Michael Vincent Waller + Dan Joseph Ensemble + Morton Feldman’s Palais de Mari @ ISSUE Project Room Next Friday

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2/25 8PM
ISSUE Project Room
232 3rd St. Brooklyn

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Program (from first to last):

Michael Vincent Waller – Guitar Quartet No. 432, CRITICAL CHORD

Morton Feldman – Palais de Mari (performed by David Broome)

Marc Chan – Repeated Measures (performed by David Broome)

Dan Joseph – Tonalization (for the afterlife)

Dan Joseph – Percussion and Strings

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Michael Waller’s Guitar Quartet No. 432, CRITICAL CHORD is new composition that explores just-intonation, spectral phenomenon, and ecstatic binaural immersion: where the harmonic series based tuning has a fundamental of 432 Hz, a pitch deeply intertwined in nature, with cosmic proportion to the universal constant speed of light. The piece slowly unfolds the harmonic seventh chord (7/4): introducing beating tones which massage the original harmonic skin of the “critical chord”.

He will be performing this work with John P. Hastings, James Ross, Alex Carpenter, and Chris Morda.

Michael Vincent Waller is a New York City based composer and visual artist, studying vocal raga and composition with La Monte Young and Marian Zazeela. This has provided a beautiful inspiration to his focus on modal, drone, and electronic means. The deep intrinsic experience of involving overtones is the essence of his canvas of acousmatic and spectral composition. Michael endorses the phenomenologist approach to sound as his “central attitude” and manual for being. He has performed/collaborated with Sean G. Meehan, Tom Chiu, Alex Waterman, Ha-Yang Kim, Daniel Panner, Yvonne Troxler, Gregor Kitzis, Sabir Mateen, Christine Bard, Erica Dicker, Michael Seltzer, Benjamin Herrington, Elizabeth Hoffman, and Andrew Lafkas – performing ensemble works at venues ISSUE Project Room, Tenri Cultural Institute, Diapason Sound Gallery, Paris London West Nile, Port d’ Or, Glasslands, and The Living Theatre.
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David Broome plays Morton Feldman’s Palais de Mari & Marc Chan’s “Repeated Measures”

A diverse pianist/composer of great imagination, David Broome’s curiosity for music has led him to create new possibilities for the concert stage. His recitals have been appreciated in America and across Europe and he has been described in the New York Times as a “deft and focused performer,” and as an artist who composes “juicily atmospheric music.” David regularly performs with and writes music for EnsemblePamplemousse, as well as more theatrical, performance art groups – Tall Brown Bootsand Corky Has a Band. David holds a Master’s of Music from the Manhattan School of Music and a Bachelor’s of Music from Towson University where he studied with Phillip Kawin and Reynaldo Reyes.

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The Dan Joseph Ensemble was founded by New York-based composer Dan Joseph as a vehicle for his growing body of post-minimal compositions. With a unique instrumentation anchored by hammer dulcimer and harpsichord, a mix of winds, strings and percussion, the ensemble sound is harmonically rich and deeply resonant, evoking a musical world both old and new; ancient and modern.

Tonight’s program will include an encore performance of Tonalization (for the afterlife) and the 2004 quintet Percussion and Strings.

Described as ”one part classical minimalism, one part rustic European mountain music. . . and maybe one part sunshine” (Time Out New York), and “hypnotic webs of sound reminiscent of early minimalism and psychedelia” (Newmusicbox.org), the ensemble has been active in New York City’s lofts, galleries and concert stages since 2002. The group’s first CD, Archaea (Mutable Music, 2006) helped find an international audience for the composer’s work.

Following three New York performances in spring 2010 of Dan’s newest work for the ensemble, Tonalization (for the Afterlife), an expansive 35-minute multi-movement work that takes the ensemble deeper into the composer’s ecstatic realms of rhythm and color, a second Mutable Music CD release is scheduled for Spring 2011.

Also during the first half of 2011, Joseph will be an artist-in-residence at The Vaults at 14 Wall Street through the Lower Manhattan Cultural Council’s Swing Space program where he will workshop and perform new works for the ensemble. The current lineup features Tom Chiu (violin), Loren Dempster (cello), Maria Ilic (harpsichord), Leah Paul (flute), Danny Tunick (percussion) and the composer on hammer dulcimer.

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http://www.issueprojectroom.org/music/dan-joseph-ensemble/

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Alvin Lucier
Almost New York

Out now on Pogus Productions

Pogus is extremely delighted to release this 2 CD set of recordings of works by Alvin Lucier. He is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. A unique and individual artist: No one sounds quite like Alvin Lucier.

Lucier writes about the genesis of the works on this release:

“Since the early 1980′s I have made a series of works for conventional musical instruments. Before that time I had been mainly occupied with the exploration of such phenomena as echoloca-tion, brain waves, room acoustics and the visual representation of sound. Often these works required special equipment-hand held pulse wave oscillators (Vespers), differential amplifiers (Music for Solo Performer), horseshoe magnets (Music on a Long Thin Wire). Then players began asking me for pieces. Now I needed to find a way of achieving the same poetry with acoustic instruments as I did with electronic means.

“One of the things I discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. Often, to get continuous motion, I have one or more voices sweep up or down at various speeds against fixed sustained pitches. As a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. Almost New York employs slow sweep pure wave oscillators, Broken Line, flute glissandi. In Twonings two different tuning systems collide and in Coda Variations slight variations in pitch are heard chronologically.”

Recorded by Charles Curtis, Joseph Kubera, Robert Dick, Danny Tunick, and Robin Hayward – some of the leading new music performers of our era, these works are essential additions to the Alvin Lucier oeuvre, as well as satisfying anyone interested in great experimental music.

Drinking The Goat’s Blood

Assorted Performers

On Record Label Records

Focusing on sound design and atmosphere, consider Drinking the Goat’s Blood experimental, but not in the typical sense of noise, ambient or improvisational music. Rather, it is a series of often disparate elements that have been lovingly arranged and ritualistically hewn into a seamless psychedelic pastiche. Wobbly, fresh off his VS album with Matmos, offers up hyperkinetic musique concrete’ lullabies. Candle Labra concocts rich, detailed synthesizer textures that could easily be confused for field recordings, as they hover right on the edge of the auditory uncanny valley.

 RLR is very excited to share with you new & exclusive works from acts on Hymen, Ant-zen, Phthalo, Acroplane, Skam, Tear, Highpoint Lowlife, Sub Rosa, Rephlex, Brainfeeder and Important Records as well as its own cast of characters. An American debut from one of the three featured Japanese artists is included as an online bonus track, and perhaps most notably, a never-before-heard track dredged up from the archives of  ’80s self-released act Senryl.”

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Hope Afloat from Brydee Rood on Vimeo.

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Robin Williams
Rescue Party
 
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January 27 – February 26, 201
 
Opening Reception:
February 3, 6-8pm

 
P·P·O·W is pleased to present Robin Williams’ first solo exhibition, Rescue Party.  Through a series of eleven paintings, Williams reveals a surreal world inhabited by adolescents of ambiguous gender that are on the brink of discovery or revelation.  Each painting has a distinct narrative but with no specific conclusion.  There is a sense of pause in each work which heightens the sense of the impending chance for change.  Williams is able to achieve this surreal timelessness through her painting techniques.  While at once employing traditional painting methods, she is also experimental and intuitive.  Her use of color, light, texture and composition are all used to explore painting as a medium and to link this to the conceptual content within each work. 
Click here to continure reading press release…
 
 
* NEW ADDRESS 535 W. 22nd Street, 3rd Floor, New York, NY 10011   VIEW MAP

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In Our Name
The Commons Project
Adam Art Gallery

4 sound performances
4 public/private venues

January – April 2011
Free admission

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Richard Francis (Auckland)
and Jason Kahn (Zürich/Los Angeles)
Sunday 30 January 7pm
Royal Antediluvian Order of Buffaloes, Bats Theatre, 1 Kent Terrace

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Campbell Kneale (Wellington)
and Alan Courtis (Buenos Aires)
Thursday 3 February 6pm
James Smith Carpark, 162 Wakefield Street

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David Watson (Auckland/New York)
and the New Zealand School of Music
Sunday 20 February 12noon-1pm
Parade commencing from the Adam Art Gallery 12 noon, culminating in a performance at the Embassy Theatre, 10 Kent Terrace 1pm
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Annea Lockwood (New York)
Wednesday 27 April 11am-5pm
Peter McLeavey Gallery, 147 Cuba Street
What and where are the commons today?

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The commons is a space where resources are collectively owned or shared. Deriving from pre-industrial agrarian times, the commons was a demarcated site that could not be commodified. It was neither public nor private. The commons was managed by the local community which advocated for inclusivity and shared activity.

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This project seeks to establish the commons again within the fabric of Wellington city. It calls on the community to gather in our urban environment and to claim space outside the market paradigm. It advocates for a common ground and collective experience.

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To locate a space between public and private is to acknowledge that our environment is determined by power relations. The difference between what is private and what is public is marked by who is given access and for what ends. Finding somewhere between these definitions is to open up possibilities for action and to enable new meanings to take shape.

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Right now we are living in a time of commercial contradiction: between hyper-capitalism and economic instability. There is also renewed investment in developing communities based on effective conservation and resource management. Here, in the space of negotiation—between community needs and capital enterprise, between the commercial agenda of the street and the city’s endorsed behaviour as a creative capital—a commons may be established. The proposition of this event is that this can be effected through sound.

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Music is a popular medium. It creates shared states of being. It is undeniably pervasive. It cannot be ignored. People who make music do so together in the spirit of community and without regard for the structures of class. Music for this project is a tool, a means to explore an alternative to today’s rampant culture of consumption and propose other ways of communicating.
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The Commons Project will not simply deliver music freely. It will challenge expectations of what music can be—delving into electronic sampling, score-based instrumentation and processional sounds—and where it should be performed. We have set a challenge for participants, by inviting them to work in city sites that are either unfamiliar or that test expectations of where one might hear sounds performed.

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This series is based on collaboration. The collective dynamics explored by each performance will not only build relationships between sound and site but will also connect local practitioners with artists from other places with potentially long-term effects. The aim is to establish common ground not only in the public/private spaces where performances will be staged but in the connective threads that will stretch in many directions from this point.
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Through the pervasive and popular medium of sound, this series of performances aims to empower an understanding of community and to re-imagine the commons as a public space to be re-claimed In Our Name.

Laura Preston – Curator

www.adamartgallery.org.nz

Jan. 14(Fri) ＠ Nan-Hai Gallery

NewIdeas MusicSeries

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Sunday, January 16 at 9:00pm – January 17 at 12:00am
Pianos 158 Ludlow Street

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Elizabeth Hoffman

Professor of Music, Director of NYU Graduate Studies

Creative work spans acoustic, electroacoustic and computer music composition, and revolves increasingly around paradigms with constructivist elements, especially regarding an emphasis on the sonically tactile or textural. Acoustic music includes experimental instrument design. Recent electroacoustic music explores commentary between the musical and the ‘real’ (e.g., sampled) sound domains; and juxtaposition of sound that is visually evocative with that which spawns a purely auditory focus. Work in progress involves real-time processing for spectral distortions of original sounds.

Research interests have centered around theories of musical analysis; analytic models for contemporary musics with fundamentally timbral orientations; the structure-affect relationship especially as it impacts listener dynamics; compositional applications of the pitch continuum, stochastics, and computer-assisted techniques. Recent interests include gender issues in the field of music technology; and historical/cultural premises as they impact esthesis and poesis.

Recipient of a Bourges Residence Prize and ensuing residency at the Basel EMS; Prix Ars Electronica mention; International Computer Music Association commission (2000), American Composers Forum, Jerome Foundation Award (2002), NYU CAS Golden Dozen teaching award. Associate Editor of Perspectives of New Music Journal. Director of the Washington Square Computer Music Studio.

Eric Lyon

Eric Lyon is a composer and computer music researcher. During the 1980s and 1990s, his fixed media computer music focused on spectral and algorithmic processing of audio, with a tendency toward extreme modifications of samples, variously sourced. From the early 1990s, Lyon became involved with live computer music, performing solo, and in the Japanese band Psychedelic Bumpo, with the Kyma system. Later in the 1990s, he gravitated toward software-based live processing, starting to develop Max/MSP externals in 1999. This work resulted in his LyonPotpourri collection of Max/MSP externals, and the FFTease spectral package, developed in collaboration with Christopher Penrose. In recent years, Lyon has focused on computer chamber music, which integrates live, iterative DSP strategies into the creation of traditionally notated instrumental scores. Other interests include spatial orchestration, and articulated noise composition. Lyon teaches computer music in the School of Music and Sonic Art at Queenʼs University Belfast.

Katherine Young

Composer and bassoonist Katherine Young creates acoustic and electro-acoustic music that uses curious timbres, expressive noises, and kinetic structures to explore suspended time, genre fiction, the communication of ensemble energies, and the tension between the familiar and the strange. Anthony Tommasini in the New York Times described Katherine’s Inside UFO 53-32, as performed by the Flux Quartet, as a “raw, wailing, coloristic piece” with an “organic sweep.”

Katherine’s debut bassoon record, Further Secret Origins, was released in 2009 by Porter Records, garnishing praise in The Wire (“Bassoon colossus”) and Downbeat (“seriously bold leaps for the bassoon”). She performs solo with amplified bassoon and pedals, and her band Pretty Monsters, which adds violin, electric guitar, and percussion, offers a chance to work in a dynamic ensemble setting.

Katherine has toured and recorded with Anthony Braxton and is a member of his Falling River Quartet. She is a founding member of chamber collective Till by Turning, which has toured in Europe promoting emerging composers; she performs regularly in the improvising duo Architeuthis Walks on Land, whose 2010 release Natura Naturans (Carrier Records) has received positive attention; and she is a core member of the chamber-pop quartet the Fancy.

At Oberlin College and Conservatory, Katherine studied bassoon performance and comparative literature; she completed her masters in composition at Wesleyan University, working with
Anthony Braxton, Ron Kuivila, and Alvin Lucier.

She will be performing with her group, Pretty Monsters: with
Jim Altieri, violin; Owen Stewart-Robertson, guitar; Mike Pride, percussion.

Tucker Dulin + Andrew Lafkas + Michael Vincent Waller

Tucker Dulin plays trombone and lives in Brooklyn. Current projects include a set of pieces for acoustic instrument and subwoofer, cycling, and Jango.com.

Lafkas is a doublebass player who has also found an outlet in limited electronics. He has toured in parts of the US, performing with artists Sean Meehan, Bryan Eubanks, Barry Weisblat, Margarida Garcia, Gill Arnò, Keiko Unenishi, Michael T. Bullock, and many others.

Michael Vincent Waller is a New York City based composer and visual artist, heavily involved with the Dream House (DIA Affiliate) over the last five years. His vocal raga and composition studies with La Monte Young and Marian Zazeela have provided a beautiful inspiration to his focus on modal, drone, and electronic means. This deep intrinsic experience of involving overtones is the essence of his canvas of acousmatic and spectral composition.

Michael endorses the phenomenologist approach to sound as his “central attitude” and manual for being. He has performed/collaborated with Sean G. Meehan, Tom Chiu, Alex Waterman, Ha-Yang Kim, Daniel Panner, Yvonne Troxler, Gregor Kitzis, Sabir Mateen, Christine Bard, Erica Dicker, Michael Seltzer, Benjamin Herrington, Elizabeth Hoffman, and Andrew Lafkas – performing ensemble works at venues ISSUE Project Room, Tenri Cultural Institute, Diapason, Zebulon, Paris London West Nile, Port d’ Or, Glasslands, and The Living Theatre.

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婦人之見 :2010巫雲鳳個展

展期:2010.12.16~2011.1.23

婦人之見: DODO和她的抹布行事曆 

                                                                                                                                                                                                                                        文\彭賢祥

抹布一條20，三條50…………

婦人之見，其實是一句極端蔑視女性的成語，指的是沒有見識女人的見解；顯然的，DODO用這句成語作為展覽名稱，是帶著調侃、諷刺的意味。而且不只是展覽名稱，「抹布行事曆」本身以抹布作為創作素材，就可以看出DO式幽默了，一個月31天，每日每夜的都是抹布，好像女人永遠和家事脫不了關係，DODO美其名被稱為「藝術家」「創作者」，但也是個職業婦女，兩個孩子的媽，男人的老婆，所以她的創作處境是困在公事、家事和雜事裏頭的，只能用那些零零碎碎的時間來做作品，作品似乎永遠無法（也無需）做大，而且也只能拼拼湊湊的組合完成，這樣的創作方式雖然有其不得不然，但卻又突顯了迥異於男性的創作手法，通過自喻式的圖像和細膩的女紅手感，DODO創造了這一代女性的生活體驗。 

婦人之見，Woman’s  view，在「抹布行事曆」透露著DODO的哪些見解呢？如果你要在這件作品中尋找甚麼藝術創見或高深理論的話，你肯定要啞然失笑的，且看「抹布行事曆」中的作品註釋：「變身術」職業婦女必備的防身術；又如：「劊子手」  劊子手就在你身旁，保命防毒，匹婦有責；再如：「勞動的腳」  一隻為了生活而活著的腳；「活力之手」  一隻用勞力做護手霜的手。這些像警語又像標語的作品註釋，其實都是DODO平常生活所見所感，有的是職場的辛辣快語，有的是自己的身體警訊，有的是日常所見，這些內容她都平鋪直敘毫不掩飾的藉由作品表現。迷路的土虱、堅強的細菌、乾爽的衛生棉，對DODO而言都是入畫的題材，她的創作不賣弄高深也不矯揉時尚，正如她的人一樣，自然爽朗。 

抹布一條20，三條50，這些來自菜市場中的生活素材，也是DODO的創作題材。古時畫家常常自許「代山川而立言」，那麼DODO呢？該是代「婦女」而立言吧，這些「婦女」不是貴婦名媛，不是知識菁英，而是那些佔社會大多數，尋尋常常的婦女，或許為家庭、工作奔波，時不時有些小病小痛，雖然日子無聊但總能找出點樂趣…，這些「婦人之見」，未必見容於當代藝術的女性議題，但卻真實可親。所以呢，DODO不是「女性藝術家」，DODO是「婦女藝術家」。