The blackout concert focus on listening attentively to the existing continuous-flat sounds present in the chosen venues as they are gradually switched off based on their situation and intensity. Ultimately the maximum level of silence is reached.
By doing so, we experience the surgical dissection of the ambient sounds pervasive throughout our lives: the random mass of blows and hums that fill the rooms where machines are running at work and at home. During the process of gradually switching off these machines and lights, we experience the discovery of soundscapes more clear and defined, each time holding a greater presence of silence. The final destination of this audio voyage is darkness and the new resulting atmosphere of regression to silence in its natural threshold where the quality of listening becomes perfect.
Approximate duration 30 minutes.
Punctuality is requested. Once the concert has started, it will not be possible to enter the venue.
Tres is an interdisciplinary artist that concentrates his work in the investigation and experimentation with silence. The silent cocktails and concerts, the public “turn-offs” of noisy spots and lights, the musical and video pieces, the installations and the ceremonies so diverse which Tres has been producing for over a decade have a common denominator, that of experimenting with alternative ways in which the individual usually relates to himself and others and, by and large to its environment.
Stephan Moore is a composer, audio artist, and sound designer living in Brooklyn and Troy, New York. He has graduated from Rensselaer Polytechnic Institute, Western Michigan University, and Interlochen Arts Academy. 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. Recent performances and installation artworks make use of a large multi-channel array of his hand-built hemispherical speakers. He performs regularly as half of 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 courses in sound art and electronic music at Maryland Institute College of Art, Peabody Conservatory, Massachusetts College of Art, Rensselaer Polytechnic Institute and Simon’s Rock College of Bard. He is currently the Sound Supervisor of the Merce Cunningham Dance Company.
Diana Slattery’s artistic practice, The Glide Project, spirals around a central theme of the mutual evolution of language, game, and consciousness, describing and modeling one possibility for an evolutionary writing system. Originally a gestural language, the 27 Glade glyphs are inscribed both as static and dynamically morphing forms. LiveGlide is the three-dimensional form of Glide-writing which is performed improvisationally in real-time. “The Maze Game,” the novel from which the Glide language emerged, was published by Deep Listening Publications in February, 2003. Slattery is the Director of DomeWorks, an arts collaborative based in the Capital region creating works for domed spaces and the hardware and software tools and equipment for future technological and aesthetic experimentation in wraparound realities. DomeWorks is a project of Deep Listening Institute, Ltd.