Cycling ’74’s Expo ‘74 closing party at 110 Livingston Street with Luke DuBois & Todd Reynolds
ISSUE Project Room will host the closing party for Expo ’74 at its 110 Livingston Street space on Sunday, October 16. Luke DuBois, the primary architect of Jitter and an ISSUE Project Room board member, and violinist Todd Reynolds will perform.
Doors are at 7:30, and the concert will begin at 8:30.
Luke DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He currently performs as part of Bioluminescence, a duo with vocalist Lesley Flanigan that explores the modality of the human voice, and in Fair Use, a trio with Zach Layton and Matthew Ostrowski, that looks at our accelerating culture through electronic performance and remixing of cinema.
Todd Reynolds is a composer, conductor, arranger and violinist, a longtime member of Bang On A Can, Steve Reich and Musicians, and Yo-Yo Ma’s Silk Road Project. His commitment to genre-bending and technology-driven innovation in music has produced innumerable collaborations with artists who regularly cross musical and disciplinary boundaries, placing him in venues from clubs to concert halls around the world.
Expo ’74 is a user conference devoted to Max software, an interactive visual programming environment for music, audio, and other media. It will be held at NYU/Poly, in collaboration with the Brooklyn Experimental Media Center. For details and registration, visit cycling74.com.
Mari Kimura with Liubo Borissov and Kevork Mourad
Organic Digits: Kimura-Borissov-Mourad Project
Mari Kimura teams up with visual artists Liubo Borissov and Kevork Mourad, presenting everything from her virtuosic solo works of her signature bowing technique Subharmonics, to realtime interactive audio visual works, using Issue Project Room’s 15 channel diffusion system. Kimura’s violin and Mourad’s paintings are processed in realtime using MaxMSP/Jitter, a bowing motion sensor “Augmented Violin” (IRCAM), and Borissov’s interactive graphics video processing. Kimura will present her current works using the Augmented Violin system in collaboration with the Realtime Interaction Team at IRCAM, which allows her to ‘clone’ her playing by recording her bowing gesture along with sound. The program also includes a virtual video duet of Japanese Shamisen and violin, written by a Shamisen Master Mojibe Tokiwazu IV, the head of the House of Tokiwazu, the traditional Kabuki orchestra since the 1700s. Kimura will also present an elegant processing work by Japanese MaxMSP guru Takayuki Rai, and a blisteringly fast masterpiece by Conlon Nancarrow.
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http://www.marikimura.com
Please visit my Blog: “Extended Violin Diary”
http://subharmonics.blogspot.com/
Matthew Ostrowski + Karlheinz Essl
Born in New York City, Matthew Ostrowski has been active since the early 1980s, working in improvised music, music theater, electroacoustic composition, and audio installations. An unreconstructed formalist with a continuing interest in density of microevents and rapid change, he has wasted much of the last ten years developing interfaces for real-time musical performance, attempting to emulate the multidimensionality and flexiblity of acoustical instruments in the electronic domain.
He has performed with a boatload of international improvisors, and is currently most active as one half of KRK, with contrabassist George Cremaschi, whose CD ‘Acouasm’ has recently been released on Achuliean Handaxe Records; and as one third of the a/v trio Fair Use, specializing in sped-up interpretations of film classics. He has also worked as a composer/live processor/technical advisor to Elizabeth Streb, Shelley Hirsch, the Flying Karamazov Brothers, and many others.
Ostrowski’s work has been seen or performed on four continents, including the Wien Modern Festival, the Kraków Audio Art Festival, Sonic Acts in Amsterdam, PS 1 and The Kitchen, the Melbourne Festival, and Unyazi, the first festival of electronic music on the African continent. He received the NYFA Fellowship for Computer Arts in 2001, a Radio and Sound Art Fellowship from the Media Alliance in 2000, and was a nominee for the 2006 Alpert Award in the Arts.
Recent projects have included A Theory of Meaning, a radio piece for synthesized voices, comissioned by free103point9 radio(2006); atopia: levigation and apophenia, (2004-7) for downloaded data, recently exhibited at the Rencontres Internationales new media art festival in Madrid; and Spectral City (2007) a networked sound installation for urban spaces, most recently seen at the Dis-Locate festival in Yokohama.
Karlheinz Essl: computer, live-electronics, kalimba, gadgets Born 1960 in Vienna. Austrian composer, improviser and performer. He studied composition with Friedrich Cerha and musicology in Vienna (doctorate 1989 with a thesis on Anton Webern). As a double bassist, he played in chamber and jazz ensembles. Besides writing experimental music and composing electronic music, he performs on his own electronic instrument m@ze°2, develops software environments for computer-aided composition and creates generative sound and video environments – often in collaboration with artists from other fields. Essl erved as composer-in-residence at the Darmstadt Summer Courses (1990-94) and completed a commission for IRCAM. In 1997, he was presented at the Salzburg Festival with portrait concerts and sound installations. Since 1994, Karlheinz Essl curates experimental music concerts and sound installations at the Essl museum in Klosterneuburg. Between 1995-2006 he was teaching „Algorithmic Composition” at the Anton Bruckner University in Linz. Since 2007 he is professor of composition for electro-acoustic and experimental music at the University of Music and Performing Arts in Vienna. m@ze°2 Karlheinz Essl performs on a laptop computer that he has transformed into a live electronic musical instrument. The result is exciting and musical. You just won’t hear these sounds anywhere else. He performs solo and in duets and trios, responding with sensitivity to fellow musicians, producing fascinating sound transformations, creating spontaneous surprises, and moving quickly from loops to cacophony to tiny clips of vocal sounds to all kinds of textures and ideas. He does all this with his m@ze°2(Modular Algorithmic Zound Environment) performance software. Joel Chadabe, CDeMusic (Januar 2002)
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