Laetita Sonami + Analogous Projects presents Torino:Margolis
Laetitia Sonami
Composer, performer, and sound installation artist Laetitia Sonami was born in France and settled in the United States in 1975 to pursue her interest in the emerging field of electronic music. She studied with Eliane Radigue, Joel Chadabe, Robert Ashley and David Behrman.
Sonami’s work combines text, music and “found sound” from the world, in compositions which have been described as “performance novels. Her signature instrument, the Lady’s Glove, is fitted with a vast array of sensors which track the slightest motion of her enigmatic dance: with it Sonami can create performances where her movements can shape the music and in some instances visual environments. The lady’s glove has become a fine instrument which challenges notions of technology and virtuosity.
Sonami’s sound installations combine audio and kinetic elements embedded in ubiquitous objects such as light bulbs, rubber gloves, bags and more recently toilet plungers. She collects electrical wire and embroids them in walls.
Sonami gives extensive workshops and classes. She tries to familiarize and enthuse students to adapting old technologies and new media to the creative process and thus expand their field of imagination and play.
Sonami has been performing in numerous festivals across the United States, Canada, Europe, Japan and China, among which the Ars Electronica Festival in Linz, the Bourges Music Festival in France, the Sonambiente Festival in Berlin, the Interlink festival in Japan, Bang-on-a Can, The Kitchen and Other Minds, S.F.
Awards include the Alpert Award in the Arts (2002), Foundation for Contemporary Performance Arts Award (2000), the Civitella Ranieri Fellowship (2000), Studio Pass-Harvestworks residency (2001) and a Creative Work Fund award (2000) for a collaboration with Nick Bertoni and the Tinkers Workshop.
Sonami lives in Oakland, California and is guest lecturer at the San Francisco Art Institute and the Milton Avery MFA program at Bard College.
“.. Sonami sometimes looked like a human antenna searching the air for sounds, or like a deity summoning earth-shaking rumbles with a brusque gesture.” – New York Times
“…sultry and magical” -Village Voice
ANALOGOUS PROJECTS:
Complexity theory is not new to art or to our culture. It migrated from computer science and biology to economics and art and, with the advent of the world wide web, it invaded our collective subconscious. Analogous seeks to support complexity-driven art and artists playing under this conceptual umbrella of “Interaction Art”. Progress occurs by metaphor and analogy: Their hope is (by bringing together people and projects irrespective of media and genre) to enable philosophical crosstalk.
Complexity theory centers around the concept of emergence, which refers to the observation that individuals acting within a shared context will create something greater than the sum of its parts. Since this principle explains the richness of biology — from molecule to ecology — it is able to lend an organic nature to highly-technical projects and to guide the logistics of elaborate social experiments.
We believe an emergence-based perspective can serve as both (1) a catalyst for new and progressive works, and as (2) a way to view existing works and practices from a new light.
Our objectives:
(1) to support artist-led, complexity-driven projects technically, financially, and administratively.
(2) to develop a cross-genre community of artists and philosophers in order to facilitate new works and novel collaborations.
Marina Rosenfeld + Kusum + LoVid
Programmed by Caleb Kelly
Marina Rosenfeld
Marina Rosenfeld is a composer and artist based in New York City. Her work has deployed both musical and visual media, including a noted series of performance works; sound installation; video; photography and hybrid forms drawing on these. While still a student, in 1994 she created the Sheer Frost Orchestra, a musical performance realized by 17 women on floor-bound electric guitars, deploying nail-polish bottles as sensitive and magical sound-producing implements. Other large-scale works include the performances Emotional Orchestra (Deitch Projects, New York, Tate Modern, London), WHITE LINES (Wien Modern, British School at Rome, Taktlos Bern, Weld/Stockholm and others), and 2008’s Teenage Lontano, a work for 34-voice teenaged choir and suspended speaker installation. Teenage Lontano, Rosenfeld’s “cover version” of Gyorgy Ligeti’s orchestral work Lontano of 1967, was premiered in the vast Drill Hall space of the Park Avenue Armory in New York as part of the Whitney Biennial 2008. “Watching this piece, I felt the opening of a portal between a failed utopian past and the possibility that the more real present is already something to love. I was transported.” (New York Magazine, 2008). The work had its European premiere in Amsterdam in June 2009 as a co-production of the Holland Festival and Stedelijk Museum.
Rosenfeld also performs frequently in the US and Europe as an improviser, playing a distinctive combination of turntables and her own dub plates, for which she composes original music; these records are later remixed, manipulated, and otherwise transformed in live performance, sometimes by other turntablists as well as herself. Rosenfeld’s collaborators have included Ikue Mori, Christian Marclay, George Lewis, Kaffe Matthews, Nels Cline, Zeena Parkins, Lee Ranaldo, Martin Tétreault, Philip Jeck, Kim Gordon, Christof Kurzmann, Alan Licht, Dieb 13, Raz Mesinai, Anthony Coleman, and many others.
Rosenfeld’s work has appeared in a wide variety of contexts including two Whitney Biennials (2002 and 2008); Creative Time’s project for the World Financial Center site after September 11; survey exhibitions such as “Bitstreams” (Whitney Museum), “Her Noise” (Electra), “Music / Video” (Bronx Museum & Strassbourg Musee d’Art Moderne et Contemporain), “Electronic Music Archive” (Kunsthalle St. Gallen), and “New Sounds New York” (The Kitchen); and major festivals in North America and Europe including Wein Modern, Donaueschingen, the Holland Festival, Ars Electronica, Musikprotokoll, Pro Musica Nova, Maerz Musik, Mutek, Electronic Music Foundation/Ear to the Earth, and Los Angeles’ CEIAT festival, among others. Rosenfeld has also performed with the Merce Cunningham Dance Company; with the art-band “Text of Light”; with Sonic Youth during their “Good-bye Twentieth Century” tour; and was part of the London Musicians Collective’s “Turntable Hell” project.
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.
Theoretial: Cracked Media The Sound of Malfunction with Caleb Kelly
Caleb Kelly
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.
————
Cracked Media
The Sound of Malfunction
Caleb Kelly <http://mitpress.mit.edu/catalog/author/default.asp?aid=36840>
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.”
—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
Share – free audio & video jam – featured guest Seijiro Murayama
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: Seijiro Murayama
Seijiro collaborated, in particular, with Fred Frith, Tom Cora, Keiji Haino, KK Null between 1980 and 1998. Since 99, he works in France.
His actual collaboraters:
Jean-Luc Guionnet, Eric La Casa, Tim Blechmann, Klaus Filip, Axel Dörner, Eric Cordier, Toshimaru Nakamura, Tsunoda Toshiya, Off-cells with Taku Unami, Uta Kawasaki, Takahiro Kawaguchi …
For his second visit of usa since 82, he will play solo with a snare drum and a cymbal (amplified with air and contact microphones). Some meetings with american improvisers are also programmed:Jason Roebke, Greg Kelly, Eli Keszler, Jason Brogan…
Url:
http://seijiro.murayama.name
Selective discography:
ANP “Absolut Null Punkt” <CD> [Important] USA 2004
“They Stood Around and Watched” with Michael Northam
<mini CD> [Universalinternational] France 2004
“Suture” with Eric Cordier <CDR> (no label) France 2004
ANP “Metacompound” <CD> [Important] USA 2006
“Hatari Atsalei” with Lionel Marchetti<CD> [Intransitive Recordings] USA 2008
“Le Bruit du Toit” with Jean-Luc Guionnet <CD> [Xing Wu Records] Malaysia 2008
“Moriendo Renascor” with Michael Northam <CD> [Xing Wu Records] Malaysia 2008
“Noite” with Jean-Luc Guionnet,Ernesto Rodriques,Guilherme Rodrigues <CD> [Creative Source Recordings] Portugal 2009
“Ready’n” with Masafumi Ezaki, Kazushige Kinoshita <CD> [Tenseless music] Japan 2009
“Space and place” with soundworm <CD> [Improvised Music From Japan] Japan 2009
“Supercedure” with Eric La Casa <CD> [Hibari Music] Japan 2009
“4 pieces with a snare drum” (solo) <CD> [Petit Label] France 2009
“Solos” (solo) <CD> [Zerojardin] France 2009
http://www.share.dj/share/event_info.php?eventID=659
———
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam
What is share?
SHARE is 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 – 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
Share – free audio & video jam – In the Munch Room @ The (OA) Can Factory
What is Share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share will take place in the Munch Room tonight. The Munch Room is located on the first floor of The (OA) Can Factory.
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Littoral: MUSIC OF THE HEMISPHERES
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.
Nat Baldwin + peace, loving
Nat Baldwin
New Hampshire-native Nat Baldwin is an experimental upright bassist and singer-songwriter who cut his teeth studying with free jazz legend Anthony Braxton. In addition to his three critically-acclaimed solo releases, Nat has collaborated on works with Extra Life, Vampire Weekend and is a long-time member of The Dirty Projectors.
“Nat Baldwin’s upright bass is Joanna Newsom’s harp, Andrew Bird’s violin – a partner so indispensable, it’s a personal trait. Over a gorgeous bull-fiddle hum, he belts out these melismatic flourishes… This delivery is terrifically earnest, terrifyingly intimate, and terribly special.” – The Boston Phoenix
“His musical imagination is expansive, while his lack of pretense is admirable” – Pitchfork
“The New Hampshire-native (and Anthony Braxton disciple) rains hyper-melodic chamber fire in melismatic, cinematic glory.” – RCRD LBL
peace, loving
peace, loving has been a force of new music around new england and beyond the past three years, performing compositions for aromatics and tape (w/ 3 professional chefs), dances for handheld tape recorders, working as set designers, video artists, performance poets, instrument builders, and becoming infamous for having a major rotating cast of performers doing all these things at once. peace, loving was formed out of the whitehaus family record, a community based label/venue in the jamaica plain neighborhood of boston.
Philippe Petit + aMute
Philippe Petit
PHILIPPE PETIT is interested in soundtracks; even if he creates original music he’d rather be introduced as a “musical travel agent” than a composer.
PETIT uses a computer to build up electronic layers, process acoustic and field recordings. To second the machine he likes to move various glasses, or percussive objects, and take advantage of vinyl material to fondle released sounds.
A journalist for various magazines and radio as well as a musical activist, PETIT has celebrated his 25th year of sharing his musical passions as the man behind the cult labels Pandemonium Rdz. and BiP_HOp.
PETIT has assembled what people call a dream-team of collaborators, working with: Lydia Lunch, Foetus, Kumo, Scott McCloud (Girls Against Boys), Cosey Fanni Tutti, My Brightest Diamond, Sybarite, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Scanner, Mira Calix, Kammerflimmer Kollektief, Guapo, Leafcutter John, Simon Fisher Turner, Justin Broadrick and many more…
Aside his solo works, PETIT is active in Strings Of Consciousness, does a duo with Lydia Lunch, and his collabs with Cosey Fanni Tutti (Throbbing Gristle) + James Johnston (Gallon Drunk/Bad Seeds/Faust) have appeared on Dirter Promotions.
His first solo album “Henry: The Iron Man” was released thru Beta Lactam Ring Records, and his second Cd appeared on Rothko’s imprint Trace Recordings + OFF and Helmet Room in digital formats.
In the works are collabs with Murcof, Simon Fisher Turner, Vultures and “Cordophony” gathering music whose sound comes from the vibrations of one or several strings.
aMute
Jérôme Deuson, born 1980, is the name behind aMute. Since 2002 he has been one of the most active Belgian composer and won notoriety in Europe and abroad as someone inventive, over excited by music and always ready to help people out. aMute has played in more than 15 countries including Canada, USA, European tours in Austria, Germany, Italy, UK, France and many others…
Apart from composing, Jérôme has also been involved in the legendary shop Le Bonheur in Brussels and organized festivals and concerts for the shop, he created the Stilll label back in 2005 and designed most of its fifteen releases and is currently involved in concert organisation in Brussels and Belgium.
Hans Grüsel’s Krankenkabinet + Occasional Detroit (O-D) The Best In ABSTRAKT ENT
Hans Grüsel’s Krankenkabinet
Hans Grüsel’s Krankenkabinet is an ever-changing woodgrain diorama of dark forest characters. Started in 1999 in San Francisco, California, by Hans Grüsel, the ensemble uses electronics, concrète recording, and acoustic instruments to explore the lost Teutonic rites of the past while stumbling into the failure of the future.
Hans Grusel’s “sound” might best be described as the sounds of a Bavarian music box designed by an artist who had been bonked on the head with a brass cuckoo clock chime and left in a dark room for three years with only the music of Scriabin, Wagner, and Prokofiev mixed with off-speed 1960s sci-fi soundtracks and folkloric anthems pumping through the slightly clogged vents. HGKK audio combines numerous divergent elements—rigid structures and sweeping washes of plucky improvisation; classic violin sounds twisting in a mobius strip of clashing yet beautiful sounds and tones; flitting marches and delicate traipsing at the bottom of the sea—to create dense and blissful audio rainstorms.
There are very few bands who truly baffle. Who confuse and confound, both musically and conceptually. Sure, plenty of bands are weird, or strange, or hard to describe, some might even be described as fucked up or damaged, but very very few truly baffle. Hans Grusel’s Krankenkabinet is most definitely one of those bafflingly confusional elite. . . Hans Grusel and his Krankenkabinet create a bizarre cacophony of sound, theatrical, dramatic, noisy for sure, but weirdly melodic and playful and more than anything, confounding.
Occasional Detroit
My NAME IS Towondo”Beyababa”Clayborn I am a part of the abstrakt hip-hop duo Occasional Detroit (O-D) THE BEST IN ABSTRAKT ENT..
We are an abstrakt hip-hop duo CONSISTING OF MYSELF Towondo’Beyababa’Clayborn”
AND DEMETRISA L. ANDERSON
we will kill it on may 1st the best in ABSTRAKT ENT.
It is not an understatement. We like too show what it feels like in our own words, on how it feels after recovering from taking a piss under scrutiny. So, that is A SYNOPSIS ON how we roll.
Come see us (O-D) THE BEST IN ABSTRAKT ENT..(LAWRENCE) LET US KNOW IF YOU NEED MORE INFO WE WILL PROUDLY SEND IT.
Grouper
Grouper is the assumed name of Northern Californian artist Liz Harris,and over the last few years she has quickly nudged herself into the underground spotlight with her peculiarly disarming music. Her journey began with the haunting midnight ambience of ‘Way Their Crept’ released on ex-Deerhoof member Rob Fisk’s Free Porcupine Society label in 2005. The record was instantly praised by British site Volcanic Tongue who described it as a ‘wildcard late entry for album of the year’, and its woozy blend of William Basinski-esque drone and breathy vocals slowly garnered the attention of music fans around the world. What followed over the next few years was a handful of stunning releases, from ‘Wide’ (again on FPS) to the haunting collaborative recording with Xiu Xiu entitled ‘Creepshow’. With each release Liz grew in confidence and refined her unique style, coming to a head with the limited ‘Cover the Windows and the Walls’ LP on Root Strata which sold out in a matter of weeks. In 2008 she released the album which defined her sound; ‘Dragging A Dead Deer Up A Hill’ and through cult British imprint Type Records she finally reached the wider audience she deserved. The album achieved an unprecedented amount of critical acclaim, with respected US webzine Pitchfork mentioning it in their top albums of 2008, touting it as ‘druggy and sexy and arty and pretty, but never pretentious’. In 2009 she toured the USA in support of Animal Collective (one of the world’s biggest alternative acts), released split 7”s with City Center and Pumice and continues to stun audiences worldwide with her truly unique songs.
On June 4th Grouper will perform pieces from her album Way Their Crept for the first time outside of Portland, as well as new keyboard material in a special set at Issue Project Room. These pieces have not been possible to perform before because of the logistics of playing live with an instrument as heavy and fragile as the keyboard used.
A second special set of a new tape collage called “Ascend/Descend” will be performed through the IPR’s 16 channel surround-sound system on June 4th.
Littoral: Sara Wintz + Dither
Sara Wintz
Sara Wintz is a writer and editor. Her writing has appeared in The Poetry Project Newsletter, EOAGH, they are flying planes, ecopoetics, Jacket, and Sustainable Aircraft; at The Zinc Bar, The Poetry Project at St. Mark’s Church, at Segue Reading Series, at The Bowery Poetry Club; and on Ceptuetics with Kareem Estefan, on WNYU. She is lead singer of the pretty panicks press, and from 2007-2009 she was co-editor for :::the press gang::: She now curates PoetryTV!, and readings at SEGUE, and writes from various locations on the east and west coast.
Inspired by Peter Garland’s journal, Soundings, and James Tenney’s postcard compositions, the pretty panicks press began as a project documenting the various ways that rock music is represented on the page. In its first year, panicks printed rock compositions on the fronts of five postcards, with artists statements on the backs, and distributed to a mailing list of about 500 physical addresses, and sites including Other Music (NYC), Aquarius (SF), and Amoeba Music (SF/Berkeley). Started while an undergraduate at Mills College, with support from William Winant, and friends in the bay area music community, contributors to the project so far have included John Darnielle, of The Mountain Goats, Sharon Cheslow, Jorge Boehringer, Molly Thompson, Pure Horsehair, and Ches Smith.
Postcards distributed by the pretty panicks press are archived electronically at Deep Oakland (www.deepoakland.org).
DITHER
DITHER, a New York based electric guitar quartet, is dedicated to an eclectic mix of experimental repertoire which spans composed music, improvisation, and electronic manipulation. Formed in 2007, the quartet has performed in the United States and abroad, presenting new commissions, original compositions, multimedia works, and large guitar ensemble pieces. With sounds ranging from clean pop textures to heavily processed noise, from tight rhythmic unity to cacophonous sound mass, all of Dither’s music wholeheartedly embraces the beautiful, engulfing, and often gloriously loud sound of electric guitars. The quartet’s members are Taylor Levine, David Linaburg, Joshua Lopes, and James Moore.
Dither’s recent collaborators include downtown bagpiper Matthew Welch, composers Eve Beglarian and David Lang, and guitarist/composers Bryce Dessner, Nick Didkovsky, Marco Cappelli, Elliott Sharp, and Mark Stewart. In Fall of 2008, the quartet traveled to Hong Kong to premiere an evening-length theatrical work by Samson Young, “Hong Kong Explodes!”, funded by the Hong Kong Council for the Arts. Dither has also performed extensively in venues in the Northeast, including The Stone, Roulette, Le Poisson Rouge, Princeton University, the MATA Interval series at ISSUE project room, and the Performa Biennial. Last year the quartet performed at the Bang on a Can Marathon, giving a monstrous performance of Eric km Clark’s exPAT, a Dither commission for “hearing deprived” electric guitar orchestra.
Share – free audio & video jam – In the Munch Room @ The (OA) Can Factory
What is Share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share will take place in the Munch Room tonight. The Munch Room is located on the first floor of The (OA) Can Factory.
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
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
Share – free audio & video jam – featured guest Stephan Moore
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
9pm, free —
Tonight’s featured guests:
Stephan Moore is a composer, performer, audio artist, and sound designer in New York City. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Many of his performances and installation artworks make use of large, multi-channel arrays of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught college-level courses in composition, sound art and electronic music at several schools. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company, and one of its core musicians.
http://share.dj/share/event_info.php?eventID=652
———
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
A Valentine for Jack Rose
A VALENTINE FOR JACK ROSE:BLACK TWIG PICKERS
Banjos and fiddles firmly in hand, the Black Twig Pickers long ago dove into the living tradition of old-time music that surrounds their homes
in Southwest Virginia and never looked back. Regularly playing a venerable square dance that draws hundreds of people to the one-stoplight town of Floyd, scouring archival recordings and sitting at the feet of older masters helped the Twigs become both scholars of the regional sounds and advocates of an ecstatic and highly personal approach to the music. In recent years, the band accompanied Jack Rose on tours and recordings, something of a reunion since Jack and Black Twig fiddler/banjoist Mike Gangloff played together for years in Pelt. The collaboration resulted in last year’s “Jack Rose & the Black Twig Pickers” album and a subsequent string of shows in the UK.
PELT
Pelt’s drone-based improvisations have spanned electric and acoustic realms and incorporated cataclysmic roars and near-comatose whispers, folk music sensibilities and extended techniques. From 1995 to 2006, Jack Rose’s multi-instrumental talents were part of the band’s arsenal, and he continued to take part in Pelt conversations until his death. The Washington Post once described the band’s sound this way: “What separates Pelt … is the willful sonic escalation from monk chant and Appalachian bowed sitar to Blue Ridge mountain grinding ear-death. … They’ve not become giants; they’ve become the mountain.”
Pelt’s drone-based improvisations have spanned electric and acoustic realms and incorporated cataclysmic roars and near-comatose whispers, folk music sensibilities and extended techniques. From 1995 to 2006, Jack Rose’s multi-instrumental talents were part of the band’s arsenal, and he continued to take part in Pelt conversations until his death. The Washington Post once described the band’s sound this way: “What separates Pelt … is the willful sonic escalation from monk chant and Appalachian bowed sitar to Blue Ridge mountain grinding ear-death. … They’ve not become giants; they’ve become the mountain.”
STEVE GUNN
Native Philadelphian, Steve Gunn has been a stalwart of the American experimental scene for close to a decade. For some years, Gunn has slowly cultivated his own solo work alongside his involvements with other projects and musicians. Over the course of numerous excellent releases, it became clear that Gunn was a real force. Once his solo music started being unearthed, there was no turning back. Steve will be performing a mix of improvisational based acoustic guitar works, and songs from his latest album ‘Boerum Palace’ on Three Lobed Recordings.
TOM CARTER
Born barely south of the Mason-Dixon line, and just in time for the Summer of Love, Tom Carter led a decidedly non-hippy existence being shuffled around various farm and mining towns in Maryland and Ohio by his newspaperman father, before finally making his way to Texas in 1985, just in time to watch all the good hardcore bands die. Already obsessed with American pre-punk and British post-punk, Carter dove into the lysergically spiked musical waters of Texas with both feet, augmenting rudimentary guitar skills with unreliable instruments, cranky analog electronics, and disintegrating practice amps. Over the ensuing decades, he managed to forge his evolving ideas of complete tonal immersion (and the quest for the perfect fuzz tone) into a layered sonic toolkit of rough beauty and unrefined proficiency.
MARCIA BASSETT
Bassett aka Zaimph, predominately uses guitar and vocals to create sounds that shimmer in a dark metallic buzz of sonic noise and drone, before a swift shift into blissed out ragas or crippling, brutal, white-hot noise. The organic improvised elements of Bassett’s work leave traces of eerie ghost voices and deep-space echoes that recall the electrified ritual of nomadic Japanese avant gardists Taj Mahal Travellers — but more immediately sound like a magnification of her contributions to Double Leopards and Hototogisu, generating towers of electricity that move from malevolent arcs of anti-gravity and spumes of throttled single notes into deep wormholes that do violence to feeble notions of time and space.
MICHAEL CHAPMAN
The guitar and voice of Michael Chapman first became known on the Cornish Folk Circuit in 1967. Playing a blend of atmospheric and autobiographical material he established a reputation for intensity and innovation. Signed to EMI’s Harvest label he recorded a quartet of classic albums. LPs like ‘Rainmaker’ and ‘Wrecked Again’ defined the melancholic observer role Michael was to make his own, mixing intricate guitar instrumentals with a full band sound. The influential album ‘Fully Qualified Survivor’, featuring the guitar of Mick Ronson and Rick (Steeleye Span) Kemp’s bass, was John Peel’s favourite album of 1970. ‘Survivor’ featured the Chapman ‘hit’, “Postcards of Scarborough”, a characteristically tenderly sour song recounting the feelings of nostalgia and regret.
GLENN JONES
From 1989 to 2009, Jones led Boston’s “avant -garage” instrumental rock band, Cul de Sac, whose musical adventures are documented on nine albums (a final studio album is planned), including a soundtrack for director Roger Corman, and collaborations with guitarist John Fahey and former Can vocalist Damo Suzuki.
In 2001, Glenn began playing acoustic guitar, his first instrument, which he’d barely touched in more than a decade, and Cul de Sac’s highly regarded meditation on mortality, Death of the Sun (2003), features as much acoustic guitar as electric. A 30-plus-year devotee of the so-called “Takoma school,” Jones has written extensively on the movement’s leading lights: John Fahey, with whom he was friends for nearly 25 years, and Robbie Basho, who befriended Jones during the five years before his untimely death in1986. As interest in the “old guard” — Fahey, Basho, Peter Lang, Peter Walker and others — has grown, a new fraternity of guitarists has risen, artists whose reasons for playing are exploration, communication and expression, rather than the display of flashy technique, or the creation of sonic wallpaper. Since 2004, Jones his issued three albums, This Is the Wind That Blows It Out, Against Which the Sea Continually Beats, and 2009’s Barbecue Bob in Fishtown (all for Strange Attractors Audio House), albums that wend their way through a varied stylistic terrain. “American Primitive,” blues, rustic Mississippi Delta slide and bastardized classical forms cozy up to one another, sometimes within the same tune.
Zun Zun Egui + Human Teenager
Zun Zun Egui
Zun Zun Egui conjure up bona fide rebel music that is full of body, raw in spirit and totally free of precedent. A heavy, heavy dance band, they fire up mighty, eternal grooves worthy of some dust-caked Lagos street jam, but don’t just settle for that: tropical melodies, thrilling stop-start time switches, scorching psychedelics and robust underground rock flourishes are gathered up as the momentum swells towards frenzied, ecstatic finales. East African guitar practice is inflamed by multi-lingual incantations (in French, English, Creole, Japanese…), sinuous prog gets a big bass undertow. It’s roll and roll, a rainbow blaze of rhythm and sound that pulls both the rockers and the writhers into its heart.
Zun Zun release their first EP ‘Bal La Poussiere’ on Blank Tapes (home of Bass Clef, Scatter, Thee Stranded Horse) as a limited edition 12″. The title is a Mauritian saying loosely translated as ‘the best dancer raises more dust from the floor…’
Borne of Bristol, England (where Zun Zun Egui met and unhatched), this is music that has seen rare corners and a genuinely unique cross-range of cultures. Frontman and guitarist Kushal Gaya grew up off the coast of Madagascar, one foot in Reunion Island, the other on the adjacent isle of Mauritius. Life on Reunion made a particularly telling mark, as the teenage Kushal was awakened to the music of traditional ceremonies performing in honour of local ancestry – proud Creole customs that had been demonised by French colonial influence in the sixties. It took small and enterprising groups of Kushal’s young adult peers to find the courage to reclaim these folk traditions for what they were: in a weird parallel with the “rebellious” subcultures of western youth, Kushal would have to sneak off to such gatherings without his mother and father’s blessing. “The colonialists had fed my parents’ generation the idea that these services were devil-worshipping rituals”, he explains, “when in fact they were a really important part of Creole culture and identity – and the music you’d hear at them reflected the social mix on the island, this unique form of blues played with African rhythms and Indian melodies.”
Migrating to Nottingham in 2000 to live the English student life, Kush found himself reveling in a very different kind of subcullture: devouring a reputed 50 albums a month, he majored on the keystones of leftfield American rock such as Touch & Go Records and The Jesus Lizard, and wound up fronting a chaotic psycho-punk-blues group known for unhinged, exhibitionist live performance inspired by rock/art freaks like GG Allen and Delta blues legend Son House.
It was upon relocating to Bristol in 2005 that Kush started to crave a music which, whilst retaining the loose ‘n’ wild streak of his recent musical history, played down the wilful provocation in favour of a different intensity – something more joyful, groove-led, and in tune with the tropical blues scales and skipping, reverential rhythms Reunion and Mauritius had ingrained within him. He found a perfect foil in Yoshino Shigara, a Japanese animator, visual artist, and inventive keyboardist he met through a local jam band, whose soulful, explosively technicolour art seemed to paint the music of Zun Zun Egui before the band had even come to be (Yoshino is now responsible for all the band’s visual elements). After some early tinkerings, a permanent, all-English rhythm section was found in bassist Luke Mosse and drummer Matt Jones – suitable wide-minded students of beat and metre both, who swiftly became compositional partners in the Zun Zun democracy. It’s then the alchemy really started fizzing…
So far the band have been busy playing with all sorts of acts at all kinds of shows, from underground bunker busters with Whitehouse, Flower-Corsano Duo, and Peeesseye to larger gigs with the likes of David Byrne (at The Royal Festival Hall), Antibalas (at The Barbican), Hypnotic Ensemble and A Hawk and A Hacksaw, as well as ecstatically received appearances at Green Man and End of The Road festivals. They recently toured the UK with Fuck Buttons and were hand-picked by Portishead’s Geoff Barrow to play Invada Invasion at Bristol’s Colston Hall. Meanwhile the band hone their room-wrecking jamboree sound on home turf, as resident band at the club night they run in Bristol called ‘How Come…’
Instrumentation
Kushal Gaya: guitar/vocals
Luke Mosse: bass
Yoshion Shigara: keyboards
Matt Jones: drums/percussion
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photo: Fumie Ishii
Gary War Human Teenager
Human Teenager is Greg Dalton (Gary War) and Taylor Richardson (Infinity Window, Prehistoric Blackout, Purple Haze).
Human Teenager’s Cyclical Plan (Edition)
-Core Prophecy II: _______________________
-Kawaii Quantum Apologizer:
Applied By : _____________
*Phil Pfizer (Rep for dramaumentaria )- Enthusiast Arpeggiator, Thrown-Chair Pedal
*Robert Taylor Richardson (of Nights and Prehistoric Eulogy)- Adding Machine, Various Secretions
A
N t the gig for gigs
D _______________ much more, taped stuff
Various mirages susceptiblity to Private transmissionsy i.e. creation of cardboard chemical- organ hybrids + blue technologies…
W hen
E. sta Fantasie
rriba guey
rr rack mound
xit waygone_______________________ racial(ling) (tings)
D. O. D.
E same________ all out now
A ways no
D ay
YOU? once only ____________________
————————————————–> \
I’m Sorry. Applied By sorry : __________
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
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
Share – free audio & video jam – In the Munch Room @ The (OA) Can Factory
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share will take place in the Munch Room tonight. The Munch Room is located on the first floor of The (OA) Can Factory.
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
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
Unsound Festival New York: David Daniell + Xavier van Wersch + Nadja
Unsound Festival New York presents Silence and Noise, Pt. 2: an evening of performances from David Daniell, Xavier van Wersch, and Nadja.
David Daniell is a composer and performer working in the intersections of acoustic and electronic instrumentation and of composition and improvisation. His music focuses on two primary areas of concern: perception and listening at the margins of audibility, through repetition, drone, and a gradual and lateral development of timbre; and the social narrative of musical forms, both in terms of improvisation and intuitive composition, as well as through the recontextualization and incorporation of sounds from and inspired by his rural heritage.
As a performer, Daniell utilizes acoustic, electric, and pedal steel guitar along with a variety of electronics. He has worked for over a decade as a member of the improvising blues-drone trio San Agustin, along with many other collaborators through the years, including Tim Barnes, Ateleia, Jeph Jerman, Thurston Moore, Sean Meehan, Loren Connors, Tomas Korber, Greg Davis, as lead guitarist in Jonathan Kane’s live band, and as concertmaster for Rhys Chatham’s 100- and 200-guitar performances. Current active collaborations include a duo with guitarist Douglas McCombs (of Brokeback, Tortoise, Eleventh Dream Day) and a trio with Christian Fennesz and Tony Buck (of The Necks).
Daniell’s compositional work utilizes displaced and abstracted field recordings juxtaposed with manipulated acoustic instruments and sounds of purely electronic origin, with great attention to sonic detail and aural depth-of-field, as captured in two solo albums, 2002’s sem (Antiopic) and 2006’s Coastal (Xeric/Table of the Elements). Recent compositions have incorporated a variety of instruments in larger ensemble settings. One such work, Sunfish (for twelve to fifteen musicians), was performed at the Fugue State Festival in Chicago (June 2007) and the X Avant Festival in Toronto (September 2007).
Recent releases include two live solo recordings (Los Jacintos, a recording of a live electric guitar performance in Madrid in February 2008, and The Hideout, of an acoustic guitar and electronics performance in Chicago) released as part of Antiopic’s Live Series, as well as a solo LP in Table of the Elements’ 15th anniversary Guitar Series Volume 4. Sycamore, the debut album from Daniell’s duo with Douglas McCombs, was released on the Chicago label Thrill Jockey in August 2009.
Daniell has worked extensively with the record label Table of the Elements (including engineering John Fahey’s 1998 Table of the Elements release Georgia Stomps, Atlanta Struts and Other Contemporary Dance Favorites), and as producer and artistic director of his own record label Antiopic since 2002. Antiopic’s catalog includes Alvin Lucier, Joyce Hinterding, Tetuzi Akiyama, Oren Ambarchi, Ultra-Red, Lee Ranaldo, Jim O’Rourke, Eddie Prévost and Alan Licht among others, as well as 2003’s critically-acclaimed Allegorical Power series of politically-charged web-only releases. Daniell has recently started working with video, including a collaboration with artist Robert Longo as producer of the DVD of Longo’s 1979 Pictures For Music.
Xavier van Wersch
The work of Xavier van Wersch (NL ,1976) reflects an organical approach to the field of electronic music. In his compositions, performances and installations there is always an element of controlled chaos. He explores the relation between man and machine by conceiving the two of them together as a hybrid system in which erratic behaviour is the principal condition for interaction. Another common theme in his work is recycling. Like a modern Frankenstein, he constructs his machinery from parts of deceased equipment and disfunctional devices.
Van Wersch was raised with classical piano and violin training, which set the foundations for his experiments with composition and electronic music as a young teenager. At first spurning the conservative music academy for the freedom of visual arts, Van Wersch was eventually drawn back to study Sonology at Royal Conservatory in The Hague after discovering abstract electronic music. Van Wersch’s final exam composition entitled Odysseia was included on the compilation His Master’s Noise – The Institute Of Sonology, released on Dutch experimental label BVHaast Records in 2001. The compilation gathered pieces from artists who had worked or studied at the Institute of Sonology, including Iannis Xenakis, Edgard Varése and György Ligeti.
As well as performing under his own name, Van Wersch produces tracks under the moniker xaf. The first xaf releases appeared in 1999 on Dutch Breakbeat label Fluff Girl Wax, several more appeared on the more experimental Esc.Rec label over the next few years. As a sound designer he has worked with among others Nederlands Dans Theater, Icelandic National Ballet, Maska Ljubljana, the Poni Collective and Ivana Müller. He is the director and founder of re.Bug, an organisation that supports and develops projects in which art, technology and ecology meet, with support from cultural institutions in Holland.
Van Wersch has presented work at a.o. TodaysArt Festival (The Hague), Club Transmediale (Berlin), LOW festival (Budapest), Sonic Acts (Amsterdam), State X New Forms (The Hague), Dis-Patch (Belgrade), Lab030 (Augsburg), NEXT festival (Bratislava), KIMAF (Kiev), Festival Pomladi (Ljubljana), Unsound (Krakow), Ultrahang Fest (Budapest), B-link (Belgrade), Garage-g (Stralsund), Les Chants Mécaniques (Lille), Touch (Amsterdam), and in many more festivals and venues throughout the world.
Nadja is a duo of Aidan Baker & Leah Buckareff alternately based in
Berlin, Germany and Toronto, Canada. Nadja originally began in 2003 as
a solo project for Baker to explore the heavier/noisier side of his
experimental/ambient guitar-based music. In 2005 Buckareff joined to
make the project more than just a studio endeavour and allow Nadja to
perform live. Together, they create music that has been variously
described as drone metal, ambient doom, and shoegazer, combining the
atmospheric and textural elements of electronic and experimental music
with metal and post-rock structures.
Nadja
Nadja has toured extensively in North America and Europe and has released numerous albums with such labels as Alien8 Recordings, Important Records, Beta-lactam Ring Records, Conspiracy Records, Hydrahead Records, and Crucial Blast. They have also collaborated with a number of artists, including Black Boned Angel, Fear Falls Burning, A Storm of Light, and Pyramids.
As individuals, Baker is also active as a solo musician and a writer. Buckareff isalso a bookbinder, operating under the name Coldsnap Bindery.
Links:
http://www.nadjaluv.ca
http://www.myspace.com/nadjaluv
http://www.aidanbaker.org
http://www.myspace.com/aidanbakermusic
http://www.coldsnapbindery.com
http://www.alien8recordings.com/artists/nadja
Unsound Festival New York, Co-Presented by:
Unsound, Fundacja Tone, the Polish Cultural Institute in New York and the Goethe-Institut New York.
In Co-operation With:
Trust for Mutual Understanding, the Romanian Cultural Institute New York, Austrian Cultural Forum New York, Consulate General of Finland New York, Pro Helvetia, Fonds Pop Over Zee
Blurb:
“Since 2003, Unsound Festival, Poland’s most adventurous music festival, has brought a bold and uniquely modern program of music to Kraków, a city previously unknown for this kind of experimentation. Now, with seven festivals in their native city under their belt (and outpost events further east in cities like Minsk), Unsound is coming west to New York for their first ever North American edition. Unsound Festival New York’s mission is to forge new links between music genres, between generations and even between artistic practices.
The driving force in the assembling of the New York program has been Unsound Festival’s commitment to forms of music and sound art that involve experimentation and risk. Unsound Festival has made a worldwide reputation by breaking new ground while dealing with vibrant electronic, experimental, independent, post-classical and club music scenes from around the world.
Taking place over the course of nine days starting on Thursday February 4th 2010, Unsound Festival New York will boast an ambitious lineup of artists from both Europe and the US.
One of the cornerstones of the festival is Eastern Promises, a substantial undertaking in the New York program that aims to expose a wide range of musicians from east of Berlin that have long been ignored in North America. Never before has this broad a range of producers and musicians from Eastern Europe been assembled to perform alongside their US and West European counterparts. Confirmed for the festival are techno artists Jacek Sienkiewicz (Poland), Petre Inspirescu (Romania) and Marcin Czubala (Poland), minimalist composer Jacaszek (Poland), experimentalist Zavoloka (Ukraine), bass mutator TRG (Romania), new music ensemble Kwartludium (Poland), dub electronic artist Pavel Ambiont (Belarus), drone specialist Zenial (Poland) and a special exhibition of historical Polish Soundcards.
Unsound Festival New York will also feature a special series of events dedicated to and inspired by Andy Warhol. The Warhol Program will feature the worldwide debut of Carl Craig (USA) and nsi (Germany) performing live electronic soundtracks to vintage Warhol films, as well as the North American debut of Groupshow (Jan Jelinek, Andrew Pekler and Hanno Leichtmann) (Germany) performing an eight-hour long live improvised soundtrack to Andy Warhol’s “Empire.” Additionally video artist Lillevan (Germany) will be creating a special series of Warhol inspired screen tests during the festival.
Additionally, Unsound Festival New York will feature the US live debut of the Moritz Von Oswald Trio (Germany), the US debut of Vladislav Delay (Finland) & Lillevan’s audio / video performance, a special program of the music of Henryk Gorecki, classical interpretations of the music of infamous US punk noise label SST, two nights of noise, drone and experimental work, a Brooklyn electronic music showcase, two nights at the Bunker featuring the very best in contemporary Techno / House and a special Bass Mutations showcase dedicated to dubstep and beyond. In addition, there will be a unique festival feature called Kids Patch (a special kids only workshop in electronic music), thought-provoking panel discussions and unique film screenings.”
