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 One (or A)
Marla Hlady and Christof Migone (Toronto) Friday 7
They collaborate on somatic performance and mechanized kinetics with sound at the centre; they each have individual practices that began in the late 1980s/early 1990s; they started collaborating in 2015 with a project at the Errant Bodies project space in Berlin and have since performed at Ftarri (Tokyo), the Art Gallery of Ontario and Array Music (Toronto); their strategies include: Shifting singulars into plural; adding ad infinitum, but then distilling until densities emerge; some humour tinged with pathos; taking the word ‘concern’ seriously, yet steeped in explorations that retain a notion of play; rerouting, reinjecting, responding; finding edges; mining particularities; rippled resonances; subtle alterations of tension and attention; moored, anchored even, yet nimble, and at times furtive
http://marlahlady.com/ http://christofmigone.com/
Claudia Robles (Colombia/Germany) Monday 10
Her work and research cover different aspects of visual and sound art, which span from audiovisual fixed-media compositions to performances and/or installations featuring the interaction with biomedical signals; on this occasion, she presents some of her audiovisual compositions and the performance SKIN – a piece in which she interacts with sounds and images through her skin’s moisture measured by a GSR (Galvanic Skin Response) interface; variations of values in skin moisture are an indication of psychological or physiological arousal, such as stress or relaxation; the visual environment of SKIN is therefore created by microscopic images from the performer’s skin recorded in real-time whilst the sound environment is transformed by the performer’s emotional states through the measurement of her skin’s moisture www.claudearobles.de
Robert Poss (New York) Tuesday 11
Distortion, drones, dystopia, optimism and a layer cake of electronics; Poss will present new and old pieces for electric guitar including from his recent release Frozen Flowers Curse The Day; Jennifer Coates will provide a painterly visual accompaniment https://www.robertposs.com/ http://www.jenniferlcoates.com/
Laura Ortman (White Mountain Apache, New York City) Wednesday 12
From the rosined-out beast of Ortman’s tough stained violin emerges deranged crumpled wings twirling in starlight and oil slickness and shininess; bearing heavy use of amplification and effects, she also incorporates over-rosining to add smoke, dust, wind and slow-motion grittiness in her scored / improvised compositions for amplified violin, Apache violin, whistles, tree branches, slides, guitar picks, bells and tuning fork; with live video projections by Katherine Liberovskaya https://thedustdiveflash.bandcamp.com
Ben Richter (Los Angeles) Thursday 13
Is a composer, accordionist, and director of New York’s Ghost Ensemble, whose music explores the perceptual experience of music through subtly shifting timbres, distant pulses, and sliding microtonal fluctuations that create sound-worlds of constant transformation; Panthalassa: Dream Music of the Once and Future Oceancombines recorded and live prepared accordion to conjure the voice of the primordial Earth-wide ocean, a mesmerizing dreamscape of shimmering just-intonation harmonies and sliding, moaning melodies that carry the listener deep into an otherworldly abyss
www.benrichtermusic.com http://infrequentseams.bandcamp.com/album/panthalassa-dream-music-of-the-once-and-future-ocean-2
Matt Rogalsky (Canada) Friday 14
Visitations and Revisitations; new pieces out of old: defining resonances of familiar and unfamiliar musics, explored through spectral slicing and suspension http://mattrogalsky.bandcamp.com http://mrogalsky.net
Leslie Ross (Maine) Monday 17
In tide wave, a quadraphonic video installation, each change from mud flats to high tide and back is transformed into corresponding and overlapping sound waves; this preset will open an evening of new pieces for multi-mic’ed bassoon, quadraphonic speakers and other peripherals; the crossover terrain of timbre and pitch, the inherent dissonance between harmonics of any two consonances, and the tensions between lunar and solar cycles all play a part in the performance, the whole interspersed with miniature acoustic improvisations
http://leslieross.net/otherT.html
Tim Shaw and John Bowers (UK) Tuesday 18
Since 2015, they have been developing a creative practice they have come to call ‘mythogeosonics’; Mythogeosonics works with an extended conception of field recording to incorporate such diverse practices as geophysical data sonification and paranormal investigation; think of all the fields: radio, magnetic, electric, esoteric; we cross between on-site investigation, installation-making, soundwalks, and an improvisatory performance practice combining soundscapes, documentary recordings, film, text, and process material using modular synthesizers, resonant found objects, DIY software and self-made instruments; think of all the ways that the mythogeosonic can be heard, witnessed, appreciated and transformed; this performance will serve as an Annual Review drawing on our collective archive from 2018 as well as local investigations carried out in New York City
https://tim-shaw.net http://www.jmbowers.net/
Gerard Lebik (Poland) Wednesday 19
“Air on Air” (2018) is a spatial composition that uses the propagation of a pure sine wave as the main principle in creating a spatial acoustic environment; placing hanging, rotating sound objects that generate white noise created by the compressed, expanding air gives it an ambisonic character; spatial composition modeled due to the specific acoustics of the place in which it is presented http://gerardlebik.net/ http://festiwal.sanatoriumdzwieku.pl/en/
http://gerardlebik.blogspot.com/
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
It is the 50th anniversary of the 224 Centre Street Loft and the founding by Elaine Summers of the Experimental Intermedia Foudation, 1968
December 16, Sunday – A Record Release Party, at 9pm but you may come at 7pm and have sonmething to drink and listen to some samples of sound
*On Important Records – Phill Niblock music played by David Gibson on cello, from the 70s and 80s www.importantrecords.com
*On Superior Viaduct – a reissue of the second India Navigation LP – Niblock for Celli / Celli Plays Niblock, and a reprint of the first LP – Nothing to Look At, Just a Record
*On the Bozzini String Quartet label – Two pieces for orchestra – Baobab and Disseminate, with all parts played by the quartet, www.quatuorbozzini.ca
*On XI – Cecilia Lopez – Red/Machinic Fantasies (XI 140)
This 2 CD set is a perfect combination of flavors that slowly reveal
themselves as you spend more time enjoying it. It has marvelous layers
of sonic explorations that slowly unfold and draw you in.
*On XI – Leslie Ross – drop by drop, suddenly (XI 141)
A 2 CD set of eleven compositions for bassoon composed and performed
by Leslie Ross, internationally renowned instrument builder and
uncompromising creative musician.
and
December 21, 6pm to midnight, the Winter Solstice at Roulette, in Brooklyn, 6 hours of Phill Niblock films and music, Roulette.org
XI CDs are now available for sale on the www.XI Records.org website:
Phill Niblock – Four Full Flutes (XI 101); Lois V Vierk – Simoom (XI 102); Guy Klucevsek – Flying Vegetables Of The Apocalypse (XI 104); David Behrman – Unforeseen Events (XI 105); Tom Johnson – Music For 88 (XI 106); Mary Jane Leach – Celestial Fires (XI 107); Fast Forward – Same Same (XI 108); Ellen Fullman – Body Music (XI 109); Jackson Mac Low – Open Secrets (XI 110); Phill Niblock – Music By Phill Niblock (XI 111); Allison Cameron – Raw Sangudo (XI 112); Daniel Goode – Clarinet Songs (XI 113); Mary Ellen Childs – Kilter (XI 114); Richard Lainhart – Ten Thousand Shades Of Blue (XI 115); Peter Zummo – Experimenting With Household Chemicals (XI 116); Logos Duo – Logos Works (XI 117); Annea Lockwood/Ruth Anderson – Sinopah (XI 118); Eliane Radigue – Trilogie De La Mort (XI 119); Malcolm Goldstein – The Seasons: Vermont (XI 120); Phill Niblock – YPGPN (XI 121); Paul Panhuysen – Partitas For Long Strings (XI 122); Tom Johnson – The Chord Catalogue (XI 123); Ellen Band – 90% Post Consumer Sound (XI 124); Philip Corner – 40 Years And One (XI 125); Gen Ken Montgomery –
Pondfloorsample (XI 126); Michael J. Schumacher – Room Pieces (XI 127); Alan Licht – A New York Minute (XI 128); David Behrman – My Dear Siegfried (XI 129); Warren Burt – The Animation Of Lists And The Archytan Transpositions (XI 130); Matt Rogalsky – Memory Like Water (XI 131); David Watson – Fingering An Idea (XI 132); Michael J. Schumacher – Five Sound Installations (XI 133) (Dvd-Rom); David First – Privacy Issue (XI 134); Charlie Morrow – Toot! (XI 135); Michael Vincent Waller – The South Shore (XI 136); Ulrich Krieger -/RAW:ReSpace/ (XI 137); Dan Joseph – Electroacoustic
Works (XI 138); Amnon Wolman/Neil Leonard – Security Vehicles Only (XI 139) digital only release; Cecilia Lopez – Red/Machinic Fantasies (XI 140); Leslie Ross – drop by drop, suddenly (XI 141) Coming Soon: Tom Chiu (XI 142)
The Following Releases Are 2 Cds For The Price Of 1: XI 115, XI 121, XI 126, XI 127, XI 128, XI 129, XI 130, XI 131, XI 132, XI 136, XI 137, XI 138; XI 140; XI 141 The Following Releases Are 3 Cds For The Price Of 2: XI 119, XI 134, XI 135
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