts in L.A. and The Stone in New York, and has been soloist at such festivals as the Warsaw Autumn, Berlin Inventionen and Prague Spring. He has worked closely with legendary composers John Cage, Morton Feldman, La Monte Young, Robert Ashley and others. Among the composers who have written works for him are Michael Byron, Anthony Coleman, David First, Alvin Lucier, Roscoe Mitchell, and “Blue” Gene Tyranny. A longtime Cage advocate, he has recorded the Music of Changes and Concert for Piano and Orchestra, and toured with the Cunningham Dance Company at Cage’s invitation. Mr. Kubera has been awarded grants through the National Endowment for the Arts and the Foundation for Contemporary Performance Arts.
Mr. Kubera is a core member of S.E.M. Ensemble, the DownTown Ensemble and Ostravska Banda, and he has performed with a wide range of New York ensembles and orchestras ranging from Steve Reich and Musicians to the Brooklyn Philharmonic. He tours with new-music baritone Thomas Buckner, and luminaries such as Terry Riley and Ingram Marshall have written for his duo-piano team with Sarah Cahill. Mr. Kubera’s playing may be heard on the Wergo, Albany, New Albion, New World, Lovely Music, O.O. Discs, Mutable Music, Cold Blue, and Opus One labels.
Oval (First Set)
Oval, also known as Markus Popp, is an electronic musician from Berlin, Germany. He is a pioneer of “glitch,” a genre of music that embraces the purposeful mutilation of audio equipment to produce fragmented sounds in a rhythmic electronic style. Originally a trio, Oval also included members Sebastian Oschatz and Frank Metzer until Popp decided to pursue solo projects in 1995. Since then, he has released various CDs, most notably Ovalprocess (Thrill Jockey, 2000), Ovalcommers (Thrill Jockey, 2001), and his most recent debut, Oh (Thrill Jockey, 2010). Oval’s music has been featured alongside Björk, Gastr Del Sol, and Japanese singer Eriko Toyada, with whom he performed in a trio entitled So.
Ann Liv Young presents Cinderella
Ann Liv Young’s Cinderella is a reinterpretation of the classic fairy tale, inspired by versions as disparate as Disney’s and the macabre Grimm brothers’. It is a one-woman show starring Sherry, Young’s southern wildcat alter ego. Sherry, playing all characters, confronts personality extremes of kindness, helplessness, and wickedness in conjunction with the stereotype she deals with most directly in her own life, the aggressive woman. We watch as Sherry and these storybook characters tackle decisions together and learn from one another. What unlikely similarities will we find? Why does one tend to prefer the demure Cinderella over the bold and assertive Sherry? Ultimately, Sherry critiques male authorship which created one-dimensional female characters (Cinderella, the Fairy Godmother, the wicked Stepmother and Stepsisters) in ways which were pleasing to men. Our version of Cinderella pleases no one.
Photo by Michael A. Guerrero
Ann Liv Young was born on the Outer Banks of North Carolina and has been creating performance work for over eight years. She is one of the youngest artists to be presented at major venues in New York City and Europe, such as P.S.1 Contemporary Art Center, Brooklyn Museum, The Kitchen, Dance Theater Workshop, P.S. 122, Judson Church, Danspace Project at St. Mark’s Church, Flea Theater, Laban Centre London, Impulstanz, Springdance, The Arches, Tanz Im August, City of Women, Théâtre de la Bastille, Kampnagel, Brute-Wien, Gender Bender and Inkonst, among others. A 2003 graduate of Hollins University’s prestigious dance program, Young has also studied at Laban Centre London. She was featured in Michael Blackwood’s documentary New York Dance: States of Performance (2010). Ann Liv performed “Sherry” in “Girl Monster Orchestra” presented by Chicks on Speed in Switzerland and Sweden in March 2010. She’s reinterpreted the stories of Snow White (2006–2008), George and Martha Washington (in The Bagwell in Me [2008–2009]), and, now, Cinderella.
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
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
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
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 guests Erin Sexton & Magali Babin
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 are Erin Sexton & Magali Babin
Erin Sexton & Magali Babin are both based in Montreal, and being long-time friends of Share community. However, this is their duet debut in NYC at Share.nyc.
Erin Sexton grew up in British Columbia, studying media art at the Emily Carr University of Art + Design in Vancouver, exploring the performative aspects of video, sound, and electronics. Experimental and improvised, her work became increasingly about sound and its experience, prompting a move to Montreal in 2004. She began performing in concert and gallery spaces, releasing her first album “aircraft” that same year. Currently she lives in Montreal and spends her time recording gunshots, building instruments, making installations, performing solo, and improvising with other local and international sound artists/experimental musicians.
http://erinsexton.com
Magali Babin has been active on the expérimental and improvised music scenes since the 1980s. Her artistic work is based on playful amplification, sonic interaction and manipulation of everyday objects. One result of ongoing research is her first solo CD, Chemin de fer (No Type) — a work comissionned by Mario Gauthier for Radio-Canada.
Starting with the amplification of the objects, Magali Babin developed an interest for the recording of environmental sounds and “sounds we no longer hear, since they are such an integral part of our routine.” The artist explores and archives this singular and very personal instrumentation with use of electronic implements and contact microphones. The relationship with sound and “the gesture of object interactions” are important aspects of her compositions.
In parallel with her compositional work, her research activities are presently focused on capturing natural and environmental phenomena, fabricating different types of microphones and exploring acoustic phenomena of performance spaces.
For the last ten years the artist has performed with unique and unexpected sonorities, both solo and in the company of musicians, dancers and performers. Magali Babin is spoken-of as one of the central personalities on the high risk improvisation scene in Montréal.
Magali Babin presented concerts at international electronic music festivals in the Americas (Mutek- Suoni Per Il Popolo/Montréal, Mois Multi/Québec, send+receive/Winnipeg, New Music Festival/Vancouver, High Zero /USA) as well as in Europe (Hull Time Based Arts/UK, Transmediales /Berlin, Nuit bleue /France) and in performances in Baltimore, Philadelphia, Boston, New York, Hambourg, Besançon, Bruxelles…
She has participated on many compilations on different labels such as and/OAR usa, Intransitive Recordings usa, SK Factory, Oral, le son 666. Her work is mentioned in Katharine Norman’s book Sounding Art: Eight Literary Excursions through Electronic Music.
In addition to her artistic solo work Magali regularly collaborates with; Mineminemine (1997) with Éric Létourneau & Alexandre Saint-Onge; Le Quatuor de tables tournantes (The turn table quartet) by Martin Tétreault (2007) with N. Tobin, D. Lafrance, A. McSween; The Nocinema.org collective (2005) Project of French artist Jerome Joy with Chantal Dumas, Jocelyn Robert, Dinah Bird, Luc Kerleo, Emmanuelle Gibello, Alain Michon and others; The Strickland Trio (2010) with Jon Bole and Maïca Mia
LINKS
http://myspace.com/magalibabin
http://www.electrocd.com/en/bio/babin_ma/
http://en.wikipedia.org/wiki/Magali_Babin
http://www.bandeapart.fm/artistes.asp
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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 – featured guests “Phonoride”
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 are Phonoride (Stone/Keenan/Randall)
http://www.share.dj/share/event_info.php?eventID=681
We are called “Phonoride” and are assembled of:
Austin Stone, from Washington DC. Composer and improviser of sonic structures.
Rob Keenan, from Cincinnati, OH… I am a messenger of music and enjoy tap-dancing with technology as I sing.
Tyler Randall, from Cincinnati Ohio. Enjoys improvising music.
website: http://www.myspace.com/phonoride
Printout directions for the game piece will be available to all Share sound and visual performers. Everyone will be welcome to join.
———
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
Share – free audio & video jam – featured guests Jeff Carey & Myo
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 are Jeff Carey & Myo. They will perform two mini-solo-sets as a part of their CD release tour.
Jeff Carey (b. 1972) is an electronic music composer and performer focussing on real-time multichannel electro-instrumental music. Since the early 90’s Carey has been working with electronic music in experimental, improvised and composed contexts, has performed and presented his music in clubs, art galleries, festivals, and squats in Europe, Scandinavia and the US, and has been involved in several critically acclaimed performance groups such as 87 Central (NoTV/Universal, Staalplaat, JDK Productions, ERS Records), Jeff Carey’s MoHa! (Rune Grammofon), Office-R(6) (Lampse, +3DB, Unsounds), SKIF++ (12k/LINE, Fridgesounds), Ultralyd w/ N-Ensemble (Rune Gramofon), Jeff Carey (Sonig), and N-Collective (X-OR).
http://jeffcarey.foundation-one.org <http://jeffcarey.foundation-one.org/>
“Jeff wrote a great piece for the Noiseroom, a 5.1 listening project. His piece uses the surround spatialization set up to the full extent and draws the listener into a fascinating world of microscopic yet blasting manipulation of sound. A master of granular synthesis, the idea of an intense listening space seemed to be just right for Jeff’s radical approach on sound.” — Jan St. Werner, ‘Noise Room’ Curator, Microstoria, Mouse on Mars
“The sounds produced are an extremist hybrid between free Improv, gutter electronics and darkwave scuzz. [...] like a beautifully evil cartoon score – fractured and malevolent and funny, all at the same time.” — Byron Coley, The Wire Magazine, on Jeff Carey’s MoHa!
“Using devices such as joysticks to exacerbate the chance, improvised nature of this music, this is musique concrete that has torn away from its formal, academic origins. […] Deconstruction and reassembly in nasty extremis.” — David Stubbs, The Wire, on SKIF++’s CD ‘SK++[01,02,03,04,00]‘
Myo is the solo project of Cory O’Brien, a self taught hacker, computer musician and electro-acoustic improviser. Contact mics on polycarbonate sheets and feedback networks programmed in Max/MSP are the preferred tools. His music has been described by Vital Weekly as “louder, dirtier, gritty and angular, but still with ingredients of microsound”. Other projects and collaborations include Never Work (with Kenneth Yates of Harm Stryker, Insects with Tits), Makioki Sisters (with Jeff Surak / Violet) and Clouds-Out (with video artist Jesse Hartgraves). He currently lives and works in Washington, DC.
http://myosound.com/
———
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 guest Jan Trutzschler von Falkenstein
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 guest is Jan Trutzschler von Falkenstein
Jan T. is a composer and media artist with an affinity to software design.
His work often focuses on one material or subject, which he sets in different contexts and perspectives. The sound material he uses can be described as having an organic character with a tendency of being noisy and crispy. And there are playful elements in his music, which explore the boundaries of synthetic and concrete sound, digital and mechanic approaches.
He performs solo with SuperCollider and Snyderphonics’ Manta interface, writes music for instruments and computer and creates sonic installations.
Since 2002 he has been an active SuperCollider (SC) developer, which resulted in many contributions to the software and the organization of the second international SuperCollider Symposium in The Hague in 2007.
In 2008 he founded TeaTracks for the creation of mobile applications, which released Gliss in 2009. Gliss is a tilt controlled and performance
oriented sequencer, which lets you draw music and sounds on the iPhone/iPad.
http://teatracks.com/gliss
http://falkenst.com
———
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.
ICMC 2010: Analogous Interactions (AI) – Welcome Concert with Arne Eigenfeldt, Jon Weinel, and Will Orzo
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, each nondeterministic work will be performed live following a short conceptual introduction by the composer.
Arne Eigenfeldt is a composer of live electroacoustic music, and a researcher into the creation of intelligent software tools that encode musical knowledge. His music has been performed around the world, and his collaborations range from Persian Tar masters to contemporary dance companies to musical robots. His research has been presented at conferences such as the International Computer Music Conference (ICMC 04, 05, 06, 07, 08, 09), New Interfaces for Musical Expression (NIME 08), the Society of ElectroAcoustic Music in the United States (SEAMUS 05, 07), the International Society for Music Information Retrieval (ISMIR 08, 09), the Electronic Music Studies Network (EMS 07, 09), Sound and Music Computing (SMC 06), Generative Art (GA 09), and Computational Creativity (ICC-X). He is an associate professor of music and technology at Simon Fraser University, Canada.
In Equilibrio is a realtime generative composition for either Disklavier or sampled piano, created by Kinetic Engine, a multiagent software designed by the composer. Responding to control over density, the first set of six agents interact to create an evolutionary rhythmic structure, communicating amongst themselves and altering their patterns in an effort to balance their own goals with those of the other agents. Rhythmic events are passed to a second set of six agents, which assign specific pitches: these decisions are mediated by their own desire to explore their environments, while balancing the ensemble goal of an artificial harmonic balance.
Jon Weinelis currently a postgraduate student at Keele University (UK), Music Department, Research Institute of the Humanities. He is studying for his PhD, the topic of which is compositional techniques which elicit altered states of consciousness. Within this theme he produces work within the visual and sonic arts and is currently working on projects which combine live instrumentation with electronics, and ways to manipulate hand produced artwork digitally. In addition he also performs experimental deejay sets and produces electronic music which is released through netlabels such as TestTube and his own website.
Entoptic Phenomena is one of several works which utilise The Atomizer, a specially designed live electronics patch for laptop which facilitates the improvisational production of streams of Sonic Atoms. Sonic Atoms are a concept created by the artist La Peste for his flashcore music, and are considered as a means through which to explore complexity through micro rhythmic pulses.
For this composition, Weinel has developed the idea of sonic atoms in order to describe entoptic phenomena (i.e., the pin- point dot patterns, matrices and vortexes of light perceived in hallucinogenic experiences, such as those induced by mescaline). Rhythmic pulses become analogous to the entoptic visual patterns of hallucination, which themselves can be considered as an expression of chaotic reactive processes also present elsewhere in nature. The presence of entoptic phenomena in early shamanic rock art has been a topic of debate in anthropological journals. It is the purpose of this composition to bring this concept up to date, through its expression in sonic art within the context of a shamanic audio narrative.
Will Orzo graduated from The Aaron Copland School of Music at Queens College (CUNY) with a B.M. in Orchestral Performance. He majored in French Horn, but never-the-less focused his efforts on theory and composition. He has appeared as both a performer and a composer both nationally and internationally, for example, at Jacob’s Pillow Dance Festival (City, State OR City, Country) and the Festival for Live Art (Glasgow, UK). He has recorded and performed with several artists, such as Elvis Perkins, Langhorne Slim, Naomi Shelton and the Gospel Queens, the Himalaya brass band. He is CoFounder and Musical Director of The Woes (New York, NY). His graduate work focused on Schenkerian and post-tonal music analysis, under the likes of Charles Burkhart and Joseph Straus. He turned his attention to algorithmic music in 2008, when he attended Cope’s workshop in Algorithmic Computer Music (Santa Cruz, CA). He discovered Pure Data in 2009, and has not had a good night’s sleep since.
Giraffe is centered on a program which, in real-time, generates unique and audible solutions to a problem of post-tonal music theory and composition: How can one traverse pitch-class space in the most musically meaningful way? Giraffe (written in Pure Data) generates emergence via the interaction of rule-based agents, to produce a harmonically rich four-part texture. Agents detect several quantified musical features in the context of predetermined thresholds, and fire in response to critical values. Using this neural-like algorithm, Giraffe addresses the issue of creating musical coherence through emergence, thereby navigating the tetrachords in an aesthetically compelling manner. This performance of Giraffe illustrates the concept of integrative levels, by building upon the emergence already inherent in the program itself: A group of improvising musicians interact with em>Giraffe for the first time, before a live audience.
