Media 2016

Leila Bordreuil premieres “Memory City,” a new piece for large ensemble combining elements of standard notation, structured improvisation, chance composition, and a three dimensional narrative through sound-spatialization. Sound content is based upon each player’s personal sonic memories of urban environments, creating an immersive soundscape of abstracted personal experiences.

Artist-In-Residence Leila Bordreuil perfoms a solo amplified cello set using a multichannel set-up of different types of speakers and guitar amplifiers. An assemblage of microphones placed on various parts of the cello create unique sound distortion possibilities that transform the cello into a polyphonic instrument -- enhancing the instrument’s diversity of timbres.

Known for his insubordinate and virtuosic improvisational approach to electroacoustic music, Id M Theft Able's performances consist of stream-of-consciousness vocal technique, performative manipulations and gestures with collected objects, as well as the use of an amplified wire and wood sculpture that amasses echoes, shrieks, crashes, and creaks -- assembling all manner of media sources.

ISSUE commemorates the close of 2016 with a special year-end event with two new compositions from sound artist/composer Lea Bertucci and performer, composer and curator Chris McIntyre.

NYC-based composer and performer Aki Onda and Yokohama-based sound practitioner Nao Nishihara began collaborating in 2015 while Nishihara was residing in New York as an Asian Cultural Council grantee. Nishihara returns to New York Thursday, November 10th, to further develop their sonic and spatial exploration. The duo explores the architecture and acoustics of ISSUE's 22 Boerum Place theater site-specifically, presenting a non-directional sound/visual landscape by installing handmade instruments and analog equipment within a visually arranged set-up.

Rose Kallal presents a cinema performance using immersive, multiple 16mm film loops created using a wide range of technical processes including traditional animation techniques, video synthesis/feedback, and computer animation, along with Kallal's own electronic sound work using modular synthesis.

Ed Bear performs a newly-commissioned interpretation of John Cage’s infamous "Variations VII.” First performed at “9 Evenings” (1966), the stochastic piece included only technologically-produced or electrically-amplified sound from a variety of sources, transmitted or picked up live in the performance space.

Drawing inspiration from the study of proxemics, LoVid presents "Interplayce" -- a work concerned with the distances between people depending on the relationships and contexts in which they interact and examining the relationship between the body and architectural instruments.

Thomas Dexter’s performance work, best understood as a type of “live-filmmaking,” begins with the poetics of cinema as a vector for exploring physical translations and discursive negotiations between image and sound, signal and noise, and more broadly, representational systems.

Composer and turntable artist Marina Rosenfeld and analog synth innovator Ben Vida reprise their improvisational collaboration first presented during Vida’s 2013 ISSUE residency.

Pioneering experimental composer Morton Subotnick premieres a new collaboration with Berlin-based video artist, Lillevan. Their light and sound duet combines analog recordings, electronic patches, and live performance on a hybrid Buchla 200e/Ableton “instrument” with live video animation.