The Forty-fifth Anniversary of EI performances at 224 Centre Street, The Fithtieth Anniversary of the Founding of Experimental Intermedia, the Fiftieth Anniversary of the 224 Centre Street loft, and, not least, The Twenty-eight Annual Festival  with no fancy name, Part Two (or B)

Phill Niblock, curator

Jim Denley (Australia)
Friday 2
The Ditch: David Watson (guitar and bagpipes) and Mij Yelned (Australia, prepared bass flute and alto sax) and Chris Mann (voice and text); Chris and Mij formed Machine for Making Sense in the late 1980’s, Chris in Melbourne and Mij in Sydney; Mij and David first played together in Sydney in the 1990s — making “Bit Part Actor” (Braille Records) together with Mij’s other Machine for Making Sense colleagues and Ikue Mori; David has resided in NYC since 1987 and often playing with Chris; Mij and David have occasionally met on David’s trips downunder, when he crosses The Ditch (Tasman Sea) to perform in Sydney; they’ve only played all together once – NYC sometime in the early 2000s?



Nate Wooley (New York) and Nicola L. Hein (Berlin)
Sunday 4
The trumpet player and guitarist will follow a philosophical question and play a conceptual composition – What is skeptic improvisation? The question of what it means to be skeptical about improvisation and to be an improvising skeptic will be followed; it is the scepticism of the musicians regarding destiny, habitus, certainties, playing and the sense-games of musical action; the composition serves to irritate the players and their certainties; it is about the challenge of thinking, the aesthetic thinking about thinking with the means of improvised music,, playing around and with the limits of musical thought; revolving around the impossibility of an hyperbolic skepsis, watching the certainties arise on their own, which Nietzsche and Wittgenstein understood as an inherent feature of (musical) grammar; the aim is the idiosyncratic aesthetics of the sceptic musical act


Abigail Child (New York) A Video Event
Thursday 15
“A BRACE OF SHAKES”—A selection of short films (16mm and digital) from across three decades, exhibiting “a playful musicality and poetic and rigorous compression…working against the manufactured ambush that images have in store;” Child has long created a subtle form of agitprop, exploring issues of gender and class through montage, with a fearless sense of structure and unself-conscious delight in the visual; she has worked with downtown musicians including John Zorn, Sylvie Courvoisier, Mark Feldman, Andrea Parkins and Marty Ehrlich, all of whose music will befeatured in the films shown tonight


Perry Bard (New York) A Video Event
Friday 16
A program of timely political shorts from 1997 to the present dealing with Nazis, heightened security, immigration, and war; No Flak, a recent text animation in collaboration with Richard Sullivan, links the attitudes of Dada and Theatre of the Absurd to the current administration referencing the despotic King Ubu, 1984, and Jonathan Crary’s 24/7: Capitalism and the End of Sleep; followed by a crowdsourced version of Dziga Vertov’s 1929 masterpiece, Man With A Movie Camera: The Global Remake

dziga.perrybard.net archived at

Pierre Marietan (Paris) A Video Event
Sunday 18
This is an invitation for you to use your power of ubiquity; it is proposed here with the transfer of a distant world to the moment of your listening and gaze onto the present; I have traveled the World and captured 32 short visual sequences and recorded and retained 37 audio situations; with these elements I have composed a set juxtaposing/superimposing images and music independently from each other, leaving the freedom of interpretation between sight and sound up to the spectator; it is by this perceptible process that the gift of ubiquity is acquired


Screen Compositions 14, curated by Katherine Liberovskaya A Video Event
Monday 19
For the 14th year, Screen Compositions brings you, as every time, a collection of intersections of moving image with sonic art; a program of screen works representing dynamic two-way collaborations between video/film artists and sound/music artists specifically intended for single-channel projection with no live or performance component; featuring collaborations by: Charlotte Clermont / Alain Lefebvre ; Katherine Liberovskaya / Ranjit Bhatnagar ; Francesca Llopis / Barbara Held ; Milosz Luczynski / Marek Choloniewski ; Noriko Nakano / Akio Mokuno with Hitomi Honda ; Rob Parrish / Richard Chartier ; Emily Pelstring / Katherine Kline ; Lorenzo Sanjuan / Bob Bellerue ; Jorge Simonet / Francisco Lopez ; Beth Warshafsky / Gerry Hemingway

Bettina Wenzel (Germany)
Wednesday 21
Elastic materials are stretchable, over-stretchable and mostly unbreakable; a vocal research based on that principle leads to fall-out frequencies and wanted side effects that provide the main sound material for an ongoing research; unadulterated and therefore natural, the resonating body generates extreme – minimal and maximal – sound vibrations instantly shaped into musical structures; this can be done in the way of a sculptor and by accepting the uncontrollable part; one of the most recent results is “head oscillator”, a serie of productive voice glitches


Guy De Bievre (Brussels)
Thursday 22
Drone Shyness, version for trombone and lap steel guitar; is a study of the becoming or not becoming of drone, investigating how much change and interruption “drone music” can tolerate before it becomes something else; with Peter Zummo, trombone


Clarence Barlow (Santa Barbara, Barcelona)
Friday 23
Since about thirty years ago, the composer has been making films to accompany or illustrate his music; the video component is either based on the compositional principle of the music, or based on visual material by other artists, from film archives, or recorded on site


Ricardo Arias (Colombia) and Judy Dunaway (US)
Sunday 25
Both  have separately specialized in free improvisation and experimental music on
the latex balloon for decades, making it their main instrument; Arias’ background as a percussionist led him to develop the “balloon kit”(“batería global”), and Dunaway’s
background as a guitarist led her to approach each size and shape of
balloon as a solo instrument; they will combine their expertise to expand and explore the details of their shared world and present heretofore unimagined sonic landscapes; this concert marks the first meeting of these two avant-garde virtuosi


Our programs are supported by The David & Sylvia Teitelbaum Fund, Inc, the Aaron Copland Fund for Music, the Phaedrus Foundation, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature
224 Centre Street at Grand, Third Floor, N Y 10013   212 431 5127, 431 6430
www.experimentalintermedia.org and www.XIrecords.org 9pm