Tag Archives: MA.P.S / Sound Art

Ear to the Earth – GetTogether #1 “Jungle-Ized”

Date: Thursday March 31, at 7:30 Location: WhiteBox 329 Broome St Opening event of the new Ear to the Earth – GetTogether #1. Soundwalk Collective discusses Jungle-Ized, their upcoming project in Times Square and Francisco Lopez’s sound recording in South… Continue reading

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UNCONSCIOUS MEDIA (Hans Breder) “Experiments in Intermedial Activism”

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New York City, Whitebox Art Center presents: Unconscious Media — an experiment in Intermedial Activism; Saturday November 2, from 3 to 5 pm.

Unconscious Media is Intermedia epitomized in performance, video, audience participation, and mobile media feeds. They coalesce in a spectacular philosophical inquest using smartphones, tablets, Google Hangouts and Tweeter to probe cross-pollination between quantum mechanics, the nature of mind, and art-making. This trans-continental web conference — with several feeds coming in from different countries — is a pathbreaking juxtaposition of artists and thinkers whose work are exemplary hybrids of art, technology, philosophy and pure science.

Featuring among others: Hans Breder, early pioneer of media art and founder of the Intermedia and Video Art program at The University of Iowa in 1968; Igor Molochevski, (New York) artist focused on technology integration, physical computing and generative programing; Dr. Gregory L. Matloff, professor of astronomy at CUNY and expert in interstellar propulsion; Raul Marroquin, (Amsterdam) whose work comprises early time-based experiments in video and television; Herman Rapaport, art philosopher and writer; Caridad Botella, (Bogotá) specializing in mobile phone-made cinema; Ellen K. Levy, artist and teacher at SVA completing a PhD for artists involved with science and technology at the Zurich Node of the Planetary Collegium.

Organized by Carlos Cuellar, writer and curator focused on media art, performance, social theory and metaphysics.

The event will be broadcast simultaneously via GOA and Youtube. Google + event notifications will be sent early this week. URL for the Youtube simulcast will be Tweeted and posted on Facebook minutes before broadcast.

PERFORMERS/PANELISTS

Hans Breder, artist and founder of the Intermedia program in 1968 at the University of Iowa. Ellen K. Levy, PhD, artist and Special Advisor on the Arts and Sciences of the Institute for Doctoral Studies in the Visual Arts. Raul Marroquin, artist and pioneer in Video Art and Media Web Conferencing. Herman Rapaport, PhD, philosopher of art, Reynolds Professor of English at Wake Forest University. Igor Molochevski, media artist and manager of Digital Technology at Pratt Institute. Caridad Botella, the Artistic Co-Director of SKLN gallery Bogota. Yolanda Duarte, performance artist, SKLN gallery Bogota. Carlos Cuellar Brown, performance artist, writer, and co-director of Unconscious Media.

Biographies listed below press release.

FOR IMMEDIATE RELEASE

Whitebox Art Center presents a Web Conference Panel Performance: UNCONSCIOUS MEDIA (Experiments in Intermedial Activism)

New York City – The explosive proliferation of digital media has opened new discussions in the understanding of human perception.

Whitebox Art Center stages this fall a unique experiment in intermedial activism when it hosts the web-conference: Unconscious Media. This web-conference initiated by Hans Breder will bring together a diverse group of experts, artists and performers to explore the wider perspective of digital media and quantum activism. Hans Breder has said: “Digital technology allows me to excavate new worlds of microcosmic event horizons. I aim for a dematerialization of content by entering into the microstructure of sound and imagery.”

Unconscious Media will be broadcast live on the world wide web and include four simultaneous city feeds (New York, Amsterdam, Bogota, Copenhagen) on a giant multi-screen on all three venues with: live interactive performances, digital art, discussion segments, audience participation and live social media feeds.

“Digital media has become a major force in society with great potential to play an active role in shaping art and society” contends Juan Puntes, Founding Director of Whitebox Art Center. “For the most part, the transformative dialogues of these intermedial body extensions, happen irrationally in the unconscious.” The artist can become a subliminal activist deploying technological appendages that interface and change our perceptions into surreal domains. “This is a paradigmatic change that disrupts conversations regarding the nature of reality and consciousness,” explained Carlos Cuellar Brown co-director for this web-conference event.

Unconscious Media will feature artists Hans Breder and Raul Marroquin (Pioneer in Video Art and Media Web Conferencing) as well as experts in art and philosophy such as Reynolds Professor of English at Wake Forest University, Herman Rapaport. A remarkable architect (tbc) has been invited as honorable panel member to share his knowledge on human perception and phenomenological space. Special appearances include: Ellen K. Levy, Special Advisor on the Arts and Sciences IDSVA. Caridad Botella, Artistic Director of SKLN gallery Bogota, featuring performance artist Yolanda Duarte, and in studio at the Whitebox performance artist and writer Carlos Cuellar Brown.

Finally audience and attendees will enjoy participation on live cams or by messaging chat board.

To find out more about the Unconscious Media Web Conference, visit www.whiteboxny.org     or write to us at admin@whiteboxny.org

For press materials, contact  press@whiteboxny.org

 

PERFORMERS/PANELISTS BIOGRAPHY

Hans Breder was born in Germany in 1935 and moved to NYC in 1964. His first exhibition in NY consisted of constructivist-aligned objects showcased at the Richard Feigen Gallery in 1967.

Breder created the first “Intermedia and Video Art Program” at the University of Iowa in 1968. This year, the Iowa program is included in the traveling exhibition Anti-Academy.

Breder’s time-based work has been included in several Whitney Biennials (1987, 1989, 1991).  In 2013, he has enjoyed a major retrospective of his media work at Ostwall Museum, Dortmund, Germany. His most recent moving images are presently shown at Whitebox Art Center.

His new paintings and recent video installations are grounded in an exploration of the neuro-opthalmology of image perception — continuing Breder’s 40-year interest in that medium. Working with a neuro-opthalmologist and a scientific imaging specialist, Breder utilizes the interactions of the retina’s color sensitive photoreceptor cone cells (S, M, and L) by converting the cells’ differing spectral sensitivities into RGB print values. The result is paintings whose vibrating color space, where image and afterimage interact, recall the utopian optical constructivism of painters like Wojciech Fangor, as well as the meticulously photoshopped, if blithely neutered, color field photography of younger artists like Cory Arcangel.

Dr. Gregory L. Matloff is emeritus associate and adjunct associate professor of physics at New York City College of Technology (CUNY), having also coordinated the astronomy program at that institution. Dr. Matloff has consulted for the NASA Marshall Space Flight Center; he is a Fellow of the British interplanetary Society, and a Corresponding Member of the International Academy of Astronautics. His pioneering research in solar-sail technology has been utilized by NASA in plans for extra-solar probes and in consideration of technologies to divert Earth-threatening asteroids.

Igor Molochevski is a new media artist, film-maker, and photographer. His work — defined by the destructuralization of visual and conceptual paradigms — is based on the integration of mixed media and technology.  Molochevski’s workflow includes live coding, interactive and generative programing, kinetic sculptures, sound design, and digital imaging.

Raul Marroquin was born Bogotá, Colombia in 1948. As an early pioneer of video art starting in 1968 published Fandangos, an artist magazine; followed by other initiatives like the Kremlin Mole published in Amsterdam during the 1980s. After a series of experiments with national television stations in several European countries, he began to explore the possibilities of cable television in Amsterdam and in 1990 co-authored Time Based Art Television. He currently lectures and conducts workshops at various institutions such as the Center for Advanced Visual Studies at MIT, among others.

Yolanda Duarte is an artist based in Bogotá, Colombia. Her work explores the relationship between nature and technology as it pertains to experiences of the human body through the use of experimental interfaces, software and apps created for mass media.

Caridad Botella is an art historian, film scholar, art and film writer, organizer, freelance lecturer on film theory, and cell phone made cinema based in Bogotá, Colombia. She studied at the University of Amsterdam, there acquiring a Master’s Degree in Film Studies and completing her Master’s thesis in Mobile-Phone Cinema. She’s written on the subject for several publications such as: CINEMASCOPE Independent Film Journal, Off Beat Cinema, and Artpulse.

Ellen K. Levy, a New York-based artist with special expertise in the interface between art and science. Levy has had numerous group and solo exhibitions in the US and abroad at venues such as: the National Academy of Sciences (1985), the 2nd Moscow Biennale in Petroliana (cur. E. Sorokina, 2007), the Boulder Museum of Contemporary Art in Weather Report: Art & Climate Change (cur. L. Lippard, 2007), and Michael Steinberg Fine Art in New York City (2009). She will be teaching a seminar on art and neuroscience this coming spring at The New School.

Herman Rapaport is Professor of English at Wake Forest University. He is a critical theorist who has written on art, television, literature, music, performance, philosophy, and psychoanalysis. Among his books are Heidegger and Derrida, The Theory Mess, and The Literary Theory Toolkit.

Carlos Cuellar Brown was born in Bogotá, Colombia and is a time-based artist in New York City. He is an essayist who has written on media art, performance, social theory and metaphysics. Currently, he is a columnist for Second Sight Magazine and the Fullinsight blog page out of the Netherlands. His essay on Intermedia and Consciousness: Intermedial Being will be published this fall in (A Journal of Performance and Art) PAJ 106 issue.

The DownTown Ensemble

DownTown Ensemble

“In so many words…”

“This intrepid group of conceptualists cuts no aesthetic corners.” (The Village Voice)

On Wednesday, June 26, at 8pm, the DownTown Ensemble will perform a program emphasizing music featuring the spoken word. In this vein, the poet/musician George Quasha will present a specially created, new piece Axial Transmission, part of his series of Axial Music. Other new word/music works will be premieres by Daniel Goode, Co-Director of the DownTown Ensemble, and Ensemble member, Alex Waterman. Featured performer/reciter will be longtime Columbia County resident, Bill Hellermann. Also on the program will be a new composition by Leyna Marika Papach and a trio by the renowned composer, Jon Gibson.

Featured instrumental performers will be downtown stalwarts Alex Waterman and Daniel Goode, as well as guest artists Leyna Marike Papach and Charles Stein.

George Quasha, artist and poet, explores a principle (axiality/liminality/configuration) in language, sculpture, drawing, video, sound, installation and performance. Most recent of his 17 books are Axial Stones: An Art of Precarious Balance (2006, foreword Carter Ratcliff); An Art of Limina: Gary Hill’s Works and Writings (2009, with Charles Stein and foreword by Lynne Cooke); Verbal Paradise (2011, preverbs) and Scorned Beauty Comes Up From Behind (2011, preverbs). A 2006 Guggenheim Fellow in video art, his art is: Speaking Portraits recorded over 1,000 artists/poets/composers in 11 countries, which is available online at www.quasha.com. He often performs with Gary Hill, Charles Stein, David Arner and John Beaulieu.

Axial Transmission (approx. 10 min.) is a work of “axial music,” which follows a principle of spontaneous composition without reference to precedent or previous patterns. The music is guided instead by a radical following of actual sounds and languages generated. The emerging sound event is presumed to have an intelligent life independent of the musicians and hence may produce an altered state of listening. In addition to sound and language events, the performance has visual components and sometimes includes video or live axial drawing. In this performance poet/artist/musician Charles Stein contributes vocal-axial-abstract language in dialogue with George Quasha’s axial percussion.

Jon Gibson is a composer, multi-wind instrumentalist and visual artist who has been active in new music since the 1960’s. His output includes music for solo instruments, various ensembles, dance, music theater, film and opera. His music has been performed worldwide by his own groups and others, including the S.E.M. Ensemble, DownTown Ensemble, TILT Brass and Ne(x)tworks. He has performed and collaborated with a host of musicians, choreographers and artists, including Merce Cunningham, Nancy Topf, Nina Winthrop, Lucinda Childs, Harold Budd, Thomas Buckner, David Behrman, Petr Kotik, Alvin Curran, Terri Hanlon, and JoAnne Akalaitis. Gibson was involved in the early work of Steve Reich, Terry Riley, LaMonte Young and Philip Glass, and has been a member of the Philip Glass Ensemble since its beginnings. His work Chorales for Relative Calm has been extracted from a larger work, entitled Relative Calm (1981) that was commissioned by the Lucinda Childs Dance Co. as a part of an evening-length work of four pieces.  “Chorales” consists of a series of short, repeated stop-and-go pieces that is reminiscent of the chorale form (hence the title) in three-part harmony, for any combination of pitched instrument.

Daniel Goode, is Co-founder/Director of the DownTown Ensemble, formed in 1983. In 2004 he initiated the Flexible Orchestra, a rethinking of the symphony orchestra. In its 10th season, he has composed six works for the Flexible Orchestra in various orchestrations. A new CD on New World Records will have his work for the orchestra, Annbling. His innovative music for solo clarinet includes Circular Thoughts (Theodore Presser Co.) and Clarinet Songs on the XI label. His music has been in national and international festivals including New Music America and Bang on a Can, Sounds Like Now. His works are available at Frog Peak Music, www.frogpeak.org. His web site is www.danielsgoode.com

Goode’s new work Interpolating is the latest in a series of texts he has composed for Bill Hellermann to recite, with music accompaniment by the DownTown Ensemble. The text narrates the sometimes fantastical events in the life of the Ensemble. Most prominent is a “guerrilla” performance in the ground floor bar of the Trump Soho in the very neighborhood that gave rise to the group, some thirty years ago when Soho was the experimental laboratory of many groups in the arts. The music chosen to go with Bill Hellermann’s narration is taken from the last thirty years of the DownTown Ensemble’s repertoire.

Leyna Marika Papach, when writing wait game, imagined animating the air around an unsolved crime – the charged air moving, talking and waiting for relief. She is a composer, artist and violinist from Japan and the United States. Her work ranges from chamber music to musical theater pieces where text, dance, music and video work together to tell a story. Her work has been performed in Western and Eastern Europe as well as in Japan and the US. As a violinist and improviser, she performs her own work as well as interpretive work with bands and composers (Geraldine Fibbers, JG Thirwell/Monerexia and many others), occasionally performing as an accompanist of Ragas (North-Indian traditional music). She is currently working on a dance-theater piece as a long-term resident artist at the HERE Arts Center, NY. Ms. Papach studied violin at the Prague Academy of Music and has a Masters in Theater from Dasarts, Amsterdam.

Alex Waterman has worked with musicians such as Robert Ashley, Helmut Lachenmann, Marina Rosenfeld, Anthony Coleman, Elliott Sharp, Ned Rothenberg, Gerry Hemingway, Chris Mann, and Alison Knowles. He is publishing a book about the composer Robert Ashley (coming out this summer). Alex participated in the Armory for the 2008 Whitney Biennial writing a new work based upon Herman Melville’s Bartleby the Scrivener. He is currently producing and directing an all-new Spanish language version of Robert Ashley’s classic television opera, Perfect Lives. Waterman teaches at the MFA program at Bard College and will be teaching at the Banff Centre for the Arts in August this year. His writings have been published by Dot Dot Dot, Paregon, FoArm, BOMB and Artforum.

This performance of Beacons of Ancestorship will consist of selections from the first 63 landscapes of the film script. The final script will have closer to one thousand. The script is based on the original 128-page poem by John Barton Wolgamot, in which each page is a landscape composed of the names of writers, artists and librarians. Beacons is a highly subjective rendering of the poem into a film script that brings to life the memory theater that Wolgamot created in which every name in the poem contains all the others. Waterman’s piece has existed in several forms: installation, publication and radio-play. In the present iteration Bill Hellermann narrates a live radio piece with live Foley and musical accompaniment by the Ensemble.

Bill Hellermann, well known as a composer guitarist in the downtown scene in the 70’s through the 90’s, has in the last ten years increasingly appeared as a reciter/narrator of texts in experimental music works. Among his many awards is a Prix de Rome from The American Academy in Rome. As a curator at PS 1, the Clock Tower and the Alternative Museum, he launched some of the first exhibitions of sound sculpture and audio art, and in the process bringing into usage the term “Soundart”.

The DownTown Ensemble was founded in 1983 by its Co-directors, Daniel Goode and William Hellermann, as a response to a perceived need for repertoire customarily under-represented in today’s new music world. “This intrepid group of conceptualists cuts no aesthetic corners” (The Village Voice). The Ensemble has made its reputation performing a number of different types of experimental music, such as: traditionally notated and graphic music scores; sound/text music; ritual/intermedia pieces; performance art and Fluxus; improvisation in a number of traditions; large ensemble scores for variable (unspecified) instrumentation; and interactive computer music. The group regularly features composers performing and directing their music often written expressly for the Ensemble. There have been over 150 such collaborations since the group’s inception. www.soundart.org/dte.html

This program is made possible with public funds from the New York State Council on the Arts, a State Agency and private contributors.

FILM NOIR MACHINE

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“Oan Kim: One Second Diary

October 22 – November 5, 2011

Concert and Video Performance
Tuesday, November 1, 2011 at 7:30 pm @ WHITE BOX

In participation of Performa ’11, the most important performance biennial in NY, White Box will present ‘Film Noir Machine’ a concert and video performance by Oan Kim. It is a 30-minute audio-visual concert performance featuring original music and video by the artist.
The viewer will be immersed in a unique and vibrant experience for the senses, through a vivid collage of colorized old movies, accompanied with music that uniquely combines sixties jazz a la Miles Davis with the raw energy and attitude of rock music.
Through this presentation, the artist seeks to create a loose but palpable narrative exacerbating senses and emotions of fear, anger, ecstasy, and melancholy. Through the confusion of a bad dream unfolds an intense contemplation of memories and time.

QUIET

MA.P.S Quiet


JOSH HARRIS
A SCREENING PRESENTED BY MA.P.S @ WHITE BOX
OCTOBER 21, 2011. 8-11PM

The documentation of his 30-day 1.5 million dollar happening, or “millennial party.”

A CALL

MA.P.S A Call


WAFAA BILAL
PRESENTED BY MA.P.S
SEPTEMBER 23, 2011. 11:30AM – 1:30PM

The Back Room presents a concurrent opening and dialogue between Tehran and NYC.

This spring, Wafaa Bilal was invited to participate in “Requiem for Innocence” at Aaran Gallery, Tehran. With over eighty Iranian performers, an empty pool, and five cameras, he developed “A Call” as memorial to the dead, the living, and the forgotten of the Iran-Iraq War (1980-1988).

As the Iranian government denied Bilal an artist’s visa, he will be attending the exhibition remotely, from a parallel opening at White Box in New York City. A video of Aaran Gallery, the installation, and its visitors will stream live on White Box’s walls, and attendees from both cities will be able to converse via the Internet. This mediated performance will enact the dislocations, delays, and ruptures that war breeds.

Co-curated by Ava Ansari and Molly Kleiman of The Back Room

Aaran Gallery, 
9 Dey St., North Kheradmand Ave.
Tehran

EAR TO THE EARTH

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New York Soundscape
October 29 – November 1, 2010
Multimedia Production October 30, 2010 (matinee)
Concert Performances October 30, 2010. 8PM

EAR TO THE EARTH 2010 : WATER AND THE WORLD
The Electronic Music Foundation’s fifth annual festival of environmental sound art, Ear to the Earth 2010, brings music, multimedia, and marine sciences together to explore the present and future of water and the world.

NEW YORK SOUNDSCAPE will be held at White Box with a combination of installations, performances, and a multimedia theatrical production, from artists Miguel Frasconi, Jennifer Stock, Paula Matthusen, Aleksei Stevens, Sheila Callaghan, Katie Down, and Daniella Topol.

INSTALLATIONS: Thursday, October 28 – Monday, November 01

Jennifer Stock: At Water’s Edge
For Ear to the Earth 2010, Jennifer Stock is creating an installation that focuses on the shifting light of Brooklyn waterways. With the quality of light always changing across its surface, Waterfront Brooklyn gives residents an unusual vista, creating a compelling, shifting atmosphere in a city often challenged for unrestricted access to light.

Liz Phillips: Here/Hear: Manhattan is an Island
So Manhattan is an island. Can we listen to its waters as if in a rowboat? Can we record the tides from every direction as they wash against the island? Dedicated to the memory of Maryanne Amacher, this installation uses synchronized recordings taken from multiple locations on the water and plays them back through transducers of
wood, shells and bamboo – evoking the places where the recordings took place and memories of the water there.

MULTIMEDIA PRODUCTION: Saturday, October 30 (matinee)

WATER (or the secret life of objects)
Sheila Callaghan: Playwright, Katie Down: Sound Artist, Daniella Topol: Director
WATER (or the secret life of objects) aims to illuminate struggles and water – including access, purification, and privatization – while exploring water as a life force, an object of political debate, and a powerful and beguiling element. Combining visual art installation with fragmented scenes, videos, sounds and audience interaction, WATER explores how we as a global community overcome tragedy, surrender to it, or exist in the spaces between.

CONCERT PERFORMANCES: Saturday, October 30, 8pm

Miguel Frasconi: Untitled

Aleksei Stevens: Standing Water: Sound Map of the Gowanus Canal, 2010

Paula Matthusen: Navigable

Miguel Frasconi’s work transforms information on NYC water consumption, and the journey taken from its source to its destination, into a score to be performed on invented instruments inspired by water as a physical material.
Aleksei Stevens made recordings of the Gowanus Canal in order to isolate its sounds from the highly visible evidence of its pollution, only to find the resulting recordings eerily devoid of not only the typical sounds of wildlife (save the odd gull), or those of ships and docks, but indeed the very sounds of water itself.
Paula Matthusen presents a theme and variations based on the resonant frequencies of the Atlantic Avenue Tunnel – a space not only renowned for its significance in the development of subways, but also as a site of cultural intrigue.

For more EAR TO THE EARTH 2010 events, please visit www.emfproductions.org

ABOUT THE ARTISTS

SHEILA CALLAGHAN is a playwright whose works have been produced and developed with Soho Rep, Playwright’s Horizons, South Coast Repertory, Clubbed Thumb, Actor’s Theatre of Louisville, New Georges, and Moving Arts, among others. She has received numerous awards, including two Princess Grace Awards, an LA Weekly Award, a Jerome Fellowship, a Chesley Prize, grants from NYFA and NYSC, and a Mac Dowell Residency.

KATIE DOWN is a sound artist, composer, performer, and sound designer for theatre, film, video, and dance. She also performs regularly with The Ukuladies, where she sings and plays ukuleles, as well as various toy instruments. As a theatre artist, she has traveled extensively throughout Eastern Europe, the Balkans, and South Africa.

MIGUEL FRASCONI uses electronics and a menagerie of glass objects to create music from a uniquely imagined tradition. His glass instruments are struck, blown, stroked and otherwise coaxed into vibration. Miguel has worked closely with composers John Cage, Jon Hassell, James Tenney, Morton Subotnick, and dance pioneer Anna Halprin.

He was a founding member of the new music ensemble The Glass Orchestra.

PAULA MATTHUSEN is a composer and sound artist who creates electronic and acoustic music and installations.
She has written for diverse instrumentations, such as “run-on sentence of the pavement” for piano, ping-pong balls, and electronics. Her work has been featured at numerous venues and festivals, including Roulette Intermedium, Merkin Concert Hall, Sonic Arts Research Center, Tanglewood Festival of Contemporary Music, and SEAMUS.

LIZ PHILLIPS is a New York based artist who has been making interactive multi-media installations for 40 years.
She creates responsive environments sensing wind, plants, fish, audience, dance, water, and food. Her work has been exhibited at art museums, alternative spaces, festivals, and public spaces including The Whitney Museum of American Art, the San Francisco Museum of Modern Art, Ars Electronica, and The Kitchen.

ALEKSEI STEVENS is a composer, sound artist, and laptop performer based in Brooklyn, NY. His work incorporates traditional instruments with found sound and interactive computer music, and has been performed in the US and abroad. He has presented work in festivals including Make Music NY (NYC), Ear to the Earth (NYC),
Source (Washington, DC), and Tevereterno (Rome).

JENNIFER STOCK is a composer and video artist living in Brooklyn, NY. She creates audiovisual pieces that focus on landscape, “transform[ing] nearly recognizable figures into dancing geometrical patterns and ghostly apparitions.”
(Steve Smith, New York Times) She released En Plein Air, a DVD of her audiovisual works, at Roulette in October.

DANIELLA TOPOL is a New York based freelance theater director primarily focused on working with writers to develop and direct relevant and adventuresome new plays and musicals. Recent credits include: Susan Yankowitz’s
NIGHT SKY (Baruch Performing Arts Center), Judith Thompson’s PALACE OF THE END (Epic Theatre), Trista Baldwin’s SAND (Women’s Project and Productions), and Sheila Callaghan’s DEAD CITY (New Georges).

FRENCH CONNECTION + ELLIOT SHARP TECTONICS

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The French Connection + Elliott Sharp’s Tectonics + White Box

June 24th, 2010, 8:00 PM @ WHITE BOX

A freeform meeting between two French musicians and two New York musicians spanning the spectrum between improvised and composed, noisy and tranquil, loud and soft, formal and irrational, acoustic and electronic.

In addition, Sharp will perform music from his new solo Tectonics CD “Abstraction Distraction” on the French label Autres Cordes. This is the latest installment of his continuing exploration of jungle, dub step, free jazz, and psychedelica in his Tectonics series which began in 1992 with the eponymous Tectonics and continued with Field & Stream and Errata.
Elliott Sharp is a composer, multi-instrumentalist, and producer and central figure in the avant-garde music scene in New York City for over thirty years. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction. His collaborators have included Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Radio-Symphony of Frankfurt; pop singer Debbie Harry, computer artist Perry Hoberman; blues legends Hubert Sumlin and Pops Staples; jazz greats Jack deJohnette, Sonny Sharrock, Oliver Lake, and Billy Hart; turntable innovator Christian Marclay; and Bachir Attar, leader of the Master Musicians Of Jahjouka from Morocco. Sharp¹s work was featured in the 2008 New Music Stockholm festival with the premiere of ³Sidebands² and at the Hessischer Rundfunk Klangbiennale in May 2007 with the premiere of his orchestral work ³On Corlear¹s Hook². He is now woorking on a commissioned opera for the Bavarian Opera in Munich. The documentary film about Sharp¹s work by Bert Shapiro, ³Doing The Don¹t², has just been released on DVD and screened at international film festivals.

Franck Vigroux works in the fields of electronic music, new media, composition and improvisation. He leads many bands and projects such as Push the triangle, Supersonic Riverside Blues. He has played or recorded with musicians such as Bruno Chevillon, Elliott Sharp, Marc Ducret, Ben Miller, Helene Breschand, Joey Baron, Michel Blanc, Stephane Payen,Andrea Parkins, Matthew Bourne, Edward Perraud, writer Kenji Siratori, video artists Scorpene Horrible, Philippe Fontes, Mariano Equizzi. In 2009 he won the prize Villa Medicis Hors les Murs for an artist residency in New York. Franck Vigroux is also the founder of d¹Autres Cordes a record label dedicated to aventurous music. He has played in hundreds of festivals and clubs in Europe and Asia, as a guitarist or turntablist and conducted improvisers orchestras worldwide ( Nagoya, Barcelona, Leeds,etcŠ), he has been commissioned by Ars Nova ensemble instrumental and Radio France . He also presents audiovisual installations such as Recolte and O. Recent works for theater ³septembres² by philippe malone, music for films ³the nishiazabu affair² by mariano equizzi, ³dust² 30mn, directed by franck vigroux in 2007, ³recolte² video suite, 2009, by franck vigroux.

Zeena Parkins Multi-instrumentalist, composer, improvisor, well-known as a pioneer of the electric harp she describes her harp as a ³sound machine of limitless capacity². Zeena¹s unique vision is one that seeks to both meld and highlight opposites. She has broken musical boundaries to create a highly personal and stunning body of work. Or, to quote the WDC Period ³Music that makes you hike up your britches and howl like a coyote².

Helene Breschand was born in Paris and became very fascinated by the harp at an early age. She discovered in the 1970’s the full spectrum of contemporary music from serial to free-jazz and new technologies and joined the Conservatory of Paris to study harp with Brigitte Sylvestre who opened her mind to a different approach of the instrument. Shefocussed ona represention for the hinge between written music and improvisation. She performs extensively as a soloist and in the worlds of improvisation, musical theater and the plastic arts and works with composers Luciano Berio, Emmanuel Nunes, Yoshihisa Taira. Among her groups, there is the Trio Hélène Breschand with Sylvain Kassap and Didier Petit; the duet “sombre” with guitarist Jean-François Pauvros and the group LABORINTUS. Her solo CD “Le goût du sel” has received widespread acclaim.
http://www.myspace.com/helenebreschand – http://www.helenebreschand.fr/

Made possible with the support of the Cultural Services of the French Embassy, FAJE, Chamber Music of America, the Doris Duke Charitable Foundation, the Florence Gould Foundation, SACEM, and CulturesFrance.

DEFRAGMENTED

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Defragmented: a concert of emergent systems
Featuring Marko Timlin and thenumber46 (Suzanne Thorpe + Philip White) + special guest Gill Arno
Tuesday, April 13, 2010
8:00pm

Defragmented: a concert of emergent systems, features Finnish-based composer/sound artist Marko Timlin alongside thenumber46, the collaborative effort of electro-acoustic flutist Suzanne Thorpe and electronic musician Philip White. Both Timlin and thenumber46 employ improvisation and non-linear analog systems to create music in which a delicate balance exists between the human and machine. A music at once intuitive and mechanical. Explosive and subdued. Violent and meditative. For the NYC show, Gill Arno will present a piece made of sequences shot in the foggy/snowy Italian plains where he spent his adolescence, with a live soundtrack drawn from more recent abstractions. With this work he will engage psychological and technological devices used to construct an ever-dissolving, continuously redefined sense of self.

Bios:

Marko Timlin is a Helsinki-based sound artist, composer, musician and inventor of virtual and analogue instruments. He has developed an intuitive interaction with electronic media, creating his own unconventional sound adventures in an improvisational context challenging to both the ear and the mind. Maintaining a delicate balance between order and chaos, his music happens in real-time, often surprising the artist as well as audience. His performances are effectively a dialog between man and machine.

Timlin founded the Berlin-based group tritop with Antye and Jotka of Laub, with whom he released 2 CDs and a Vinyl-maxi on INFRACOM records. His collaborations include Merja Nieminen, Kristina Frei (Zeit_Raum), Klaus Janek, Pink Twins and Petri Kuljuntausta (Helsinki Invasion), NewImproMasters, Laub, Tarwater, Rope, Foo Fanick and the 17 Hippies. He has toured extensively throughout Europe with his “Sensor-Sound-Machine” instrument. http://www.timlin.de/

thenumber46 push and coax feedback systems, physically and psychologically, into ultimate audible terrains, extracting sonic extremes from their instruments and themselves. Consisting of Suzanne Thorpe on flute and electronics and Philip White on electronic feedback, the duo improvise on the precipice of unpredictable sounds, exploiting the volatile and explosive in their music. They have toured throughout the U.S., performing at galleries and venues including the Fractal Mind Gaze Hut, Oakland, CA; OK Mountain, Austin, TX; Redux Contemporary Art Studios, Charleston, SC; Monkeytown, Brooklyn, NY; The Stone, NYC; and the Pyramid Atlantic, MD. Their recording, bleach and ammonia, was recorded at the Center for Contemporary Music at Mills College, Oakland, CA, and recently released in limited-edition cassette format on Tape Drift. http://thenumber46.com/

Suzanne Thorpe is a composer, improviser, educator and curator. She has performed with Chris Brown, David Dove, Annette Krebs, Maggie Nicols, Bhob Rainey, Pauline Oliveros, Gino Robair, Zeena Parkins, Ulrich Krieger and more at places such as Issue Project Room (NYC), The Stone (NYC), Diapason (NYC), the Activating the Medium Festival (SF), the No Idea Festival (Austin), etc. In another life, she is a founding member of Mercury Rev, with whom she worked from 1989 � 2001, a member of The Wounded Knees and can be heard from time-to-time mucking it up with J Mascis of Dinosaur Jr., all three of whom she played with at 2009’s All Tomorrow’s Parties: The Nightmare Before Christmas in England. http://www.suzannethorpe.com

Philip White�s performances center on a non-linear feedback system, which consists of a mixer and several homemade circuits. In addition to his work with analog and digital electronics, White has written extensively for chamber ensembles and created a large body of inter-media pieces that explore meaning in information transmission. His works have been exhibited in galleries across the US and Germany. In addition his solo performances he currently works with Suzanne Thorpe (thenumber46), Chuck Johnson (with chuck johnson with philip white) and Ryan Talman. Recent and upcoming performances/exhibitions include Bent Festival 2010, New York City Electro-Acoustic Music Festival, Diapason (NYC), The Stone (NYC), Sonic Circuits (DC), Redux New Media Festival (Charleston, SC) and Galerie Neurotitan (Berlin). Philip was recently awarded a Meet the Composer Creative Connections grant. http://www.prwhite.net/

Gill Arno was born in Italy and lives in Brooklyn, NY. His work explores areas where sound and image overlap, and is often constructed with found objects and found sound. He is known for his project mpld in which he utilizes two modified slide projectors to create performances where static images become pulsating and fade continuously into one another. The projector’s mechanical sounds are tapped and manipulated to reveal their musical potential. Other activities include performances with the New York Phonographers and in various other collaborative and improvised settings. He publishes books, recordings and other multiples via his own imprint, Unframed Recordings, and runs Fotofono, a small studio in Brooklyn where sometimes public events are held.