[Oct 13/14] Let’s Make…. Workshops

Harvestworks presents a series of brand new 4-hr workshops designed to get you creating your own work quickly and independently, using well-established software such as Ableton Live or Max/MSP/Jitter. Let’s Make… workshops offer a unique teaching style and a project-based approach to art and technology concepts that would otherwise require many hours of university level coursework or self-directed study.

Let’s Make…. Workshops

Adam Roksar
Sat Oct 13 - 10am to 2pm
Let’s Make Danceable Beats
Sat Oct 13 - 3pm to 7pm
Let’s Make a Bunch of One Minute Songs

Sun Oct 14 - 10am to 2pm
Let’s Make Video That Reacts to Live Music
Sun Oct 14 - 3pm to 7pm
Let’s Make Interactive Visual Art

Cost: $80 for members/students, $95 regular.
Take both classes on either Saturday (Ableton Live)  or Sunday (Max/MSP), and receive a discount of $15.
Take all 4 classes, receive a discount of $30.
Pay with PayPal or Credit Card on our Payment Page here

Location:
Harvestworks
596 Broadway, #602 | New York, NY 10012 | Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker

Harvestworks presents a series of brand new workshops designed to get you creating your own work quickly and independently. Let’s Make… workshops offer a unique teaching style and a project-based approach to art and technology concepts that would otherwise require many hours of university level coursework or self-directed study. Let’s Make… workshops get you up and running right away through hands-on projects, a collaborative atmosphere, and one-on-one support from our talented teaching staff.

Find the right Let’s Make… for you, take them with friends, and keep coming back for new topics and inspiration!

Saturday #1: Let’s Make Danceable Beats

Software Required: Ableton Live
Experience Required: None
Experience Recommended: None

Saturday #2: Let’s Make a Bunch of One Minute Songs

Software Required: Ableton Live
Experience Required: None
Experience Recommended: None

Sunday #1: Let’s Make Video That Reacts to Live Music

Software Required: Max/MSP
Experience Required: None
Experience Recommended: basic familiarity with how Max works, or having completed the first few Max tutorials

Sunday #2: Let’s Make Interactive Visual Art

Software Required: Max
Experience Required: None
Experience Recommended: basic familiarity with how Max works, or having completed the first few Max tutorials

About the instructor:

Adam Rokhsar is an artist, psychologist, and teacher with degrees from Cornell University, University of Pennsylvania, and New York University. He works as chief creative technology consultant for the Jacob Burns Media Arts Lab, where is currently collaborating with the Manhattan-based design team Local Projects to bring unique media creation software to students in classrooms across the country. He has designed interactive art for corporate clients and artists, Steven Spielberg’s anniversary gala at the Jacob Burns Film Center, and eight year olds, who make the best collaborators.

[Sep 14-16] Alexander Hahn

Alex Hahn presents three new video works that explore the intersections between technology, human interaction, and memory. Shot in various places, ranging from New York to Beijing, his digitally altered videos reveal the sublime nature of even the most ordinary scenes.

Alexander Hahn

Cao Chang Di Road on November 24, 2009
I Stood There Waiting and other new videos

September 14, 15, 16, 2012, 3 – 7 pm
Artist Reception 7 – 9 pm September 14
Admission: Free

Harvestworks
596 Broadway #602, NYC

In his upcoming exhibition, Alex Hahn presents three new video works that explore the intersections between technology, human interaction, and memory. Shot in various places, ranging from New York to Beijing, his digitally altered videos reveal the sublime nature of even the most ordinary scenes.
Along with the premiere of Cao Chang Di Road On November 24 2009 I Stood There Waiting, a HD video projection with surround sound, he will show two new HD monitor works, On and Public Spaces, Private Strangers, Temporal Attractions

Alex Hahn, a New York/Zürich-based electronic media artist, received his MFA from the University of Fine Arts, Zürich/CH and is a 1981 fellow in the Whitney Museum Independent Study Program. His videos, installations and computer prints are exhibited worldwide, most recently at the San Francisco Museum of Modern Art, the Kunstmuseum Solothurn/CH, the Padiglione d’Arte Contemporanea, Ferrara/IT, and the National Art Museum of China, Beijing/CN. Among his awards are the New York State Council on the Arts Grant, Zurich Work Award, and the Swiss Federal Grant.

[caption id=”attachment_1996” align=”alignleft” width=”500”] Alexander Hahn - Cao Chang Di Road On November 24 2009[/caption]

[caption id=”attachment_1997” align=”alignleft” width=”500”] Alexander Hahn - ON[/caption]

[caption id=”attachment_1994” align=”alignleft” width=”500”] Alexander Hahn - Public Spaces[/caption]

[Oct 1] Pierce Warnecke + Richard Garret

Pierce Warnecke’s Textures is a live audiovisual performance that uses found objects, field recordings and video samples. Each performance is unique in that the material is collected on spot, then re-composed in realtime. Richard Garet will be presenting Perceptual an audiovisual performance piece that proposes immersive reception to moving image and sound and that examines the processes of luminosity, color, movement, and light phenomena. 

[Oct 1] Pierce Warnecke + Richard Garret

Pierce Warnecke: Textures
Richard Garrett: Perceptual
Mon, Oct 1, 2012 at 7pm
FREE

Location:
Harvestworks
596 Broadway, #602 | New York, NY 10012 | Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker

Pierce Warnecke’s Textures is a live audiovisual performance that uses found objects, field recordings and video samples. Each performance is unique in that the material is collected on spot, then re-composed in realtime. It is an exploration of granular surfaces, aged objects and deteriorated materials that have been collected because of their rich textures. Materials selected for the piece are man-made items that have undergone sufficient deterioration to no longer be recognizable. These decontextualized objects have lost any signified meaning, usefulness and identity: they are in fact ideally abstract. The result is an audiovisual study of the effect of time on matter: modification, deterioration and finally disappearance.

Richard Garet will be presenting Perceptual an audiovisual performance piece that proposes immersive reception to moving image and sound and that examines the processes of luminosity, color, movement, and light phenomena. The sound will be carefully constructed and utilized to effect, intervene, disrupt, and modify further the visual parameters of the projected images. The techniques employed to make the imagery incorporate real-time computer processing and visual-constructs established from the permutations and the brilliancy generated by the media itself and by systematically breaking apart and over-layering algorithmically the outcome in order to create the viewing experience. Garet’s sonic construction for this project will hover from material explorations, recordings of studio experiments, and digital processing while also articulating subtle sonic movements that modulate and fluctuate overtime.

Pierce Warnecke
Whether focus is on the purity of digital forms or the chaotic grit of natural objects, large scales of time and space or microscopic detail, the goal of Pierce Warnecke’s work is to readapt existing materials into a parallel context where their signified meanings, symbols and cultural connections have become residual ghosts.

Sound works explore combinations of pure synthetic sounds, electronic interferences, field recordings and manipulations of found objects. Textural, drone, noise, electronic and improvised music are areas of interest, explored through solo works and collaborations. Video is created in real-time, recorded, or generated and uses found items and moments: data sets, organic matter and microscopic textures to create dense patterns and contrasting forms.

Born in California, Pierce studied and worked for 10 years in France before moving to Boston to attend the Berklee College of Music. He currently lives in Berlin where he is following a Meisterschüler Program at Universität der Kunst (UdK) under Dr. Alberto de Campo. He works as a programmer and sound designer, and co-curates the Emitter Micro festival and record label.

Richard Garet
Richard Garet interweaves various media including moving image, sound, multimedia performance, and photography. In work ranging from modified environments to site specific installations to audiovisual screening works, Garet constructs intimate spaces and immersive situations that draw attention to the processes of perception and cognition, and which activate sensorial, physical, psychological phenomena that reflect on the nature and experience of time.

Garet’s pieces, whether conceptual in origin or stemming from his investigation of complex systems and algorithmic translations, are informed by the background noise established by mass media culture and the collective arena that surrounds him. Garet’s reductive process seeks to invert the normative function of this background noise, drawing it up from subliminal status to an active presence. He finds further inspiration from material interactions that incorporate problems of context, technology, defunctionalization, commodity, and environment.

Textures Box Version (edit) from Pierce Warnecke on Vimeo.

Textures Box Version (edit) from Pierce Warnecke on Vimeo.

[Sep 5] Artist Presentation: Crystal Z. Campbell

Living on Hope for a Long Time

Crystal Z. Campbell

September 5, 2012, 7pm

Admission: FREE
Harvestworks
596 Broadway #602
New York, New York

LIVING ON HOPE FOR A LONG TIME

Crystal Z Campbell’s 5.1 sound piece, Living on Hope for Long Time, is based on the 1978 Jonestown Tragedy. Jonestown was a failed multicultural utopia of Americans who relocated to Guyana in the late 1970’s. Cult leader Jim Jones’ final plea to his nearly 1000 followers before convincing them to commit mass suicide lives on in the notorious “Death Tape.” Classically trained soprano Jennifer Connor adapts Jones’ plea in Living on Hope for a Long Time with a sonic tapestry of opera riffs, spoken word and musical theater.

BIO

Crystal Z Campbell uses tactics from sound, film, photography and site-specific installation to explore the politics of witnessing. Campbell’s works have been supported by de Appel, Project Row Houses, Exit Art, Islip Art Museum, Museum of Contemporary African Diasporan Arts, The New Children’s Museum of San Diego, Fotofest Biennial, Wave Hill, Jamaica Center for Arts & Learning, Lui Velasquez in Tijuana, Rutgers University-Mason Gross Gallery and others. Campbell’s work will be included in Fore, the forthcoming group exhibition at the Studio Museum of Harlem, in November 2012. Campbell is a 2003 graduate of the Skowhegan School of Painting and Sculpture and former artist-in-residence at NES in Iceland and Vermont Studio Center and Harvestworks.

Campbell is a 2010 Master of Fine Arts (MFA) graduate in Visual Arts from the University of California-San Diego and a 2007 Master of Arts (MA) graduate in Africana Studies from SUNY-Albany. From 2010-2011, Campbell was a Van Lier Fellow in Studio Art at the Whitney Museum of American Art Independent Study Program in New York City. Campbell is currently a first-year artist in residence at Rijksakademie van beeldende Kunsten in Amsterdam, Netherlands.

[August 18th] Handwritten by Machines: an Exhibition

Handwritten by Machines

Curated by Elizabeth Clare and Molly Murphy

August 18th 2012
5-8pm
Harvestworks
596 Broadway #602
New York, NY 10012

In an age where inviting one too many Facebook friends triggers a wavy-lettered CAPTCHA to halt your party plans and interrogate your personhood, where the barrier between your digital life and those pesky e-bandits is little more than a few asterisks and the name of your first pet guinea pig, where you’re one mischievous friend away from inadvertently broadcasting your most recent bowel movement via status update, where every new day offers the hope that the Google Earth car will swing back around and let the world know that you’ve improved your landscaping since 2009 (“PLEASE let it be today!”)… The safe avenues we use to navigate this system are narrowing.  How can technology mediate signature and identity? Handwritten by Machines unites artists who explore the capabilities of technology, along with the notion that our relationship to the digital realm is subject to shifts.

ABOUT THE ARTIST AND WORKS:

Elizabeth Clare believes that as digital communication becomes more prevalent, emotional exchanges we once had face-to-face become reserved for the computer screen. Screen Infatuation is an interactive piece meant to shed light on the possible potential that we may transfer out feelings of joy, love and infatuation form the people we once spent time with to the sleek, intelligent, user-friendly digital devices, otherwise know as [apple] computers. Using the capabilities of face tracking, the more positive feedback given to the screen—engaged attention, open eyes, wide and open smiles—given to the computer, a one-sided game of footsie is projected between the user and the stagnant silhouette of the computer.

Stephen Faught: Registry explores the nature of personal identity online, as well as the shifting notions of public and private information. When googling his name, he came across a wedding announcement for another Stephen Faught and his bride-to-be. Through more searching he found their wedding registry at Bed Bath & Beyond, then ordered a random item from the list (a set of “Love Beyond Measure” novelty measuring spoons). He then sent the spoons with a letter to the couple. Registry is the documentation of personal information retrieved from investigating one’s online identity.

Olivia Fox believes a newer shared experience is a loss of signature and identity, an effect from living in a society where our work precedes ourselves. Screenage_wasteland_2012.mov is a compilation of digital collages she’s created which capture her own online identity. “The websites collaged are easily recognized and on the surface come off as mundane metaphysical portraits of internet use, but the lines and text emphasize more emotion, in particular: gender confusion, loneliness and feelings of insignificance. I wanted to show how raw and present our emotions are presented through the websites we use and how uniform expression becomes through more popular websites. “—Olivia Fox

Roarlivia.tumblr.com

Navit Keren: Trajectories of Growth considers the foundation of maps and the possibilities stored in them. The piece explores they way they have evolved with technology and become digitalized and open-source, constantly fluctuating, then challenges notions of maps simply as information sources by looking at maps as materials to create one of a kind objects. “The process was manipulating the area of the West Bank by isolating the Jewish Settlements in it and composing them together to create a new 3d object. The object, a laser cut plexiglass, was placed into petri dishes with bacteria samples growing on top of it. Simply put, there were two ecosystems living in the dishes, a biological one and a human/political one. The immediate physical outcome of this operation is a new object, an unfamiliar shape of a fictional spatial and territorial land.”—Navit Karen

navitk.com

Kate Watkins: MIDI Typewriter revolves around patterns of language and music and visual representation of the two. Letter keys are grouped by frequencies then converted to a range of MIDI notes. The intention of MIDI Typewriter piece is to create a hybrid performative experience where individuals discover the connection between language and music as they interact with the typewriter.

http://kateewatkins.com 

ABOUT HARVESTWORKS:

Harvestworks is a nonprofit Digital Media Arts Center that presents experimental artworks created in collaboration with our Technology, Engineering, Art and Music (TEAM) Lab. Our programs are made possible with funds from New York State Council on the Arts, the National Endowment for the Arts, the NYC Dept. of Cultural Affairs, The Andy Warhol Foundation for the Visual Arts, Foundation for Contemporary Arts, Materials for the Arts, and the Friends of Harvestworks.

www.harvestworks.org

[Oct 18 23 25 30] Designing Musical Interfaces

Get ready to learn how to make your very own musical interface using Arduino, Max, and Ableton Live. These days, a large portion of musicians have come to rely heavily upon computers for all aspects of their production. Many, however, feel this shift has taken away from the experiential side of creating music. This class is focused on that experience. We will be showing you how to use Arduino to develop a physical interface, Max to translate our actions into musical data, and Ableton Live to produce our music.

Designing Musical Interfaces

Nicole Carroll and Thomas Martinez
October 18, 23, 25 and 30
Thursday-Tuesday-Thursday-Tuesday (12 hours): 6:30 to 9:30pm

Cost: $280 regular, $250 members and students. Pay with PayPal or Credit Card below.

Location:

Harvestworks
596 Broadway, #602 | New York, NY 10012 | Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker

This will be a two part class, as there is plenty to discuss, and much more to share. Experience with any of the above mentioned softwares is recommended, however beginners are welcome to join. The basics of each program will be covered, but with the our time constraints we will be moving a bit quicker than an introductory course.

The first day will be spent discussing the history of computer music, modern approaches to interfacing, and introductions to Arduino, Max, and Live. The goal is to give participants the knowledge and skills to begin creating their own interfaces at home. Topics include basic sensor circuits with Arduino, generating MIDI messages with Max, and real-time music production with Ableton Live.

The second class will begin with an optional demonstration of interfaces made at home, followed by advanced topics in Arduino, Max, and musical production in Live. We will continue building our interface from the previous class, discussing issues met at home by the students, and demonstrating alternative interfaces like touchscreens and Kinect cameras.

SOFTWARE REQUIREMENTS:

Participants will need Arduino, Max 6, and Ableton Live 8 installed on their computers. The Arduino IDE is free, while Max 6 and Ableton Live both offer a free demo (Max 6’s demo only last one month, so be wise as to when you download).

HARDWARE REQUIREMENTS:

An Arduino and other components will be required in order to follow along with the class. Below is a link to a Sparkfun.com wishlist, of which we will be using during the class. If you already own or do not wish to purchase any parts in this list, you can opt to not include them in your check out.

http://www.sparkfun.com/wish_lists/45032

Pay with PayPal or Credit Card here:

Regular Price: $280




Student/Member Price: $250





[Oct 19-21] Leave The Bass Alone, 5 Basses

In “5 basses”, five double basses are amplified and feedbacked with each other. The strings and the bodies of the basses resonate with their ambient surroundings, thus creating an interactive drone in which the basses are controlled both by their acoustic vibrations and their environment. Seemingly simple acoustic/physical principles take on the complex role of the composer, creating forms and structures surprisingly similar to those we find in our everyday life.

Leave The Bass Alone, 5 Basses

Bernd Klug
Installation: Sat/Sun, Oct 20/21, 4 -7pm
Reception and live performance: Friday, Oct 19, 7 - 9pm
Admission: Free

Location:
Harvestworks
596 Broadway, #602
New York, NY 10012
Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker

“Well, Karlheinz, I advise you to leave the sounds alone; don’t push them; because they’re very much like human beings.”

Inspired by this quote from Morton Feldman to Stockhausen and studies of dramaturgic developments of different human and natural soundscapes, Leave the Bass Alone is a collection of sound installations, field recordings and performances exploring the depths of the double bass’ spectral world.

In “5 basses”, five double basses are amplified and feedbacked with each other. The strings and the bodies of the basses resonate with their ambient surroundings, thus creating an interactive drone in which the basses are controlled both by their acoustic vibrations and their environment. Seemingly simple acoustic/physical principles take on the complex role of the composer, creating forms and structures surprisingly similar to those we find in our everyday life.

Over the course of the Installation, there will be sections showcasing a more detailed view on the basses’ vibrations and their nature through Arduino and Max/MSP processing.

The reception (Friday 7pm-9pm) will also feature a short live set in which Bernd Klug will present some of the possibilities of this installation in a performance context. Additionally, there will be two guest performances by Sabisha Friedberg and Valerie Kuehne playing in and with this drone on Saturday/Sunday (details soon).

This installation is generously sponsored by David Gage String Instruments.

Bernd Klug (New York/Vienna):

Currently residing in New York, Klug works as a double bass player and sound artist in a wide variety of contemporary contexts with a focus on improvisation. His solo work focuses on the world inside the double bass: the bow, the body, and room frequencies lay the groundwork for a radical reduction of both the composer-performer’s role and the traditional musical narrative.

Klug’s recent and current collaborators include: Meaghan Burke (Rash), Danielle Dahl, Mimu Merz, OENCZkekvist, Le Cowboy (Burke/Schweighart/Klug), Brendan Landis, Lucio Menegon, ctrl, Ritornell, Elektro Guzzi, Burkhard Stangl, John Butcher, Franz Hautzinger, Butch Morris, Radu Malfatti, Bernhard Lang, Peter Kutin, Billy Roisz, Daniel Lercher, Henrik Munkeby Nørstebø, Kjetil Hannsen, Sixtus Preiss, Violetta Parisini, and many others.

He received his B.A. in Music Performance and Education with distinction in 2007 from Vienna’s University for Music and Performing Arts B.A. in Music Performance and Education, where he also studied with musicians such as Uli Fussenegger and Achim Tang. He was awarded an educational scholarship to Harvestworks, NYC in 2012, the BM:UKK Startstipendium (federal Austrian grant for artists) in 2011, as well as the Fidelio Award 2009 and a scholarship at the Darmstädter Ferienkurse für Neue Musik 2004, among others.

http://klug.klingt.org

[Aug 13-14] Strange Attractor at Cage Transmitted, New York

Strange Attractor, the dynamic multi-dimensional collaborative venture of five artists, will create an extended sound performance using experimentation with technology, combined media, text, chance operation, random structures and found objects. The artists will explore creative possibilities resulting in an experience that offers multiple points of entry for the audience. The Strange Attractor artists will be joined by guest electronic musician and media artist Stephen Vitiello for this performance.

Strange Attractor at Cage Transmitted, New York

A chance would be a fine thing
B chance would be an I Ching

a 4-hour durational live performance
Mon, Aug 13, 6-10pm
Tues, Aug 14, 6-10pm

Admission: Free
Harvestworks
596 Broadway #602, NYC
www.harvestworks.org

www.livestream.com/harvestworks

New York, NY—Harvestworks is pleased to join forces with Norte Maar and Experiments in Art and Technology (E.A.T.) to present Strange Attractor (Ireland) as part of Norte Maar’s Cage Transmitted series celebrating the centennial of John Cage.

The group will perform within an installation that will be active and in a process of development during the performance.

About Strange Attractor:
Strange Attractor is a dynamic multi-dimensional collaborative venture between five artists, Anthony Kelly, Danny McCarthy, Irene Murphy, Mick O’Shea and David Stalling, using sound, experiments with technology and combined media. The collaboration began in 2010 and was curated in partnership with Dawn Williams of the Crawford Gallery, Cork, Ireland and consisted of a series of monthly durational performances with invited guests, that led to a gallery based residency during April 2011. Performances were also held in the RHA Gallery, Dublin, Ireland, and Cafe OTO & Pigeon Wing Gallery in London during November & December 2011.

Strange Attractors’ live performances with invited guests have opened new cross-disciplinary relationships between sound, visual art and music and have featured internationally renowned artists such as David Toop and Mary Nunan, Stephen Vitiello, Rhodri Davies, Alessandro Bosetti, Steve Roden, Lee Patterson
and Jed Speare.

In August 2012 the Strange Attractor project will be performing and exhibiting in Studio Soto and Mobius, Boston.
…A full colour Strange Attractor book and DVD produced by the Crawford Gallery
and Farpoint Recordings is now available.

Strange Attractor Biographies:

DANNY McCARTHY is one of Ireland’s pioneers of performance art and sound art and he continues to be a leading exponent exhibiting and performing both in Ireland and abroad. In 2006, he founded the Quiet Club with Mick O’Shea, a floating membership sound (art and electronics) performance group. He is a founding director of Triskel Arts Centre and the National Sculpture Factory. A book + CD on his work entitled “LISTEN hEAR” was published by Farpoint Recordings and his work has appeared on numerous CDs most recently “Soundcast 4x4+1” Farpoint Recordings. He has been involved in several curatorial projects including INTERMEDIA Festival 1990-2002, “For Those Who Have Ears” book+CD (WITH Julie Forrester). “Sound Out” (co curated with David Toop),”Bend It Like Beckett” CD Project, “Rediscovering Locality (A Sonology Of Cork Sound Art)” CD project Art Trail. “Just Listen” Seminar +Installations (co curated with Sean Taylor) for NSF. His work “Keeper Of The Dust(for Joseph Beuys)” was commissioned by the Crawford Gallery for the Sean Lynch curated “A Rocky Road” exhibition. His piece “ One Hundred Bottles For James Joyce” was on exhibition for five months in O’Connell Street Dublin in 2011 as part of “Me Jewel & Darling” public art project curated by Sean Lynch. A new book and 3”CD entitled “The Memory Room” has just been published by Farpoint Recordings. It is part of an installation of the same name which is due to tour to London (Soundfjord) and Turin Italy next year.

Selected performances/exhibitions: 2011 Strange Attractor - Cork, London, Dublin
2010: ‘Postcards from The Celtic Tiger’, Xuhui Arts Museum, Shanghai; The Quiet Club (tour) World Expo ; 411 Gallery and the Jing An Arts Centre, Shanghai; 2009: Nova, Lyric FM, documentary on the artist.”LISTEN Hear” Book +CD Farpoint Recordings, ‘Another Gong for Mr. Beckett’, Factory Gallery, Berlin 2008: “Listening With The Sound Turned Off” exhibition/installation ,Triskel, Cork. 2007: “(Re)sounding Memories /Watering The Plants”, Le Lieu Centre dArte Actuelle Quebec, Canada “Re) sounding Memories/Cleaning The House” C.A.P. Kobe Japan 2006: Curated CD ‘Bend it Like Beckett’ featuring David Toop, Scanner, Stephen Vitiello. 2005:“TRACE Retrospective2000-2005”, Franklin Furnace, New York.”Sound Out” co curated (with David Toop) international outdoor sound art exhibition. “Playing John Cage” Arnolfini, Bristol.

www.dannymccarthy.ie
IRENE MURPHY is a visual artist that uses performance, installation, sculptural interventions and time-based mediums to create transient process based works, an aspect of which are created live in response to context, audience, climate and architectural space. These transient art acts are objects of research into reality that attempt to heighten and reactivate experience which I use in the development of an ongoing reflective and reflexive practice. She is active in initiating and participating in many group and collaborative projects and events, such as The YOYO Club, Ideal State Agency, Electric Rain, Us Live, Seesound and Club House. She is one of the Domestic Godless trio who pursue adventures in a culinary landscape and is a founder member of the Cork Artists Collective and a director and founder member of the Guesthouse.

Selected performances/exhibitions: 2012 ‘Out of the Blue’ Tactic gallery Cork 2011: Sonic Vigil 6 Triskel Cork, Strange Attractor Crawford Gallery, Art Plant ‘Base Camp’ Sayama forest park Tokyo 2010: Art=Adding Szczecin Poland. ‘What Happens Next is a Secret’, Domestic Godless, Irish Museum of Modern Art; 2009: ‘Seesound’, The Guesthouse, Cork Film Festival; 2008: ‘Plus Minus’, The Yellow Box Oland, Sweden. 2007: ‘Diorama’, Static, Liverpool 2006: ‘laboratory for the development of a better place’, Utopia, Eigse, Carlow. ‘Somethingelse’, Helsinki, Joensuu, Turku and Oulu Art museum Finland 2005: INSIDEOUTSIDE, Yuwaku No Mori, Japan, exchange project for Cork Capital of Culture. ‘Pavilion’ Crawford gallery Cork and Project Arts Center Dublin.

MICK O’SHEA
Lives and works in Cork, Ireland. He is a visual artist who uses sound, drawing and food as his medium. In 2003 he formed a collaborative partnership with fellow sound artist Danny McCarthy which has become recognised as one of Ireland’s leading sound art improvisation groups called the Quiet Club. They have met with considerable success and have toured extensively in Ireland and internationally. He is a director of the Guesthouse art project www.theguesthouse.ie and has been instrumental in establishing a vibrant and growing sound art scene in Cork city.

Selected performances/exhibitions: 2012: The Quiet Club with Stephen Vitiello, the Guesthouse. Black Sun with Okkyung Lee. Gaitkrash in the Opera house with Beckett’s Play. Strange Attractor in Plugd, Triskel, Cork. 2011: Strange Attractor Café Oto and Pigeon Wing, London. Sonic Vigil 6, Triskel Christchurch, Cork (curator). Spectrosonic Drawing release with Gruenrekorder Frankfurt. Sub-Plots sound installation Aller-Arts, Bludenz, Austria. Art Plant residency and sound installation Sayama Tokyo. The Reich Effect, Quiet Club artists in residence Opera House, Cork. 2010: Domestic Godless, food performance IMMA Dublin. ART+=ADDING, exhibition and performance Szczecin, Poland. Launch of Trace CD with Paul Hegarty. Trasna, Quiet Club a series of four concerts at the World Expo in Shanghai, China.

ANTHONY KELLY & DAVID STALLING’S collaboration encompasses sound and audiovisual works in multiple forms and media. Using found materials and improvisation as frequent points of departure, they create sound and video compositions ranging from small-scale interventions to immersive, multi-sensory installations, which combine objects, recorded and live sound, still/moving image and objects. Kelly and Stalling also perform live improvisations, as a duo as well as with others, such as The Quiet Club, Barbara Lüneburg and Jennifer Walshe. Some of their recent performances include Just Listening, LSAD Limerick, the i-and-e festival 2011, Dublin, Sonic Vigil, Cork, The Goethe-Institut,Dublin, Hilltown New Music Festival, Visual in Carlow, Soundwave 2, Cobh, and Kaleidoscope at The Odessa Club. They founded the sound art label Farpoint Recordings in 2005, publishing projects by artists such as Danny McCarthy, The Quiet Club and Linda O’Keeffe, and many others alongside their own work.

Selected performances/exhibitions: 2011: Strange Attractor Café Oto and Pigeon Wing, London, Sonic Vigil 6, Triskel, Cork, Hilltown New Music Festival, Co. Westmeath, Auralog Fourth Draft: The Presence Of Trees, The Return Gallery, Goethe Institute, Dublin, Yellow, SOMA, Waterford, Just Listening, LSAD, Limerick, Strange Attractor, Crawford Art Gallery, Cork. 2010/11: Shorelines, touring exhibition, venues include Sir Wilfred Grenfell Gallery, Cornerbrook, Newfoundland, The Rooms, St. Johns, Newfoundland, Mermaid Arts Centre, Wicklow and Siamsa, Co. Kerry and Ten Days On The Island, Tasmania. WAFER at SOMA Contemporary Art Box, Waterford, Sonic Vigil V, St. Fin Barre’s Cathedral, Cork. 2009: Unknown Point as part of Visualise Carlow & Eigse, Frequencies at the Basement Gallery, Dundalk. 2008: Two Places at Ormeau Baths Gallery, Belfast & Limerick University, The Incubation Space - artist residency (Aug - Nov) at The LAB, Dublin. Auralog at This Is Not A Shop gallery, Dublin as part of DEAF festival, screenings at Anthology Film Archives, New York, 2006 & 2008.

www.farpointrecordings.com

www.radiossilent.org
Guest Biography:

Stephen Vitiello is an electronic musician and media artist. Vitiello’s sound installations have been presented internationally, including the Massachusetts Museum of Contemporary Art (MASS MoCA), the 2002 Whitney Biennial, the 2006 Biennial of Sydney, at the Cartier Foundation, Paris and a site-specific project on the High Line in NYC. CD releases include Bright and Dusty Things (New Albion Records), Listening to Donald Judd (Sub Rosa), The Gorilla Variations (12k), and Dowsing (Farpoint Recordings). Since 1989, Vitiello has collaborated with numerous artists and musicians including Pauline Oliveros, Tony Oursler, Julie Mehretu, Scanner, Steve Roden, Taylor Deupree and Ryuichi Sakamoto. In 2011, ABC-TV, Australia produced the documentary Stephen Vitiello: Listening With Intent.
Originally from New York, Stephen is now based in Richmond, VA where he is on the faculty of the Kinetic Imaging Department at Virginia Commonwealth University. In 2011, Stephen was awarded a John Simon Memorial Guggenheim Fellowship. www.stephenvitiello.com

About Cage Transmitted:
Cage Transmitted: 12 evenings of performance is a series of performances and lectures organized by Norte Maar and E.A.T. (Experiments in Art and Technology) celebrating the centennial of John Cage. Spanning the calendar year these events feature music, poetry, theater, visual art, and dance and built upon the collaborative and interdisciplinary spirit of Norte Maar.

About Harvestworks: Harvestworks is a nonprofit Digital Media Arts Center that presents experimental artworks created in collaboration with our Technology, Engineering, Art and Music (TEAM) Lab. The Harvestworks TEAM Lab is an environment that provides project expertise from consultants, technicians, instructors and innovative practitioners in all branches of the electronic arts. Our programs are made possible with funds from New York State Council on the Arts, the National Endowment for the Arts, the NYC Dept. of Cultural Affairs, the Jerome Foundation, mediaThefoundation, Meet The Composer Cary Performance Fund, The Edwards Foundation Arts Fund, Bloomberg Philanthropies, The Andy Warhol Foundation, Foundation for Contemporary Arts, Materials for the Arts, and the Friends of Harvestworks. To learn more visit: www.harvestworks.org
About Norte Maar: Norte Maar for Collaborative Projects in the Arts creates, promotes and presents collaborations in the disciplines of visual, literary, and the performing arts: connecting visual artists, choreographers, composers, writers and other originating artists with venues and each other. To learn more visit: www.nortemaar.org

Thanks to: Virginia Commonwealth University and

[Jul 27] In Memoriam Conrad Schnitzler

“Gen” Ken Montgomery will conduct multi-channel works by Berlin composer CONrad Schnitzler (1937-2011). Schnitzler, a pioneer of electronic music, worked with the spacial distribution of sounds beginning in the early 70s. After recording as a founding member of the groups Tangerine Dream and Kluster, his prolific solo output of single track music works became well known, but Schnitzler’s multi-channel works are rarely heard or performed.

In Memoriam Conrad Schnitzler

Ken Montgomery
Fri, Jul 27, 4-7pm Live Cassette CONcert by Ken Montgomery
Sat/Sun, Jul 28/29 Multichannel Sound Installation of Conrad Schnitzler’s Works
Admission: FREE
Location: Harvestworks
See below other presentations of Conrad Schnitzler’s works at the Anthology Film Archives, Audio Visual Arts, Clocktower Gallery and WFMU.
“Gen” Ken Montgomery will conduct multi-channel works by Berlin composer CONrad Schnitzler (1937-2011). Schnitzler, a pioneer of electronic music, worked with the spacial distribution of sounds beginning in the early 70s. After recording as a founding member of the groups Tangerine Dream and Kluster, his prolific solo output of single track music works became well known, but Schnitzler’s multi-channel works are rarely heard or performed. Harvestworks presents this unique opportunity to hear Schnitzler’s compositions the way he intended them to be heard. The audience will be surrounded by 8 speakers, immersed in the physicality of CON’s sounds, adding new depths to their appreciation of this German elecronic music scene pioneer.

On Friday July 27 from 4-7 pm only, Gen Ken Montgomery will conduct a live Cassette CONcert.  Cassette CONcerts are boxed sets of cassettes that Schnitzler composed with the intent that others could perform and listen to his CONcerts without him present. The octophonic installation will continue on Saturday July 28 and Sunday July 29 from 4-7 pm, playing multi-channel works composed by Schnitzler between 1975 and 2008.

 


 

 

 

 

 

 

Mind Of Michelangelo (Software)

Mind of Michelangelo® is a new software program developed with Harvestworks and Phillip Baldwin and Jim Albano for the purpose of rendering the human figure in an artistic way. The software also allows for rendering shadows as the subject moves and thus enhancing innovative compositional possibilities.

Mind of Michelangelo® is a new software program developed with Harvestworks and Phillip Baldwin and Jim Albano for the purpose of rendering the human figure in an artistic way. The software also allows for rendering shadows as the subject moves and thus enhancing innovative compositional possibilities.

The uses of the software program for promotional and decorative purposes are clearly demonstrated in the video projection of a dancer on the show room wall of the Studio Anise at 23-25 Green Street NYC featuring new furnishings from Agape of Italy. The installation can be viewed probably from June on, please stay tuned!

Michelangelo And The Courtesan (eBook)

The mystery of the missing sybil of the Sistine ceiling - by J. Gennaro Albano

A new media historical fiction with embedded videos, Michelangelo and the Courtesan is an iconoclastic reworking of history just in time for the 500th anniversary celebrations this fall in Rome of the completion of the Sistine Chapel ceiling frescoes by Michelangelo. J. Gennaro Albano, artist and screenwriter, takes no prisoners as he dramatizes Renaissance figures in this impressive illuminated narrative with videos and illustrations inspired by the grand Maestro for the new media audience.

Download a PDF with further information here! - see the promotional video below:

Gocha Tsinadze: Soundwalk II

For this second work in the soundwalk series Gocha Tsinadze will construct  a viewer interactive multi-channel soundscape. This work implements camera vision with Max MSP and Ableton Live  in order to allow the viewer to control and manipulate the surrounding soundscape by their gestures and motion within the space  of the installation. The interactive score is composed of found sound, guitar, and synthesized sounds.

Gocha Tsinadze: Soundwalk II

Opening Reception: Friday, July 20, 6pm
Gallery Hours: Saturday & Sunday, July 21/22, noon to 6pm

Admission : Free

For this second work in the soundwalk series Gocha Tsinadze will construct  a viewer interactive multi-channel soundscape. This work implements camera vision with Max MSP and Ableton Live  in order to allow the viewer to control and manipulate the surrounding soundscape by their gestures and motion within the space  of the installation. The interactive score is composed of found sound, guitar, and synthesized sounds.

With this composition Tsinadze is attempting to create a symbiotic relationship between participant and composer. By allowing the score to be reconstructed and manipulated by the audience Tsinadze considers himself a collaborative composer and installation artist.

Gocha Tsinadze is an interdisciplinary artist working in installation, performance and new media. His work aims to bridge experience and fiction to create new topographies. Tsinadze holds an MFA from Brooklyn College’s Performing and Interactive Media Arts Program.

Tsinadze has exhibited and performed at New Jersey Institute of Technology, Monkeytown, Bricolodge, 58 gallery , New York Electronic arts festival and more.  He lives and works in Brooklyn,NY. For more info please visit www.droneclone.bandcamp.com

1996 New Works Residencies

New Works Residencies

Caterina Borelli and Sandra Seymour for the soundtrack on “Metrics,” the second in a series of three video tapes that investigate the similarities and differences between literary work and works that employ moving images. The music will be composed with found/recorded sound of industrial machinery. The first of the series, “Prologue” was shown at the third Mostra Video Independent, Centre de Cultura Contemporania de Barcelona, Spain. It will also be screened in June 1996 at the Three Rivers Arts Festival in Pittsburgh.

Lawrence Brose for a soundtrack for the film “De Profundis.” The soundtrack, much like the film itself, will be a multi-layered composition of spoken texts and other altered audio samples to create a multiphonic wall of sounds. The lyrics are excerpted passages from Oscar Wilde’s letter from prison “De Profundis” as well as his other writings. Wilde’s passages will be combined with a sound environment of colliding voices from several prerecorded sources that question the framing of a singular voice in the 90’s gay movement and thereby shattering an ideological framework of normalization. “De Profundis” is expected to be shown at the George Eastman House in Rochester, New York, the Munich Museum of Film and other international venues. The film will also be distributed by Frameline Distribution, Canyon Cinema, London Filmmakers Co-Op, Light Cone Distribution in France, and the NY Filmmakers Co-Op.

Zoe Beloff for “Beyond”, an interactive multimedia project. The piece is a philosophical inquiry exploring the paradoxes of technology and imagination posed since the birth of mechanical reproduction: the phonograph severing the voice from the body, photography capturing the soul and cinema resurrecting the dead. Beloff’s piece will be available on CD-ROM and also on the Web.

Tom Cora for the creation of a sound track to Dziga Vertov’s, “The Man with the Movie Camera.” In this particular piece, Cora plays the cello using a STEIM-built controller, while his feet are engaged in live editing and reconstruction of the material. Samples of the created sounds are sped up, slowed down, frozen in “stills,” collaged in various modulations, recalled for flashbacks, reversed and re-edited on the run to create this unique composition. The audio CD is expected to be released by Tellus in 1997.

Nick Didkovsky for a suite of compositions and improvisations that incorporate solo, duo, and multitracked electric guitar. This project will complete a body of work that will be released on CD.

Linda Dusman for “The Voice in Rama,” a visual and sonic gallery installation which investigates the impact of human beings on the natural world — specifically the songbird population. The title of the piece, the “Voice in Rama,” makes an analogy between the plight of the songbird population and the Biblical slaughter of the innocents. The installation will be exhibited at the Clark University Gallery, Worcester, Massachusetts, in February 1996 and also at the International Computer Music Conference in Hong Kong in August 1996.

Annie Gosfield for a new composition entitled, “Burnt Wires and Loose Ivory,” a large-scale work for altered piano. The piece will explore combinations of traditional and non-traditional piano techniques. For example, Gosfield will contrast detuned or microtonally tuned piano samples with equal-tempered instruments and combine a notated score with improvisational techniques in order to break the barriers of traditional piano composition. The piece will be broadcast by KPFA, Berkeley; KCBC, Santa Barbara; and KOTR, Saint Luis Obispo.

Masahiko Kono for a new music composition that incorporates trombone, space, electronics, and computer. The CD will be aired by KPFA-FM  in Berkeley California and FM MINI in Tokyo, Japan.

Lou Mallozzi for sound work on the radio show “Drift.” In this piece, Mallozi will investigate language’s dual nature as bodily utterance and conveyor of meaning by using a combination of studio recordings, location recordings, and electronics to explore texts and narrative structures that drift, slip, or decompose in meaning, utterance, intent, and materiality. The radio show will be aired by: WHPK-FM, Chicago; CJSR-FM, Edmonton; WZRD-FM, Chicago; WLUW, Chicago; KNUM-FM, Albuquerque; and CKDU-FM, Halifax.

Myra Melford for the sound track for “My House Was Collapsing Toward One Side.” This dance/music/theater piece uses the details of everyday life on earth to evoke a sense of mortality and fleetingness. The piece will explore the lives of three Japanese women from different times: the 10th Century, Hiroshima in 1945 and contemporary New York. Melford’s piece will be shown at Dance Theater Workshop, NYC during March and April 1996.

Neta Pulvermacher for sound tracks for “Long Story Short,” “To Bite an Orange with its Peel,” and “Matza Matzot.” All three are dance/theater projects. “Long Story Short” is a site piece created for the Danspace Project. It draws from the common human experiences of desire, loneliness and alienation. Musically it is a collage of various John Zorn pieces with recorded and live texts and whistling. “To Bite an Orange with its Peel” investigates the interplay of rhythmic patterns in music and movement. Driven by the passion of Schumann’s Lieder, this suite of ten dances evokes images of nature while exploring the human stages of love and infatuation. “Matza Matzot’ is a solo for Pulvermacher with a bunch of Matzas. “Long Story Short” and “To Bite an Orange with its Peel” will be presented by Danspace Project at St. Mark’s Church in February 1996. “Matza Matzot” will be presented at the Knitting Factory in April 1996.

Frank Ortega for the recording of the radio show, “Toward Akaba.” This audio journal will track a personal journey through the Middle East during the “Gulf Crisis,” starting in Istanbul on the back of a Bedford truck and ending in Cairo on a “flying coffin.” “The soldier watches the border, that absurd cyclone fence representing a new line on the map, a change of stationary.” The show will be offered to Pacifica Program Service, NPR,  and American Public Radio as well as individual radio stations.

Nelson Smith for sound work on “Human Radiation,” a performance piece that occurs within a self-contained installation. The work explores the idea of human mental energy. Objects which include small appliances and house objects are used as mediums for communication or generating energy. In performance, the performer interacts with the objects and speaks/intones texts that are integrated with an electronic sound/music score as well as with audio samples that emerge from the environment itself. The installation/performance piece will be shown at The Theater at Marygrove College, Detroit, and at the Performance Network in Ann Arbor in fall 1996.

Helen Thorington for “North Country” an interactive multimedia project inspired by an article in a local newspaper that reported the discovery of an unidentified skeleton in the vicinity of North Elbe, NY. “North Country” focuses on the theme of disappearance, using short blocks or fragments of texts to shape its particular web of related ideas. Snow, water, things remembered and forgotten, the skeleton of a tamarack tree, a dead woman, and other elements intertwine in a narrative that is the plurality of its connections. Thorington’s piece will be available on CD-ROM and also on New Radio and Performing Arts’ Web site (http://www.somewhere.org).

Catherine Weis for sound work on the video/performance piece “FRACTURED, Just the fracts, ma’am.” In this piece Weis poses the question, “When technology and the human body become partners, who leads?” Video imagery, sound elements and live performers move separately throughout the piece, coming together at odd moments to ignite in flamboyant vignettes. The incredible downtown cast of six unacceptable yet inspired divas include: Scott Heron, Anne Iobst, Ishmael Houston Jones, Jennifer Miller, Jennifer Munson and Cathy Weis herself. The piece will be performed at the Dance Theater Workshop, NYC in March 1996.

Programming Residencies

The Programming Residencies are for acoustic and electronic music composers who wish to explore and incorporate into their work the capabilities of computer music MIDI systems. The residencies include a professional software instructor and access to the Studio PASS Macintosh computer’s music software and MIDI equipment. This year’s recipients were:
Lisa Karrer
Fred Lonberg-Holm
Leopanar Witlarge