| EI
DECEMBER 2018 PERFORMANCE SERIES The Forty-fifth Anniversary of EI performances at 224 Centre Street, The Fiftieth Anniversary of the Founding of Experimental Intermedia, the Fiftieth Anniversary of the 224 Centre Street loft, and, not least, The Twenty-eighth Annual Festival with no fancy name, Part One (or A) Phill Niblock, curator |
|
| 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 marlahlady.com/
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
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 robertposs.com/
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 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 Ocean combines
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 benrichtermusic.com
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 mattrogalsky.bandcamp.com
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 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 tim-shaw.net jmbowers.net/ |
|
|
Gerard Lebik |
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 gerardlebik.net/ festiwal.sanatoriumdzwieku.pl/en/
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
9pm |
|
|
December 16,
Sunday: A Record Release Party. At 9pm, but you may
come earlier, refreshments |
|