| EI MARCH 2014 PERFORMANCE SERIES The Fortieth Anniversary of EI performances at 224 Centre Street, The Forty-fifth Anniversary of the Founding of Experimental Intermedia, the Forty-fifth Anniversary of the 224 Centre Street loft, and, not least, The Twenty-fourth Annual Festival with no fancy name, Part Two (or B) Phill Niblock, curator Bolsa Ernesto de Sousa, a memorial fellowship named for the Portuguese Intermedia Artist, sponsored by the Luso-Americana Foundation and the Fundação Calouste Gulbenkian, in Lisbon, coordinated by Isabel Alves, presents an intermedia performance by: |
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| Pedro Sousa (Portugal) |
Friday 7 |
| A
Song for True: Performance for Plural Larynx: "Using as an inspiration
- Jerry True, an American saxophonist who used an air compressor to be
able to play saxophone following a throat cancer operation, this
composition aims at the experimentation of the saxophone as an unusual
medium for the creation of drone music - exploring the microtonal,
reflective and acoustic properties or differences that are
characteristic of these woodwind
instruments www.facebook.com/Pedro.Sousa.Musician soundcloud.com/pedro-sousa-a-carajillo |
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| Benjamin Thigpen and Stefano Bassanese (USA/Italy/France) |
Sunday 9 |
| Les
Frères Bobine - Paris-based electroacoustic composers working regularly
at GRM and fascinated by electromagnetism and gesturality; they
collaborate on sonic research experiments and perform instant
collective compositions based on newly-invented instruments and
(silent) magnetic feedback loops; they will perform Les Aimants by
Stefano Bassanese, malfunction30931 by Benjamin Thigpen, and a new
collective work, Induction www.benjaminthigpen.net www.stefanobassanese.eu/ soundcloud.com/benjamin-thigpen/sets soundcloud.com/user4482641 |
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| Sarah Halpern (New York) A Video Presentation |
Monday 10 |
| A
series of collages made with printed text, found images and discarded
film, mounted onto 35mm leader and projected frame by frame through a
film strip projector; each of these new compositions presents the
viewer with suggestive language and imagery, as an experiment in the
perception of
meaning sarahhalpern.com |
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| Marica Radojčić Prešić (Belgrade, Serbia) A Video Presentation |
Tuesday 11 |
| BRANCHING:
- DIGITAL AMBIENT: diffracted projections of 3D animations and video,
digital sound, sound effects; the artist was inspired by the tree;
experts and public have found the project as a kind of mathematical
poetic ambience through which public can walk - the tree is one of the
oldest symbols with layers of meanings developed through history; old
meanings culminated in the twentieth century with the mathematical
theory of trees; and the branching itself, so much more powerful than
the human step-by-step traveling through the crags of its own
existence, has a power of growing-up, but also the power of
disappearance – fatal power of
Death youtu.be/Hi82udn6Nr4 youtu.be/1e8p3D4JNdU |
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| Marco Donnarumma and Jaime Oliver (UK/PE/NYC) |
Wednesday 12 |
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this concert, Marco will play two solo performances for the Xth sense,
and Jaime will join in for a duo with his custom gestural instruments;
Marco creates music by literally composing in real time the sounds
emitted by his body muscular tissues; by performing physical and
whole-body gestures, bioacoustic sounds are produced by his limbs, and
then amplified, live sampled and diffused through loudspeakers; the
natural sound of the flesh and its virtual counterpart blend together
into an unstable sonic object; this is called 'biophysical music',
music that is a joint result of bioacoustic body mechanisms and
physical performance; Jaime improvises and composes with his open
source Silent Drum and MANO controllers that use computer vision
techniques to continuously track and classify hand gestures to interact
with complex sound forms marcodonnarumma.com res.marcodonnarumma.com/xth-sense/ jaimeoliver.pe |
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| Hallveig Agustsdottir (Belgium, Iceland) |
Thursday 13 |
| From
Graphic Score To Sound Drawing - her performances are purified
reflections on sound and image, finding their roots in the 'graphic
score' as it started to appear in the 1950s in the works of composers
such as J. Cage, E. Brown, and M. Feldman; each drawing leads towards
and is at the same time the immediate result of a new composition; the
improvised communication between artist, computer and musician creates
an environment where sound and image combine and conduct each other -
what remains is a witness; a drawing / a video composition capturing
the gesture of drawing, melody and rhythm; with David Watson,
collaboration
hallveiggkagustsdottir.com/ |
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| SCREEN COMPOSITIONS 10 curated by Katherine Liberovskaya |
Saturday 22 |
| A Video Presentation Screen Compositions celebrates its 10th edition this year! as always 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: Carlos Casas / Ghedalia Tazartes; Bradley Eros / Rachael Guma; Kit Fitzgerald / Peter Gordon; Richard Garet / Wolfgang Gil; Sarah Halpern / Matt Wellins; Victoria Keddie / Scott Kiernan; Hedya Klein / Bulbul; Carole Kim / Toshimaru Nakamura + Lewis Keller; Katherine Liberovskaya / Al Margolis (If,Bwana); Marie Verry / Yvan Etienne |
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| Our programs are supported by the New York State Council on the Arts, The David & Sylvia Teitelbaum Fund, Inc, the Aaron Copland Fund for Music, and the Phaedrus Foundation | |
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224
Centre Street at Grand, Third Floor, N Y 10013
9pm |
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