June 14 – July 29, 2011

Featuring visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders.

Curated by Claudia Calirman

OPENING RECEPTION:

Tuesday, June 14, 2011 6-8 PM

DATES: June 15 – July 29, 2011

HOURS: Tuesday – Saturday 12-6 PM

Location One is proud to present Sounds Good, featuring visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders. The pieces relate to movement, rhythm, vibration, energy, and the expanding visual field. The show opens on June 14 and will be on view until July 29.

Australian artist John Aslanidis’s monumental painting Sonic Network no.10 comprises four canvases that translate the vibrations of sound into a visual display. At first, the composition of colorful squares seems optically chaotic. This apparent chaos, however, is the result of a meticulously orchestrated, laborious process that recalls the madness of order. From far away his canvases look as if they are randomly composed, but as the viewer approaches it becomes clear that they are actually highly organized abstract geometric grids, with chance elements interspersed to interrupt the rigidity of his web.

Katy Dove’s work responds to the rhythm and movement from the collaborative sound track developed through group improvised music sessions. The human and textural qualities of the sound is echoed through repetitive mark making, the slowly drying action of the ink, and the geometric shapes that come from the hand’s movement. The resulting works—both on fabric and through the moving image–suggest a psychological state inherent in these processes. Based in Glasgow, Scotland, Dove is known for her animations that juxtapose bodily motions with abstract shapes, mixing the organic and the geometric.

Hong Kong–based artist Phoebe Hui took inspiration from a harmonograph—a musical instrument made of two pendulums suspended through holes in a table—for her interactive audiovisual installation Granular Graph II: The Tank and the Pendulum. In this work, Hui invites the viewer to become a living pendulum, swinging on the instrument’s ropes and giving rise to a mix of vibrational patterns and sounds. Hui’s experimentations with music and kinetics also led her to create Vexation – for K, an electronic musical instrument that plays the composition “Vexation” by French composer Erik Satie. The audience can play the instrument by rotating a compass, thus creating a variety of tones through the contact of different shades of pencil marks on the soundboard.

British theatre director Sophie Hunter’s installation Lucretia is based on a fragment of Benjamin Britten’s opera The Rape of Lucretia—specifically, the image of a group of women spinning at a loom as their husbands are off waging war. Hunter extracts various elements of the opera, such as the orchestra, the narrative, and the opera house itself, and deconstructs and examines them devoid of their original context. She then reassembles these elements to record an altogether new score—a densely collaged soundtrack made of both music and noise—drawing a parallel between the act of weaving and the recording or encoding of information and memory.

Colombian artist Miler Lagos reflects on the relationship between the natural and the artificial worlds. His five-minute video Attraction shows a heart-shaped red balloon plunging into the water. The impact of the fall is dramatically amplified, creating the effect of an exaggerated explosion. To create his sculpture Cimiento, Lagos began with a stack of seven thousand sheets of paper, each printed with an image of a woodcut by the Japanese artist Ottawa Hiroshige, and painstakingly carved it into the shape of a log. In Tree Rings Dating, four hundred identical pages from The New York Times come together in a mesmerizing three-dimensional collage—a spherical form with a transversal cut simulating the rings of a tree. The sculpture alludes both to the recording of the passage of time and to daily events, since it is made out of newspapers.

John O’Connell, a multimedia artist from Dublin, Ireland, is represented in the exhibition by a series of drawings evoking an intimate and dreamy environment. Built from a myriad of interrelated elements borrowed from his make-believe universe, the drawings straddle the line between real and fictional, process-based and result-oriented. To create these fantastical compositions, O’Connell begins with hand-constructed miniature set models that reproduce the imaginary landscapes of the artist’s poetic, whimsical, and lyrical universe.

Spanish artist Gonzalo Puch’s wall curtain juxtaposes disparate elements in unexpected and often funny tableaux, suggesting intricate narratives out of random elements. Plants, flowers, and pieces of food inhabit his curtain with photographs, sketches, and drawings, creating an open environment populated by the artist’s imagination. It is a world where chaos is not a threat, but a generative force inviting viewers to think outside of their comfort zone. Though Puch is interested in a variety of issues, including science, music, biology, and environmental studies, his art draws primarily on nature for both themes and materials.

Zane Saunders’s series of ceramic-fired clay wall sculptures are inspired by organic forms. His designs utilize a variety of waving shapes that recur in natural landscapes. Saunders was born in Cairns, North Queensland, Australia, where he still works today. He explores issues related to spirituality and the environment, often juxtaposing elements from nature and contemporary life. Through his use of raw and organic materials, he conveys a sense of the beauty and wonder lurking in the world all around us.

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One’s residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

Joan Jonas
Drawing/Performance/Video
March 20-May 8, 2010

“I didn’t see a major difference between a poem, a sculpture,
a film, or a dance. A gesture has for me the same weight as a drawing:
draw, erase, draw, erase–memory erased.”
-Joan Jonas

Location One is proud to present Drawing/Performance/Video, a new exhibition by Joan Jonas that highlights the role of drawing in the artist’s performance and video work.

OPENING RECEPTION:
Friday, 19 March 2010 6-8 PM
DATES: 20 March–8 May 2010
HOURS: Tues–Sat 12-6 PM

March 24th at 7 pm
Linda Nochlin speaks with Joan Jonas, moderated by Jovana Stokic, curator of the Abramovic Studio at Location One
April 8th at 7 pm
Bonnie Marranca and Claire MacDonald speak with Joan Jonas

Drawing is an underlying practice and ongoing concern that Jonas has pursued
throughout her life. All of Jonas’s performance drawings retain a working relationship to her individual video and installation projects. For Jonas, drawings can be lasting and autonomous objects or they may be ephemeral and destroyed during a performance.

Jonas considers the act of drawing and the physical objects themselves (media on
substrate), in terms of their relation to the camera, the monitor, the space, as well as their status of being descriptive, diagrammatic or iconic.

Drawing/Performance/Video will look at Jonas’s drawings within the context of her performance and video work, including the groundbreaking work Double Lunar Dogs, originally performed in 1984, Lines in the Sand, The Shape the Scent the Feel of Things, Organic Honey’s Vertical Roll and others.

[Show as slideshow]

About the Artist: Joan Jonas is a pioneer of video performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Threads of Jonas’s influence can be found in many genres; from performance and video to conceptual art and theater.

Jonas has worked with composers such as Alvin Lucier and Jason Moran to develop video-performance works. Her work continues to explore the relationship of digital media to performance.

Jonas has had major retrospectives at the Stedelijk Museum, Amsterdam (1994), and Galerie der Stadt Stuttgart, Germany (2000), and was represented in Documenta V, VI, VII and XI in Kassel, Germany. In 2004, the Queens Museum of Art presented Joan Jonas: Five Works, the first major exhibition of the Joan Jonas’s work in a New York museum. The exhibition included a selection of the artist’s most significant installations, a video room, and a survey of Jonas’ drawings, photographs, and sketchbooks.

The first installation and performance of Jonas’s Reading Dante was at the 2008
Biennale of Sydney. Later that year Jonas performed the work at the Yokohama
Triennale, and also performed a reading at The Isabella Stewart Gardner Museum in Boston. Jonas was featured in the International Pavilion of the 2009 Venice Biennale where she installed Reading Dante II. Most recently, the artist presented Reading Dante II at the Performing Garage in New York as part of Performa ’09, and selected elements of this performance are featured in Reading Dante III at Yvon Lambert New York. Also at the Museum of Modern Art, through May 31, 2010, Performance 7: Mirage, which is a reimagining of the groundbreaking performance originally created in 1976. In 2009 Jonas was awarded the Guggenheim’s first annual Lifetime Achievement Award.

Joan Jonas is represented by Yvon Lambert Gallery, and was Senior Artist in Residence at Location One in 2008-09.

Artist Talks:
Joan Jonas with Linda Nochlin, Moderated by Jovana Stokic

Joan Jonas with Bonnie Marranca and Claire MacDonald

Location One is proud to present “The Present Doesn’t Exist in My Mind, and the Future is Already Far Behind,” a one-woman performance piece by Lilibeth Cuenca Rasmussen.  Conceived as a collaboration with composers Pete Drungle and Brian Bender, motion graphic artist Brian Close, and costume designer Lise Klitten.Performance artist Lilibeth Cuenca Rasmussen was inspired by the writings of feminist mavericks Valentine de Saint Point and Mina Loy that reflect on visions of female sexuality and the subjugation of women. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes.Lilibeth Cuenca represents here a specific persona: a strong woman with attitude, and who serves her point of view in a direct way, “a woman who is proud of being a woman.“ Hers is an inclusive feminist stance that is aware of post-feminist traps. The artists evokes basic categories of the body (as nature), and the architecture (as culture), as male/female symbols.The artist’s body is trying to fit within and at the same time it is struggling with the laws and structure of geometry and architecture. Depending on the movements and choreography of the body, basic, geometric costume can transform into multiple formations as basic geometrical shapes: cylinder, circle, square, and rectangle. The inner layer is a “bodysuit”, only revealing the face, hands and feet. When the “geometric” is taken off, the motion graphics of architectural structures –”Virtual Costumes” — take over by surrounding and enclosing the body in lines and grids. The female body is integrated with architecture by projecting motion graphics onto a solid white body form. Like a snail house or a turtle, the artist carries her space around — a mobile, dynamic and flexible architecture. By this performative imagining, the artist contests the fact that architecture is predominantly a masculine endeavor.Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen, Denmark. Works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the interspaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, the artist displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalisms these narratives in her both critical and humorous approach to central issues such as identity, gender, and social relations. Lilibeth Cuenca Rasmussen is a graduate from The Royal Danish Academy of Fine Arts (1996-2002). She has contributed to a wide range of exhibitions in Denmark and abroad. Her work has been presented internationally at institutions such as U-Turn Quadriennial, Copenhagen; Brooklyn Museum, New York; Malmö Kunst Museum, Sweden; and the Museum of Contemporary Art, Seoul, South Korea, PERFORMA 09, New York.

Click here to view the embedded video.

Location One is proud to present “The Present Doesn’t Exist in My Mind, and the Future is Already Far Behind,” a one-woman performance piece by Lilibeth Cuenca Rasmussen.  Conceived as a collaboration with composers Pete Drungle and Brian Bender, motion graphic artist Brian Close, and costume designer Lise Klitten.Performance artist Lilibeth Cuenca Rasmussen was inspired by the writings of feminist mavericks Valentine de Saint Point and Mina Loy that reflect on visions of female sexuality and the subjugation of women. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes.Lilibeth Cuenca represents here a specific persona: a strong woman with attitude, and who serves her point of view in a direct way, “a woman who is proud of being a woman.“ Hers is an inclusive feminist stance that is aware of post-feminist traps. The artists evokes basic categories of the body (as nature), and the architecture (as culture), as male/female symbols.The artist’s body is trying to fit within and at the same time it is struggling with the laws and structure of geometry and architecture. Depending on the movements and choreography of the body, basic, geometric costume can transform into multiple formations as basic geometrical shapes: cylinder, circle, square, and rectangle. The inner layer is a “bodysuit”, only revealing the face, hands and feet. When the “geometric” is taken off, the motion graphics of architectural structures –”Virtual Costumes” — take over by surrounding and enclosing the body in lines and grids. The female body is integrated with architecture by projecting motion graphics onto a solid white body form. Like a snail house or a turtle, the artist carries her space around — a mobile, dynamic and flexible architecture. By this performative imagining, the artist contests the fact that architecture is predominantly a masculine endeavor.Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen, Denmark. Works primarily with video and performances. With consummate style and an almost voracious curiosity, she navigates the interspaces between different kinds of realities and extremes. Between the perfect staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, the artist displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalisms these narratives in her both critical and humorous approach to central issues such as identity, gender, and social relations. Lilibeth Cuenca Rasmussen is a graduate from The Royal Danish Academy of Fine Arts (1996-2002). She has contributed to a wide range of exhibitions in Denmark and abroad. Her work has been presented internationally at institutions such as U-Turn Quadriennial, Copenhagen; Brooklyn Museum, New York; Malmö Kunst Museum, Sweden; and the Museum of Contemporary Art, Seoul, South Korea, PERFORMA 09, New York.

Click here to view the embedded video.

Location One Virtual Residency Project 2.0: “Levels of Undo”
New work by Virtual Artists-in-Residence Jessica Curry, Ursula Endlicher, Narinda Reeders, and Ben Woodeson
September 9–October 30, 2009
Opening reception: September 9, 6-8pm
Free and open to the public
26 Greene Street NYC 10013
(between Canal and Grand)
212-334-3347

Location One Virtual Residency Project 2.0: “Levels of Undo” Four artists from 4 different cities, who have never met—and were forbidden to do so during the three months of their “residency”—collaborate on a topic that they had no say in developing. Is this ethical? Are the parameters unnecessarily rigid? Were they able to produce anything worthwhile under such oddly stringent rules?

Come see the results of this virtual experiment at Location One, on Wednesday, September 9.

Confessedly the rules weren’t quite so harsh as they sound: there were no expectations or requirements to complete any finished artworks, in fact the entire project could conceivably have existed as a blog discussion (see it at http://vres.location1.org). But the four artists (two teams of two) Ben Woodeson (UK) & Ursula Endlicher (US) (Team X), and Narinda Reeders (AU) & Jessica Curry (UK) (Team 7), who were given the topic “Levels of Undo” and precious little else, spent the last three months marinating in that theme and communicating via blog, skype, snail mail, telephone, IM–so long as it did not include meeting face to face–to create some exciting new works, including a few that are not at all virtual.

Location One is pleased to present the fruits of their marination, which include Facebook impersonation performances, Spy pen surveillance video, Morse code sonatas, and analog “Tweets”. What are analog Tweets? Good question. Also making an appearance: a bottle of absinthe that may or may not burst into flames, and a live visitation from the “Old Internet” who tries to “friend” the “New Internet”. How does all this relate to the topic “Levels of Undo”? How indeed. The artists were encouraged to interpret the theme however literally or broadly they saw fit; their interpretations led them to challenge both the idea of “Undoing” as well as the nature of collaboration itself.

Two of the artists will be present at the opening to meet each other for the first time, the other two will teleport in via video chat. Ben Woodeson will also be previewing some of his Virtual Residency Project works at dorkbot-nyc on September 2, 7pm at Location One.

Location One is grateful to the artists for accepting the challenge with such good humor and and grace, and enjoyed watching them so brilliantly do, undo, redo–and ultimately undo our own expectations of this odd experiment.

Artist Bios:

Jessica Curry (Brighton, UK)  is a composer based in the UK who spends far too much time with her husband.
Making a child and making work together has formed the basis of their collaborative experiments for the past eight years.  A Wellcome Trust commission led on to several successful large-scale projects, including a series of experimental computer games.  The latest of these, Dear Esther, was selected for Prix Ars Electronica 2008 and is a finalist in Los Angeles based festival, Indiecade 2009. Their Second Life funeral, The Second Death of Caspar Helendale has recently been selected by The Royal Opera House, UK to be performed there in November 2009.  Jessica and her
husband still, however, argue over whose turn it is to do the ironing.

Location One offered Jessica the opportunity to commit collaborative infidelity with a mysterious Australian artist. The temptation proved too much for Jessica and the rest, as they say, is Levels Of Undo.

http://www.jessicacurry.co.uk

Ursula Endlicher (New York, USA)  is an Austrian artist living in New York. Her work bridges performance, installation, and the Internet. Using the Web since its days of inception she is interested in its inherent structures and languages – such as HTML – and translates them into visual formats, dance choreography, sound, and installations. Recent works such as the net art piece “html_butoh” as well as the live/web-driven performance series “Website Impersonations” are based on the “html-movement-library”, a database of user-submitted movement directions based on HTML code. Recent shows include venues such as Lightindustry in Brooklyn, New York, Theater am Neumarkt in Zürich, Switzerland, and Woodstreet Galleries in Pittsburgh, PA. She received commissions by Turbulence, and by the Whitney Museum of American Art for artport’s Gate Pages.

For “Levels of Undo” she developed new works that reflect on: the peculiar exchanges with her virtual residency
mate(s), the long and winding road of working online for one and a half decades, and the deep and mysterious experiences with Facebook.

http://www.ursenal.net

Narinda Reeders (Melbourne, Australia) is a media artist and a bona-fide nerd. She studied computer science in the dark ages, before hotmail had been invented and the HTML seemed revolutionary. She also obtained an honours degree in Photography from the Victorian College of the Arts. Her photographs and interactive installations have seen her exhibited nationally and internationally, most recently as part of Experimenta national touring exhibitions, and at the International Symposium for Electronic Art in Singapore, 2008.  Narinda is also one half of the performance duo Hit&Miss, with Tai Snaith, although she wishes there were a better word than “performance” to describe the acts of creative mischief they get up to. Dressed identically in red and white, Hit&Miss have been practicing the art of painful stillness and many other absurd acts for the past 6 years. They have popped up unexpectedly in public spaces, exhibitions, parties, flights, shopping festivals and car club rallies in Australia, Scotland and the US.

http://www.narindareeders.net

Ben Woodeson’s (London, UK) practice revolves around absurd and quietly confrontational sculptures. His works set out to challenge the viewer and the exhibiting institution in a playful kind of art chicken. Since December 2008 he has been working on a new series of “ deliberately dangerous” works entitled “The Health and safety Violations”, to date these have included 30,000 ball bearings for the audience to walk on, an electric fence which the audience had no choice but to climb over if they wished to enter the gallery and a motion activated vacuum pump which set about extracting the atmosphere from a sealed gallery every time a viewer was present. In June he was selected for a prize by the artist Mark Wallinger when he exhibited a corridor full of randomly activated trip wires at this year’s Creekside Open exhibition in London. The works sound overtly dangerous… but are they really? For the virtual residency he has
been collaborating with Ursula Endlicher, the two have never met but they will spend the last week before the exhibition opens finalizing works together in New York. He has shown throughout Europe, Canada, and America and he has an upcoming solo show at Electrohype in Malmo, Sweden.

Trained in Glasgow, Scotland he now lives in London, England with his wife the artist Andrea Jespersen and their dog Mia who is deeply unimpressed by his studio that unsurprisingly is full of dangerous shit and things that go “bang”…

http://www.woodeson.co.uk

Wednesday, July 16, 2008
7:00 pm

Jean Shin in conversation with Nathalie Anglès, Director of Location One’s International Residency Program

A Conversation on The Topic of Jean Shin’s Exhibition “And we move”
Wednesday, July 16, 2008 7pm
Free admission, Open to the public
at Location One 26 Greene Street (between Canal and Grand)

Jean Shin’s current exhibition at Location One “And we move” is an installation that explores the nature of music and musical production by analyzing some of its fundamental structures: the score, the conductor, the magnetic tape on which is it is recorded. A site-specific work developed during her residency at Location One, “And we move” incorporates large-scale inkjet prints, magnetic tape, and a video projection of a close view of a conductor’s back as he leads an orchestra, the folds of his jacket undulating with each of his movements. We don’t see his arms or the musicians, but the quiet passages and dramatic swells of the music (Ma Vlast (My Country), by Czech composer Bedrich Smetana, and Ibert’s Flute Concerto) are expressed in the rippling shadows and folds of the fabric.

Artist Jean Shin will talk about her work with Director of Location One’s International Residency Program, Nathalie Anglès on Wednesday, July 16 at 7pm. The event is free and open to the public. Light refreshments will be served.

Jean Shin creates elaborate sculptures and site-specific installations that suggest imaginary communities through the use of accumulated cast-offs. Mary Ceruti writes, “Jean Shin uses discarded material (the excess, the forgotten, the no longer useful) in works that operate between abstraction and representation. Made from the remnants of contemporary urban life, Shin’s sculptures form a sort of visual history and a social mapping.”

A Brooklyn-based artist, Jean has exhibited widely in the U.S. and abroad. Recently awarded a GSA Art in Architecture commission, she is working on a permanent large-scale work in the lobby of the Fallon Federal Building in Baltimore, Maryland. Exhibitions include the Museum of Modern Art, New Museum of Contemporary Art, Asia Society, Brooklyn Museum, Sculpture Center, Fabric Workshop, Socrates Sculpture Park, PKM Gallery (Beijing), Ssamzie Space (Seoul), Frederieke Taylor Gallery, and Galerie Eric Dupont (Paris).
Website: http://www.jeanshin.com

Jean Shin’s residency at Location One is supported by the Rockefeller Brothers Fund.

A screening and reading and talk with artists Rob Kennedy and Peter Rose
Wed 25th June 2008 7pm

A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernalia

A screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

Hapless, Helpless and Hopeless is a video by Rob Kennedy and Peter Dowling produced entirely of sampled television advertisements that attempts to adapt and re-define the codes at work in these sales pitches, building a “grammar” that can be used to suggest other readings, other outcomes, other problems, than those nominally prescribed in the role of the advertisement, This is not in some vain attempt at trying to negate the power of these adverts, but in order to construct a constantly shifting series of relationships that mines the psychological, emotional and semiotic power of these highly produced images and sounds.

http://www.steadykammer.net/pages/CollaborationsKennedy.html

Grouped together under the title VOX 13 is a series of films by Peter Rose dealing with the complexities of language. By disturbing generally understood codes and conventions these films both critique the problems of communication whilst savouring the joy and humour of language as it is let loose on itself. ‘Secondary Currents’ and ‘The Gift’ are just two of the films from this fascinating series.

www.peterrosepicture.org

A variety of other texts and sounds will be read and played to further present the obscurity of language and our fragile relationship to the signs and conventions that we so readily rely on.

With thanks to Peter Rose, Location One, Filmmakers Coop, NYC.

Rob Kennedy’s residency at Location One is funded by Scottish Arts Council.

Rob Kennedy is an artist from Glasgow, UK, working mainly with video and installation. Coming from a background in sculpture, his video work is concerned more with the physical manipulation of material, language and time rather than acting as a framing device to view the world through a lens. A series of current projects are focused on collaborations with several composers/musicians using techniques of improvisation both live and in the studio, to play with certain generic conventions of television production.

His work has been screened and exhibited in numerous festivals and galleries including Tate Britain, Venice Biennale, Tramway, Transmediale, Impakt, Backup and the Edinburgh film festival.

Since 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose’s background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent work has involved a return to an examination of landscape, time, and vision and takes the form of installation. Rose has been widely exhibited, both nationally and internationally, and has been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival.

June 19 – July 26 2008
OPENING RECEPTION: Thursday June 19th, 6 – 8pm (open to the public)

Location One presents And we move, an installation by New York based artist Jean Shin, which was developed during her residency at Location One. The opening will be held on Thursday June 19th from 6 to 8 pm and the exhibition will remain open to the public through Saturday July 26th, 2008.

Conceived as a site-specific installation, And we move continues Jean Shin’s investigation into the nature of music and its production. The installation utilizes the display of clothing, a video projection on fabric, unwound audio tape, embroidery, and compositional scores on prints, to explore how music is visualized and expressed through movement of the body, and how sound can be imprinted onto a surface. The result is the creation of a multimedia installation. The title And we move refers to the phrase iterated by the conductor as he begins to work with the musicians and evokes the dynamic relationship between them. It also refers to the way in which music moves its listeners.

In the video, the conductor’s back is isolated into a cropped view of his jacket as he leads the orchestra to play the lyrical score of Ma Vlast (My Country), a piece by Czech composer Bedrich Smetana, and Ibert’s Flute Concerto. The single viewpoint creates a mysterious, suggestive abstraction of something alive, pulsing, moving. As the conductor engages with each second of every orchestral part, the image of his moving jacket speaks to his essential relationship as an individual to the group of musicians and ultimately his role in both interpreting and realizing each collaborative performance.

The artist has chosen to include the structural columns of the gallery in her installation, which she equates to the structural system of a musical score, with measures and repetitive lines. Found magnetic audio tape is wrapped around and extended between the columns in a fluid and expressive manner, evoking the act of drawing, and creating a line of sound within the architectural space. The audio tape also refers to the materiality of music and its making; metaphorically it refers to the socio-economic interrelationships that lead to the production of music.

Further exploration of the themes is provided by a series of five large-scale inkjet prints on fabric. The prints are stills from the video which capture the conductor’s body in action and become moments of music frozen in time: music and movement distilled. On the bottom portion of each print, the score of Smetana’s composition is printed continuously in a long horizontal band extending through all five images while the audio levels of the video are translated into a line of embroidery that runs between the still and the score, visually suturing the distinct elements together. The artist’s intention is to create a pause in the movement of a conductor’s action and contrast it with the musical language of the compositional score as well as the sampling of the audio track that is a record of the actual performance.

The use of clothing as representation of the body is integral to Jean Shin’s practice. In this new project, the artist is also thinking about the expressiveness of fabric throughout history (such as the Baroque and Hellenistic periods) and how it became almost more important than the figure, because it revealed the imprint of the figure, something greater than a simple depiction of the body.

Jean Shin’s residency at Location One is supported by the Rockefeller Brothers Fund.
Thanks to Solo Impression Inc. for producing the digital prints for this exhibition, to Richard Lanier, Joseph W. Polisi, George Stelluto and the Julliard School of Music for their invaluable help.

Hands together: New York Artists Gather for China Earthquake Relief to Benefit UNICEF

(download flyer in pdf format)

June 14, 2008 @ 3pm
The Players Theatre
115 MacDougal Street (between W 3rd and Minetta Lane)
Tickets: $45 / Group of Four: $125 (Promotional code is: 4UNICEF)

Tickets can be obtained through Theatermania at www.theatermania.com or call (212) 352-3101

OR click on the following link:
http://www.theatermania.com/content/show.cfm/show/144637
OR go to www.theatermania.com and search under Matrix Music Collaborators

Proceeds to benefit U.S. Fund for UNICEF

This special presentation will feature an international line up of artists to include:

Min Xiao-Fen, pipa / Wu Na, Gu Qin / Huang Ruo, composer / Eric Siu, visual artist /
Pan Asian Repertory Theatre / Asian American Writers’ Workshop /

Members of Matrix Music Collaborators:
Yoon Kwon, violin (acoustic & electric) /
Yuri Namkung, violin (acoustic & fiddle) /
Wendy Law, cello / Justin Berrie, flute / Christa Robinson, oboe /
Rachel Calin, bass / Sheryl Lee, piano & artistic director

Puppeteers:

Deborah Hertzberg / Serra Hirsch / Daniel Irizarry / Mary Robinette Kowal /
Chris McLaughlin / Jessica Scott / Meghan Williams / Jodi Eichelberger

led by Jane Catherine Shaw and Terry O’ Reilly, co artistic-directors

Program:

Drunken Man by Jiu Kuang, based on a famous poet of the western Jin dynasty (265 -420)
Blue Pipa (inspired by Miles Davis) by Min Xiao-Fen
The North of Sunset by Thelonius Monk, arr. by Min Xiao-Fen
Mo (dedicated to the victims of the Sichuan earthquake) by Min Xiao Fen and Wu Na

Four Fragments for solo violin by Huang Ruo

Excerpts from The Joy Luck Club

a play by Susan Kim, adapted from the novel by Amy Tan
with direction & musical staging by Tisa Chang
Oblivion by Piazzolla

“Super Cop World” video installation featuring mighty Mario and Jackie Chan

designed by Eric Siu
Peter and the Wolf, Op. 67 by Sergei Prokofiev – a staging with Chinese
Puppets with Matrix Music Collaborators

Involvement/ Support and special thanks to the following:
Asia Society; Asian Cultural Council; Asian American Advertising Media; Franklin Furnace Foundation; UNICEF for U.S. Fund; Chinese Consulate, NY; Chinese Mission to the United Nations; The Players Theatre; Mabou Mines; PS 122; Jeremy Klaperman; Lawrence Uy; Chinatown Ice Cream Factory; Matrix Music Collaborators; Pan Asian Repertory Theatre and Asian American Writers’ Workshop and bluepipa.org

Piano Courtesy of C.Bechstein America
Generously hosted by The Players Theatre

Co-producers: Terry O’Reilly and Sheryl Lee
Marketing Director: Barbara Okishoff
Graphic Designer: Yuan Zhou

Hands together: New York Artists Gather for China Earthquake Relief to Benefit UNICEF

(download flyer in pdf format)

June 14, 2008 @ 3pm
The Players Theatre
115 MacDougal Street (between W 3rd and Minetta Lane)
Tickets: $45 / Group of Four: $125 (Promotional code is: 4UNICEF)

Tickets can be obtained through Theatermania at www.theatermania.com or call (212) 352-3101

OR click on the following link:
http://www.theatermania.com/content/show.cfm/show/144637
OR go to www.theatermania.com and search under Matrix Music Collaborators

Proceeds to benefit U.S. Fund for UNICEF

This special presentation will feature an international line up of artists to include:

Min Xiao-Fen, pipa / Wu Na, Gu Qin / Huang Ruo, composer / Eric Siu, visual artist /
Pan Asian Repertory Theatre / Asian American Writers’ Workshop /

Members of Matrix Music Collaborators:
Yoon Kwon, violin (acoustic & electric) /
Yuri Namkung, violin (acoustic & fiddle) /
Wendy Law, cello / Justin Berrie, flute / Christa Robinson, oboe /
Rachel Calin, bass / Sheryl Lee, piano & artistic director

Puppeteers:

Deborah Hertzberg / Serra Hirsch / Daniel Irizarry / Mary Robinette Kowal /
Chris McLaughlin / Jessica Scott / Meghan Williams / Jodi Eichelberger

led by Jane Catherine Shaw and Terry O’ Reilly, co artistic-directors

Program:

Drunken Man by Jiu Kuang, based on a famous poet of the western Jin dynasty (265 -420)
Blue Pipa (inspired by Miles Davis) by Min Xiao-Fen
The North of Sunset by Thelonius Monk, arr. by Min Xiao-Fen
Mo (dedicated to the victims of the Sichuan earthquake) by Min Xiao Fen and Wu Na

Four Fragments for solo violin by Huang Ruo

Excerpts from The Joy Luck Club

a play by Susan Kim, adapted from the novel by Amy Tan
with direction & musical staging by Tisa Chang
Oblivion by Piazzolla

“Super Cop World” video installation featuring mighty Mario and Jackie Chan

designed by Eric Siu
Peter and the Wolf, Op. 67 by Sergei Prokofiev – a staging with Chinese
Puppets with Matrix Music Collaborators

Involvement/ Support and special thanks to the following:
Asia Society; Asian Cultural Council; Asian American Advertising Media; Franklin Furnace Foundation; UNICEF for U.S. Fund; Chinese Consulate, NY; Chinese Mission to the United Nations; The Players Theatre; Mabou Mines; PS 122; Jeremy Klaperman; Lawrence Uy; Chinatown Ice Cream Factory; Matrix Music Collaborators; Pan Asian Repertory Theatre and Asian American Writers’ Workshop and bluepipa.org

Piano Courtesy of C.Bechstein America
Generously hosted by The Players Theatre

Co-producers: Terry O’Reilly and Sheryl Lee
Marketing Director: Barbara Okishoff
Graphic Designer: Yuan Zhou

OPENING RECEPTION: Wednesday 9 January, 6-8 pm
on view 10 – 19 January 2008

Location One is happy to present new work by residents Moira Ricci and Hung Nguyen Manh.

Central to Moira Ricci’s work is the world of the family home as the natural arena in which relationships are played out. Putting aside her own emotions, Ricci turns her personal narrative into fertile ground for thinking about the world we live in.

Moira Ricci – 2008

“Ora sento la musica, Chiudo gli occhi, Sento il ritmo che mi avvolge, Fa presa nel mio cuore“ (“Well I hear the music, close my eyes, feel the rhythm, wrap around, take a hold of my heart)
is the title of Moira’s new video piece. She states: “This video is the first leg of a musical film. This initial work focuses around the topic of dance, a short story of my life, a piece of my past. It recalls the world I come from, that of dance and of my little town in Italy. The idea was born from my mother’s aspiration that I might become a professional dancer. I pursued that course until I was 18, but after high-school, I decided to take a different path, and this caused my mother to be disappointed. Much of my work is constructed from home videos, often taken by my mother during shows organized at my dance school. Here, my mother’s point of view is clearly perceptible. The video is edited following the rhythm and lyrics of “What a Feeling” – the most popular title of Flash Dance, the iconic dance film of the ‘80s. It The lyrics also appear in Italian as subtitles, because they bring out exactly the motivations of a young person pursuing a dream.”

Hung Nguyen Manh – 2007

“Paintings 2007“ by Hung Nguyen Manh
“I love humor, and I like to make a joke about everything. Su-realism is a useful language which helps me create fun. I also mix in hi-tech and lo-tech elements in my paintings. I was born and raised in an apartment block in Hanoi – Vietnam. My father was a fighting pilot, and my mother was an engineer for the Vietnam Rail Way Corporation. No one in my family was concerned about art. In my eyes, Vietnam is one of the strangest countries in the world. People work and behave according to certain habits originating from the agricultural way of life. We live, quarrel, build, eat…just like farmers do. In Vietnam, the culture of the village persists and has a hidden power that affects all the population. Even though we are rushing towards capitalism, this life style shall never disappear. This is what makes Vietnamese people always special, wherever they are.”

On January 11th at 7pm Hung Nguyen Mahn will make a special sound performance at 20 Greene Street.

About the Artists
Moria Ricci graduated from the Accademia di Belle Arti di Brera, Milan in 2004 after attending Photography School at C.F.P.R., Milan. Recent exhibitions include: 2007 – Galleria d’Arte Contemporanea, Monfalcone, Italy; Galleria Nazionale d’Arte Moderna, Rome; Palazzo Re Enzo, Bologna. At Location One, Moira’s ressdency is supported by Associazione Artegiovane, Fondi Anima and Comune di Milano.

Hung Nguyen Manh is an artist, a self-taught composer and an active participant in the alternative art scene in Hanoi. A graduate from the Hanoi University of Fine Arts in 2002, he has participated regularly in performance art festivals in Japan and Taiwan. In 2005, he was a grant recipient of the Ford Foundation which enabled him to exhibit in Los Angeles , and in 2006, a grant from the Dong Son Today Foundation funded his participation at ART OMI residency program Ghent, NY. At Location One, Hung benefits from a grant from the Asian Cultural Council.

Hung Nguyen Manh is an artist, a self-taught composer and an active participant in the “alternative” art scene in Hanoi. As an artist whose practice is driven by interdisciplinarity, his work investigates current symbology as opposed to a Vietnamese/Oriental aesthetic that reaches into the past for visual vocabulary. Recently Mr. Nguyen collaborated on a piece where he built a life-size bamboo jet, wrapping it in paper, and then burning it as an offering.

Hung Nguyen Manh received a B.F.A. degree from the Hanoi University of Fine Arts in 2002 and that same year was invited to present a solo exhibition of his paintings at the Goethe Institute in Hanoi. He has traveled to performance art festivals in Japan and Taiwan, and received a grant from the Ford Foundation in 2005 to participate in a Los Angeles exhibition of contemporary art from Vietnam. In 2006 a grant from the Dong Son Today Foundation provided support for Mr. Nguyen to participate in a one-month residency program at Art Omi, Ghent, NY.

Mr. Nguyen’s residency at Location One is supported by the Asian Cultural Council.

http://hung6776.multiply.com
http://hung6776.blogspot.com
http://www.myspace.com/nguyenmanhhung
Drop the Rice, 2007

Events & Exhibitions

Hung Nguyen Manh & Moira Ricci
9th -19th January 2008

Hung Nguyen Manh – special sound performance
January 11th, 2008, 20 Greene street, 7pm

Location One’s performance program features complex multi-disciplinary productions, often based on ideas that emerge during residencies and are commissioned for further development and presentation.

Abramović Studio

In September 2009 Marina Abramović inaugurated the Abramović Studio at Location One. The studio, curated by Jovana Stokić, introduced artists from Location One to other artists working in the field of performance and performance art. To see some of the events, including interviews with guest artists, check out the Abramović Studio Page >>

Some recent performance events at Location One include:

Hiraku Suzuki: Live Drawing Performance

December 8, 2011
with live music by Raz Mesinai

 

November 18, 2011
with Beatriz Helguera, piano
And Katherine Ademenko, Lisa Gross, Ryan Hill, Brian
Linden, Melanie Lockert, Laura Lona, Richard Saudek
and Corey Tasmania.

Sophie Hunter: Lucretia

June 14-16, 2011
Installation/performance based on the Benjamin Britten opera

Past commissioned performance events have included:

Janez Jansa: Name Readymade

May 7, 2009
Janez Jansa at Location One will take you through a series of artistic, political, administrative and media actions performed by himself together with Janez Jansa and Janez Jansa with a particular focus on their latest personal exhibition entitled NAME Readymade.

Brina Thurston:  Open Call

May 1, 2009

Open Call is a project organized by Brina Thurston, currently in residency at Location One, NYC. All submissions will be due by April 20, 2009 and will be presented and juried by a select group of artists, curators and critics in front of a live audience at Location One May 1, 2009.

Nayland Blake:  Misbehavior III

February 7, 2009

The final Misbehavior, promises to be a grand finale, full of surprises. Be prepared to see interpretations of Blake’s work by artists such as Zeena Parkins, Carolee Schneemann, and Lynn Tillman.

Nayland Blake:  Gorge and Misbehavior II

January 9, 2009

The second night in a series of performances responding and reacting to BEHAVIOR, the current exhibition by Nayland Blake. At 6pm Blake will reenact his notorious performance, “Gorge,” a one-hour event in which the artist will sit shirtless in front of a table full of food from which the audience is encouraged to feed him.

Nayland Blake:  Misbehavior I

December 17, 2008
During the course of the exhibition, Blake will also curate two more evenings of performances, January 9 and February 7. Each night he will invite five artists, musicians, and authors to react to his work.

Rob Kennedy:  I Relish Your Balderdash.

June 25, 2008
A video screening of Hapless, Helpless and Hopeless, by Rob Kennedy and Peter Dowling, 2008, (34 mins), with film screenings of Secondary Currents (1983, 17 mins) and The Gift (1994, 6 mins), by Peter Rose plus spoken texts, sounds and other paraphernaliaA screening/talk/reading presented by Rob Kennedy and Peter Rose concerning the absurdities, problems and possibilities of language, as affected by image, text, time, sense and nonsense.

Bob Holman w/ Vito Rici: 2×2: New Randy

May 2, 2008
2×2 brings together two poet/musician duos in a night of New Poetry, Old School style New Randy is poet Holly Anderson and musician Lisa B. Burns. Bob Holman, proprietor of the Bowery Poetry Club, collaborates with musician Vito Ricci.

Glen Rumsey Dance Project: ignored in my heaven… reprise

March 25, 2008
Glen Rumsey Dance Project returned to Location One with this reprise of “ignored in my heaven…” a suite of surreal and magical dances inspired by dream and travel journals.

Philippa Kaye Company with The AirBand: Ritual for a Non-Repeating Universe

April 6, 2007
A one-time expansive event mixing the analog — cray-pas and contemporary dance, with the digital — sensored sound and light.

Various Artists: Open Stitch

September 7 – October 1, 2005
15 artists spend seven days at Location One working intensely and in restricted conditions to produce wearable creations with only the tools and materials provided to them. A cross between art and fashion, the project temporarily removes the gallery from the appointed function of “showing” and moves it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process.

Glen Rumsey Dance Project: ignored…in my heaven

September 15-25, 2005
A dance suite that was developed in our studios over the course of 6 months by the choreographer and dancers and costume designers, and was performed to sold-out crowds.

Benoit Maubrey and Audio Ballerinas

January 24, 2003
Ballerinas wearing audio-acoustical tutus performing two pieces, PEEPERS (8 minutes), with photo-resistor sensors and group choreography with spotlights on tripods, and YAMAHA LADIES (15 minutes), with exposed Yamaha keyboards and mercury sensors.

Click here for a full list of our past performances

Music:

Location One is pleased that our long-term association and sometime-artistic collaboration with Roulette has solidified into a formal affiliation. Roulette’s new permanent home is in our 20 Greene Street space. The calendar of music events is dense with the most innovative composers and performers and can be viewed at Roulette.

PLUS, Current Location One members have the privilege of attending Roulette concerts FREE! Please make reservations with Roulette at 212-219-8242.

IN THE SKY
by Leesa and Nicole Abahuni

Wednesday November 29th, 6-8pm
Reception and special performance

Location One is happy to announce that dancer Glen Rumsey will be joining the special performance by New York-based avant-garde musician Elliott Sharp, and percussionists Danny Tunick and Christine Bard, during the opening of In The Sky (performance at 7pm, free).

The multimedia installation, which marks the first solo show for twin artists Leesa and Nicole Abahuni, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

The exhibition will be on view through January 27^th 2007 (Tue-Sat, 12-6pm).

		American multi-instrumentalist, composer, and performer Elliott Sharp has personified the avant-garde experimental music scene in New York City for over thirty years. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. (website)Dancer, choreographer Glen Rumsey has worked with Merce Cunningham Dance Company, Mark Morris, Pam Tanowitz, and others. His dance suite ignored in my heaven… was performed at Location One last year to critical acclaim (website)

In The Sky was conceived by Leesa and Nicole Abahuni in their Location One studio while participating in Location One’s International Residency Program with support from the Andy Warhol Foundation for the Arts.

This exhibition has received funding from the Peter Norton Family Foundation and assistance from Harvestworks

Location One is pleased to present the debut solo exhibition in NYC by artists Leesa & Nicole Abahuni, on view in our main gallery at 26 Greene Street from November 21st through January 27th 2007 (Tue-Sat, 12-6pm).

An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.

The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

In the Sky populates the gallery with strands of metallic beaded-chain hung in patterns from the ceiling, creating a spatial architecture through which visitors navigate. This web will force the individual to slow down the body so that the senses can become more aware of changes in tactile, visual and aural experiences while at the same time generating waves of movement, reflections and shadows. The audio portion of the installation presents six separate channels of sound, progressively laid out from the front to the back of the gallery. On the back wall of the gallery a video screen will show the work of hands weaving and unweaving a tapestry, or the movement of an acrobat winding and unwinding his body on a rope. Overall, the installation explores the notion of repetition, the weaving and unweaving of time and memory, so that the senses can rise to a greater awareness of the space around them.

The Abahunis have always worked as a team. “As twins we are born collaborators” says Nicole, and Leesa continues: “Collaboration is at the root of our thinking and our work. We believe that the active forging of tactile, aural and visual perception between humans and in collaboration with technology asks questions that can yield ways of better understanding, seeing and hearing natural order.”

Opening night, November 29th 2006, will include a half-hour performance of a new composition, commissioned by Location One and created specifically for this installation by New York-based avant-garde musician Elliott Sharp, and performed with percussionists Danny Tunick and Christine Bard, and dancer Glen Rumsey. Using MAX/MSP software that generates and manipulates sound, the musicians will create an aural environment that responds to the movements of people within the space. The performance will be recorded and the resultant selection of sound files will be used as audio components throughout the duration of the installation.

Leesa and Nicole Abahuni participated in Location One’s 2005-2006 International Residency Program, with support from the Andy Warhol Foundation for the Arts. In the Sky has received funding from the Peter Norton Family Foundation and assistance from Harvestworks.

The Abahunis studied at Goldsmiths College, University of London, MFA; Polimoda, Florence, Italy; and the School of Visual Arts, NYC, BFA in Computer Art. They have exhibited nationally and internationally including the 6th International Arts Biennial of Sharjah, United Arab Emirates; ICA, London; Sonic Interactions Conference, London; Redux, London; Gallery Mouri, Tokyo; Orb//Remote, Copenhagen; Half Machine Festival, Copenhagen; Eyebeam Atelier, NYC; Siggraph, Los Angeles; DUMBO Arts Festival, Brooklyn; DUMBO Arts Center, Brooklyn; 67 Gallery, Brooklyn; Deep Listening Space, Kingston; The Kitchen, NYC. Their solo performances include The New York Hall of Science, Queens and NYC in 2000. They have received awards and grants from the Experimental Television Center, NY; International Postgraduate Scholarship, Goldsmiths College, London, UK; Alumni Scholarship Award, School of Visual Arts, NY; and Award of Distinction, School of Visual Arts, NY.

Elliott Sharp is an American multi-instrumentalist, composer, and performer who has personified the avant-garde experimental music scene in New York City for over thirty years. He has released over sixty-five recordings spanning the musical spectrum from blues, jazz, and orchestral music to noise, no wave rock, and techno music. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. He is an inveterate performer, both as a soloist (playing mainly guitar, saxophone and bass clarinet) and with a number of ensembles.

Glen Rumsey is originally from Greensboro, NC. He graduated from the North Carolina School of the Arts and moved to New York to join the Merce Cunningham Dance Company. Glen has danced and collaborated with many choreographers, including Mark Morris, Pam Tanowitz, Stanley Love, and Sarah Michelson. He has also developed a drag performance character, Shasta Cola, whose shows have received critical accolades both in the US and Europe. In 2005 he choreographed an original dance suite entitled “ignored in my heaven…” which he performed to critical acclaim at Location One with his dance troupe, the Glen Rumsey Dance Project. He has received a Creative Residency for 2006-2007 at Dance Theater Workshop. www.glenrumsey.com

The nine million and eighty seventh dorkbot-nyc meeting took place on Wednesday, April 5th at 7pm.

It featured the lovely and talented:

	John Arroyo: Eingen Rhythm Software Using machine learning statistical analysis a rhythmic synthesizer was created. It is a rhythm composer of sorts that is trained instead of user programmed. The end result is an intelligent groove box where interpolations of the seed rhythms are possible to generate in real-time. Each of the seed rhythms is automatically extracted and projected into a space, the user can then move around in this space and morph one rhythm into the next. More intelligent instruments are on the drawing board…moving towards a new paradigm in music software synthesis. http://www.rhythmicresearch.com
	Jeff Han: Multi-Touch Interaction Research While touch sensing is commonplace for single points of contact, multi-touch systems enables a user to interact with a system with more than one finger at a time, allowing for the use of both hands along with chording gestures. These kinds of interactions hold tremendous potential for advances in efficiency, usability, and intuitiveness. Multi-touch systems are inherently also able to accommodate multiple users simultaneously, which is especially useful for collaborative scenarios such as interactive walls and tabletops. We’ve developed a new multi-touch sensing technique that’s unprecedented in precision and scalability, and I will be demonstrating some of our latest research on the new sorts of interaction techniques that are now possible. http://mrl.nyu.edu/~jhan/ftirtouch
	John Huntington: Synchronizing Live Performance with Musical Time Modern entertainment and show control systems run in many different ways, but are often used in a linear mode, where all the elements of a show are locked to a fixed time base (and the time base is often linked to some linear media). For example, a prerecorded video might be played in a live show, and lighting and sound cues might then be programmed to trigger at precise times, down to the video frame. This approach is cost-effective and relatively easy to program, but, of course, the actors, dancers, musicians and other performers have to synchronize themselves to this pre-determined, rigid clock structure, and this severely limits the performance. Even with those limitations, however the majority of media-synchronized live shows today sacrifice flexibility in order to gain precision and control, and execute all lighting, video and other cues from a rigid clock. Professor John Huntington and Dr. David B. Smith, colleagues at NYC College of Technology’s Entertainment Technology department, believe that that the technology should track the performers, not the other way around, and this is the focus of our research into the use of Musical Time as a synchronization source. Music runs on “musical” or “metric” time, where the musician or conductor has total control over the tempo, down to a beat level. Unlike linear time, Musical Time can slow down or speed up, allowing the music to respond to the actions of singers and other performers. http://www.zircondesigns.com

Some images from the meeting.

The nine million and twenty ninth dorkbot-nyc meeting took place on Wednesday, February 1st at 7pm.

It featured the lovely and talented:

	Ge Wang: ChucK + On-the-fly Programming + the Audicle ChucK, On-the-fly programming, and the Audicle are different parts of a new programming system and paradigm for real-time audio synthesis and multimedia. ChucK is the programming language; On-the-fly programming is the technique and aesthetic of writing/editing code during runtime; The Audicle is the context-sensitive graphical programming environment. Together, they form a theoretical and a practical framework for writing and experimenting with complex audio/multimedia programs that (1) have powerful control over time and concurrency and (2) can be created on-the-fly. We present the ChucK/Audicle framework and its potential applications for programmers, composers, and new media artists. http://chuck.cs.princeton.edu
	Anton Perich: painting machine In the Seventies I was a video artist, photographer and a painter. I dreamed of a machine that would paint. No more hand made paintings, but machine made, with sharp electric lines, on and off, like Morse code, short and long. So in 1977/78 I built such a machine, using surplus materials from Canal Street stores. I wired some photocells to the airbrushes on the motorized scanning unit that swept an area of about 10×12 feet, hung a piece of canvas, and made my first digital painting. In his Diaries Warhol said he was terribly jealous. This machine was an early precursor of ink jet printer/scanner. This was the time long before computer and digital art. I had my first show of electric paintings at Tony Shafrazy Gallery in 1979. I am still painting with this machine every day. It keeps breaking and I keep fixing it all the time. http://www.antonperich.com
	Carrie Dashow: recent works I work to address and expand the ways people communicate. I like collaborating with diverse groups of people to create enjoyable collective experiences transcending what we may expect of our interactions. Using pedestrian devices, these actions push personal and social boundaries. Through the use of technology unseen and subliminal connections momentarily surface. We are the medium technology dreams it can be. I will show some work from what I call the Negotiable Camera Ensemble, synchronized multi-camera people games, Red Light Relay; a public houselight event performed by downtown residents of Troy, NY, and my attempts at a self-editing video installation called the Informants, video pods who exist after the people have descended and are no longer necessary to a revived earth. http://www.dashow.net

Image gallery from the meeting

The nine million and twenty second dorkbot-nyc meeting took place on Thursday, December 8th at 7pm.

It featured the lovely and talented:

	Newton Armstrong: Mr. Feely Newton Armstrong is a composer and improviser working with a variety of electronic instruments. He’ll be presenting Mr. Feely — a not-quite-finished solid state embedded Linux synthesizer. http://silvertone.princeton.edu/~newton
	Eyebeam OpenLab: An overview James Powderly and Limor Fried will give an overview of the new Eyebeam OpenLab. The Eyebeam OpenLab is a home for artists, engineers and hackers pioneering open source creativity. The first initiative of its kind, the lab is focused entirely on incubating experimental technologies and media that directly enrich the public domain. With funding from the MacArthur Foundation and others, Eyebeam has awarded fellowships to a talented, interdisciplinary group of OpenLab fellows who work in a new facility equipped with a laser cutter, 3D printer, workstations, web servers, and electronics workbenches. These fellows are already generating ideas and building new projects, extending the innovative work of Eyebeam R&D. The Eyebeam OpenLab is dedicated to public domain R&D. All our work is distributed under open licenses that allow other artists, hackers, and engineers to remix our work, contribute to our projects, and build on top of our efforts. Specifically, our code is released under GPL, our content is distributed under Creative Commons, and our hardware is released with DIY instructions. http://www.eyebeam.org/reblog/archives/2005/11/eyebeam_openlab_launches_overvie_1.html
	Zach Layton: Biofeedback over bluetooth Zach Layton is a new york based composer interested in biofeedback techniques and psychoacoustics. He is also the organizer of the monthly experimental music series “Darmstadt: classics of the avant garde”. His work has been performed at the Aspen Music festival, Cleveland Chamber Symphony and at the Seventh International Performance Art Festival in Berlin. Currently he’s working on a wireless EEG interface and is working with sinewaves creating binaural beating patterns. http://www.zachlaytonindustries.com

Some photos from Floor Van Herreweghe: one two three four five

dorkbot-nyc regular Joel Schlosberg posted a blog entry about the meeting here: dorkbot turns five!

Sound Installations at Location One
Slowscan Soundave (III) & The Telæsthetic Finger
October 11 – November 26, 2005
with works by Douglas Repetto, Atsushi Nishijima, Kevin Centanni, Heather Wagner
curated by Heather Wagner

Location One continues its Fall 2005 season with an exhibition in two parts featuring a large-scale interactive installation in the main gallery and a collection of smaller sound pieces in the project room.

Slowscan Soundwave (III) is an immense, interactive sound sculpture by artist and dorkbot instigator Douglas Repetto. Consisting of enormous strips of sound-sensitive transparent mylar strewn from the ceiling, motors, and custom electronics, the piece “breathes” in sympathy with the ambient sounds in the gallery, rippling and reflecting light when there is a sound and resting, invisible, when there is silence. Because of the transparency of the mylar strips, the effect is subtle and eerie, a gossamer membrane that functions as acoustic barometer, making visible sonic phenomena that are often heard, but rarely seen.

Telæsthesia is the perception of events or objects not actually present. In Location One’s Project Room, we present The Telæsthetic Finger, a selection of works that function as acoustic crab traps: devices that are cast out and reeled back in, filled with booty…or not. On display: the booty and the devices.

Works by Kevin Centanni (sneaking into frequencies usually accessible only by police radios and emergency pagers, this piece uses a computer script to convert the data to ASCII and the messages are presented in real time on a scrolling LED display like so many stock quotes); Atsushi Nishijima (recordings at the end of a kite sent out of sight and reeled back in), and Heather Wagner (“Attempted–Not Known” comes out of an old hobby of sending recording devices through the mail, gathering acoustic documentation of their journeys. In this version, the packages are sent to impossible addresses, for example “GOD”, or “Amelia Earhart” and are, hopefully, returned to sender. Inexplicably, the reasons for nondelivery – “Insufficient Address”, “Outside Delivery Limits” – vary from addressee to addressee.

Artist Biographies:

Douglas Irving Repetto
is an artist and teacher. His work, including installations, performances, recordings, and software has been presented internationally. He runs a number of arts/community-oriented groups in New York City and on the web, including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. When not teaching or making art, Douglas spends much of his time cooking, coveting buildings, and socializing with members of the plant kingdom. He is Director of Research at the Columbia University Computer Music Center and lives in New York City with his wife, writer Amy Charlotte Benson; two cute/bad cats, Pokey and Sneezy; and many plants.

Kevin Centanni
is a veteran of physical computing and interactive multimedia. His technological wizardry and innovative approach to high-tech problems have led to his involvement in many projects, ranging from museum installations to corporate trade show exhibits.Kevin is currently President of Controlled Entropy, a Brooklyn based technology consulting firm that has been producing interactive technology for over 10 years. From 2000 to 2004, Kevin was also one of the owners of Remote Lounge, a unique interactive bar/nightclub in New York City. Previously Kevin Centanni was Director of Technology for Interfilm, an interactive motion picture company that went public in 1994.

Atsushi Nishijima
is a composer and visual artist. Originally from Kyoto and trained in experimental and contemprary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer. He participcated in Location One’s International Residency Program and had a solo show entitled “Subtractive Creation: Visible Sound”, 2001. His work has been show in Asia and the US, including Art Omi International Arts Center, New York, 2003, Sound in the Landscape; The New Museum of Contemporary Art, New York, 1994 with Rolywholyover A Circus as part of the Citycircus. Nishijima is also a performer and was featured in Roulette’s Festival of Mixology 2003, New York and the Tokyo Performing Arts Market – Alternative “Discovering New Talent – Music”.

Heather Wagner
is an artist and practicing ‘pataphysician with a black belt in Taiwan (inadvertently left in hotel room). She plays drums with the indie-rock band Morex Optimo and is director of online exhibitions at Location One. She is grateful to the curator for thinking of her.

Sound Installations at Location One
Slowscan Soundave (III) & The Telæsthetic Finger
October 11 – November 26, 2005
with works by Douglas Repetto, Atsushi Nishijima, Kevin Centanni, Heather Wagner
curated by Heather Wagner

Location One continues its Fall 2005 season with an exhibition in two parts featuring a large-scale interactive installation in the main gallery and a collection of smaller sound pieces in the project room.

Slowscan Soundwave (III) is an immense, interactive sound sculpture by artist and dorkbot instigator Douglas Repetto. Consisting of enormous strips of sound-sensitive transparent mylar strewn from the ceiling, motors, and custom electronics, the piece “breathes” in sympathy with the ambient sounds in the gallery, rippling and reflecting light when there is a sound and resting, invisible, when there is silence. Because of the transparency of the mylar strips, the effect is subtle and eerie, a gossamer membrane that functions as acoustic barometer, making visible sonic phenomena that are often heard, but rarely seen.

Telæsthesia is the perception of events or objects not actually present. In Location One’s Project Room, we present The Telæsthetic Finger, a selection of works that function as acoustic crab traps: devices that are cast out and reeled back in, filled with booty…or not. On display: the booty and the devices.

Works by Kevin Centanni (sneaking into frequencies usually accessible only by police radios and emergency pagers, this piece uses a computer script to convert the data to ASCII and the messages are presented in real time on a scrolling LED display like so many stock quotes); Atsushi Nishijima (recordings at the end of a kite sent out of sight and reeled back in), and Heather Wagner (“Attempted–Not Known” comes out of an old hobby of sending recording devices through the mail, gathering acoustic documentation of their journeys. In this version, the packages are sent to impossible addresses, for example “GOD”, or “Amelia Earhart” and are, hopefully, returned to sender. Inexplicably, the reasons for nondelivery – “Insufficient Address”, “Outside Delivery Limits” – vary from addressee to addressee.

Artist Biographies:

Douglas Irving Repetto
is an artist and teacher. His work, including installations, performances, recordings, and software has been presented internationally. He runs a number of arts/community-oriented groups in New York City and on the web, including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. When not teaching or making art, Douglas spends much of his time cooking, coveting buildings, and socializing with members of the plant kingdom. He is Director of Research at the Columbia University Computer Music Center and lives in New York City with his wife, writer Amy Charlotte Benson; two cute/bad cats, Pokey and Sneezy; and many plants.

Kevin Centanni
is a veteran of physical computing and interactive multimedia. His technological wizardry and innovative approach to high-tech problems have led to his involvement in many projects, ranging from museum installations to corporate trade show exhibits.Kevin is currently President of Controlled Entropy, a Brooklyn based technology consulting firm that has been producing interactive technology for over 10 years. From 2000 to 2004, Kevin was also one of the owners of Remote Lounge, a unique interactive bar/nightclub in New York City. Previously Kevin Centanni was Director of Technology for Interfilm, an interactive motion picture company that went public in 1994.

Atsushi Nishijima
is a composer and visual artist. Originally from Kyoto and trained in experimental and contemprary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer. He participcated in Location One’s International Residency Program and had a solo show entitled “Subtractive Creation: Visible Sound”, 2001. His work has been show in Asia and the US, including Art Omi International Arts Center, New York, 2003, Sound in the Landscape; The New Museum of Contemporary Art, New York, 1994 with Rolywholyover A Circus as part of the Citycircus. Nishijima is also a performer and was featured in Roulette’s Festival of Mixology 2003, New York and the Tokyo Performing Arts Market – Alternative “Discovering New Talent – Music”.

Heather Wagner
is an artist and practicing ‘pataphysician with a black belt in Taiwan (inadvertently left in hotel room). She plays drums with the indie-rock band Morex Optimo and is director of online exhibitions at Location One. She is grateful to the curator for thinking of her.

The twelve thousandth dorkbot-nyc meeting took place on Wednesday, February 2nd, 2005, 7pm.

It Featured the lovely and talented:

Jason Freeman: Glimmer
In Glimmer (2004), which was recently premiered by the American Composers Orchestra, the concert-hall audience members become musical collaborators who do not just listen to the performance but actively shape it. Each audience member is given a battery-operated light stick which he or she turns on and off over the course of the piece. Computer software analyzes live video of the audience and sends instructions to each musician via multi-colored lights mounted on each players stand. Jason Freeman is a composer who uses technology to rethink the relationships between composers, performers, and listeners.
http://www.jasonfreeman.net

Aaron Yassin: In the digital age photographs have become malleable bits of information that can be manipulated and adjusted with the click of a mouse. In the series Infinity Diagrams Yassin uses digital compositing to create a new hybrid form of image making. By repeating photographs of architectural subjects dozens, or even hundreds of times, mesmerizing patterned images are made. By using new imaging Yassin adds meaning to familiar subjects as he explores the relationship between information and image. Part of his presentation will include showing some of the final inkjet prints.
http://www.aaronyassin.com

Neg-Fi: Uncontrollable Feedback Devices and Tape-Based Noise
Neg-Fi is Evelyne and Ryan, a tape-based noise rock band that prides itself on its typically homemade packaging (childrens book cutouts, balsa wood, and foamcore are favorite materials). They are also the makers of “Wireless UFDs” (uncontrollable feedback devices), whose biggest selling point is the fact that they are wireLESS. They use the UFDs as part of their music, in addition to occasionally making them available for sale.

Some images from the meeting are here.

Friday, January 21 st , 2005

8:30 pm
Tickets: $12

Fifteen years after making a brief splash as an ill-fated downtown supergroup in the avant jazz and experimental music scene, Odd Job (Shelley Hirsch, Ned Rothenberg, David Weinstein and Samm Bennett along with new member bassplayer Stomu Takeishi) will give a one night reunion concert at Location One on Friday, January 21st , 2005.

In 1990 the group surprised and thrilled audiences by mixing skilled free noise improvisations with revisionist post-pop arrangements of rock and jazz standards. Their imaginative revisiting of songs by The Beatles, Jimi Hendrix, Bill Withers and other well-known pop icons subjected familiar melodies and structures to brutally altered arrangements and irreverent reconstruction.

Their inside-out recording of Hendrix’s Foxy Lady (female vocalist Hirsch, guitarless band) has earned them near legend status (Live at the Knitting Factory, Vol 2).

After one year the group disbanded amidst a host of invitations and exaltations, citing schedule conflicts and personal differences.

	Shelley Hirsch is an unorthodox, extraordinary fusion of vocalist, composer and performance artist whose work encompasses story telling pieces, staged performances, compositions, improvisations, collaborations, installations and radioplays, which have been presented on 5 continents. Hirsch has performed hundreds of concerts of improvised music with Anthony Coleman,Christian Marclay, Toshio Kajiwara, Aki Onda, Ikue Mori, Butch Morris, Billy Martin, DJ Olive, Dennis Delzotto, Fred Frith, Min Xiao Fen, David Watson and many many others. Her vocals can be heard on 30 cds including her most recent releases “The Far In Far Out Worlds of Shelley Hirsch” (Tzadik) and “Duets” with guitarist Uchihashi Kasuhisa ( Innocence) and “O Little Town of East New York” (Tzadik) and “Haiku Lingo” both with longtime collaborator, keyboardist/composer David Weinstein.
Photo by Caroline Forbes	Composer/performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Intervals, a double-CD of solo work, and Are You Be, by R.U.B. (Rothenberg/Kazuhisa Uchihashi/Samm Bennett) on Rothenberg’s Animul label. Chamber music releases include Ghost Stories, on Tzadik and Power Lines on New World, along with Port of Entry, Sync’s release on Intuition. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot, Yuji Takahashi and Evan Parker. For more visit www.nedrothenberg.com
photo by Mark Lentz	David Weinstein is keyboardist, composer and multimedia artist whose musical works juxtapose sound effects, traditional and non traditional instruments, synthetic sound, ancient and exotic tunings and noise. His group Impossible Music uses sound effects, found sound and cheap electronics to construct virtual soundtracks. As a keyboardist Weinstein has recorded and performed in collaboration with musician/artists including Shelley Hirsch, Angie Eng, Elliott Sharp, Doris Vila, Ned Rothenberg, John Zorn, Zeena Parkins, Rhys Chatham, Butch Morris, Christian Marclay and many others. Weinstein’s discography includes “Perfume” (Avant/Hips Road) and “A Classic Guide¡¨ (No Man’s Land).
	Samm Bennett is a composer and percussionist who over the past 25 years has blazed his own paths in the exploration of rhythm and polyrhythm. He’s long maintained an interest in electronic instruments as well as acoustic percussion, and his music has always been defined by an enthusiastic embrace of new sonic possibilities. The years he spent in NY saw him working as an improvisor or bandmember with Elliott Sharp, Shelley Hirsch, Ned Rothenberg, Hahn Rowe, Tom Cora and many others, as well as a bandleader and singer/songwriter with his own groups Chunk and History of the Last Five Minutes. Since 1995 he has resided in Tokyo, where he’s performed and recorded with musicians such as Haino Keiji, Yoshigaki Yasuhiro, Haco, Uchihashi Kazuhisa, Carl Stone, Akiyama Tetuzi, Tanaka Yumiko and others. He is a member of the the song/electronica project Skist, along with vocalist and sound creator Haruna Ito. Solo performance has become Bennett’s main focus over the last couple of years, and in 2004 he released “Secrets of Teaching Yourself Music” (Improvised Music From Japan IMJ-516), a live recording from solo concerts at various Tokyo venues. The album features his work on WaveDrum plus various other instruments and gadgets. The Wire’s Edwin Pouncey called the record an “amusing and entertaining DIY musical primer… Bennett’s lively manipulation of sound never fails to uncover some new means of communication between the objects he has assembled.”
photo from downtownmusic.net	Electric bassist Stomu Takeishi has recorded and toured with Myra Melford’s Crush Trio, Henry Threadgill’s Make A Move band, Eric Friedlander’s Topaz and with Dave Tronzo’s Tronzo Trio. He has recorded with Paul Motian and Mick Goodrick and has performed with Don Cherry, Bob Moses, Dave Liebman, Wynton Marsalis, Randy Brecker, Rasheed Ali, and Leni Stern.

Location One is happy to host this month’s dorkbot-nyc meeting—a monthly gathering of artists (sound/image/movement/whatever), designers, engineers, students and other interested parties who are involved in the creation of electronic art (in the broadest sense of the term.)

Hosted by, and usually taking place at the Columbia University Computer Music Center (CMC), dorkbot-nyc meetings are coordinated by Douglas Irving Repetto.

featuring the lovely and talented:

Spot Draves: Electric Sheep
Electric Sheep is a distributed screen-saver that harnesses idle computers into a render farm with the purpose of animating and evolving artificial life-forms. Each clip of animation has a genetic code, and the collective voting of users determines its fitness. In the next version, a P2P network distributes the bandwidth for sharing the video and votes.
http://electricsheep.org

Rich LeGrand: Gameboy Hacks
The Gameboy Advance is famous for its ability to play games, but Nintendo has unwittingly put together a great embedded computer system that’s cheap and powerful. When using standard (and free) C compilers and a little extra hardware, you can program the Gameboy to do all sorts of cool stuff such as control motors, read sensors, talk, display graphics or simply run your code. In other words, screw Mario.
http://www.charmedlabs.com

Rob Seward: GTTM Analysis Software
The Generative Theory of Tonal Music (GTTM) was developed in the early 80s by composer Fred Lerdahl and linguist Ray Jackendoff. GTTM “relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener” (Lerdahl and Jackendoff, 1983, book jacket). Working closely with Fred Lerdahl and with funding from the Keck Foundation, we have written software that performs a GTTM analysis on pieces written in the style of a Bach chorale. The software uses a unique user interface to display the “unconscious musical structures” that can be found in a piece. It also performs a complete Roman numeral analysis. In the process of automating the analysis, we revised elements of GTTM itself and developed a new key-finding algorithm. We have also created a unique compositional tool. If one wishes to make modifications to a chorale piece, they can immediately see the structural consequences of a revision. Eventually, we will create software that can work with music beyond the Bach chorale style.

The microprocessor alone could have the potential to change music forever – how we make it and how we hear it. But instead of innovating new musical processes, composers, scientists and engineers caught themselves in a rut of emulation, almost frightened by the possibilities of eventually limitless memory, bandwidth and algorithmic complexity. Instead of working with the physical and expressive constraints of the machines as we would with any other instrument we ended up building systems that detect “World” music or developing software that can recreate a plucked string in a steel cage.

“Computer music” should not be “fast composition–” a human composer’s belief propagated through their model 1.2 billion times a second, it should be the residuals of a machine’s listening and expressive capabilities. It should be something a human could never create, not even slowly. Over the past five years I’ve tried to teach computers about music on their own so they can grow musical intelligence and classify and compose for themselves. I’ll present recent work on this “music acquisition,” and software and hardware implementations for music retrieval and synthesis convolving around the seven tenets of music to computers.

http://web.media.mit.edu/~ bwhitman
http://eigenradio.media.mit.edu/

Bio:
Brian Whitman is a computer scientist and musician who works with the intersection of sound processing and machine learning to create musically intelligent systems for performance, retrieval and synthesis. He has been involved in the field of music retrieval since 1999, first creating the “Minnowmatch” startup at NEC Research Institute, which offered new signal processing and statistical learning approaches to music recommendation, and later consulting for audio firms and software synthesis companies. He received his Master of Science degree from Columbia University studying Natural Language Processing and is currently a PhD candidate at the MIT Media Lab in the Music, Mind and Machine group, where his research concerns “music acquisition–” how humans and computers learn about music from observation through unsupervised learning and language and signal processing. His synthesis and interactive music projects investigate the peculiar constraints and temperament that machine learning systems exhibit when asked to be creative.

The microprocessor alone could have the potential to change music forever – how we make it and how we hear it. But instead of innovating new musical processes, composers, scientists and engineers caught themselves in a rut of emulation, almost frightened by the possibilities of eventually limitless memory, bandwidth and algorithmic complexity. Instead of working with the physical and expressive constraints of the machines as we would with any other instrument we ended up building systems that detect “World” music or developing software that can recreate a plucked string in a steel cage.

“Computer music” should not be “fast composition–” a human composer’s belief propagated through their model 1.2 billion times a second, it should be the residuals of a machine’s listening and expressive capabilities. It should be something a human could never create, not even slowly. Over the past five years I’ve tried to teach computers about music on their own so they can grow musical intelligence and classify and compose for themselves. I’ll present recent work on this “music acquisition,” and software and hardware implementations for music retrieval and synthesis convolving around the seven tenets of music to computers.

http://web.media.mit.edu/~ bwhitman
http://eigenradio.media.mit.edu/

Bio:
Brian Whitman is a computer scientist and musician who works with the intersection of sound processing and machine learning to create musically intelligent systems for performance, retrieval and synthesis. He has been involved in the field of music retrieval since 1999, first creating the “Minnowmatch” startup at NEC Research Institute, which offered new signal processing and statistical learning approaches to music recommendation, and later consulting for audio firms and software synthesis companies. He received his Master of Science degree from Columbia University studying Natural Language Processing and is currently a PhD candidate at the MIT Media Lab in the Music, Mind and Machine group, where his research concerns “music acquisition–” how humans and computers learn about music from observation through unsupervised learning and language and signal processing. His synthesis and interactive music projects investigate the peculiar constraints and temperament that machine learning systems exhibit when asked to be creative.

“. . . the power of this solo lay in its unarticulated yet strong emotions, conveyed through impressive physical and emotional control.”
-Jennifer Dunning, in review of “R-1″ for New York Times (April 3, 2001)

“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer Chantal Yzermans creates expressive, abstracted forms and motions with the restrained power and expanded time-sense of butoh. In “RL.1″, she performs blindfolded. Video artist Kurt Ralske uses a camera to capture images of the dancer in real-time. The images are processed and layered in real-time, creating a dialogue of shapes and forms with the dance. Dance and image drift in and out of abstraction, simultaneously or in contrast. The video functions variously as a set design, as a commentary on the dance, and as counterpoint to the dance. At times, multiples of images of the dance act as a “real-time Greek chorus” to the solo dancer, providing a record of what has occurred, expanding on what is occurring, and hinting at what is to come. At other times, the dancer’s motions have the quality of a ritual, with the video’s abstractions serving to make the invisible aspects of the ritual visible. “RL.1″ utilizes two very different techniques of communication via the presentation of image (dance and video), while achieving a harmony and simultaneity of expression. “RL.1″ premiered at Joyce Theater Soho in May 2001.

RADICAL LOW is a dance and multimedia ensemble formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical Low has performed at Joyce Theater Soho, Merce Cunningham Studio, at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall, and Galapagos Art Space.

RADICAL LOW is exploring the intersection of dance and technology by using custom software created by the artists. New avenues are opened for the relationship between dance and sound and image. Some techniques the artists have used are: video capture, real-time video processing, image analysis, sensors, and networked audio-video control systems

Click here to view the embedded video.

In February 2003, Kurt received received the Image Award at Transmediale International Media Art Festival in Berlin, for for his work on the DVD “Live in Bruxelles” by real-time video improvisation ensemble 242.pilots.

Kurt works mainly as a performer: as a soloist, with other video artists, with live dancers, or with live musicians. He has created interactive video installations, software art, and video-derived still images. He is the author of Auvi, a commercially released software environment for creating custom real-time video programs. (http://auv-i.de)

Chantal Yzermans [dancer/choreographer] was born in Ostend, Belgium, currently residing in NY. Chantal worked in Europe as a freelance choreographer in collaboration with Belgian composer Starfish Pool. Together they toured throughout Europe and Canada with “Ritual for the Dying.” Yzermans was invited to work for the Belgian National Television, German National Television and Festival van Vlaanderen for which she choreographed a contemporary opera “Turm aus Zimst” by German composer Hans Rotman and Belgian film director Jaak Servaes. As a choreographer in residence, she worked at the Keizer Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills and One Dandelion,” presented at venues throughout France, the Netherlands, Germany and Spain. She received an award “The Vondelpreis (reisestipendium)” from the arts granting organization Alfred Toepfer Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work has been performed at venues such as Judson Church, presented by Movement Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre Soho.

“. . . the power of this solo lay in its unarticulated yet strong emotions, conveyed through impressive physical and emotional control.”
-Jennifer Dunning, in review of “R-1″ for New York Times (April 3, 2001)

“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer Chantal Yzermans creates expressive, abstracted forms and motions with the restrained power and expanded time-sense of butoh. In “RL.1″, she performs blindfolded. Video artist Kurt Ralske uses a camera to capture images of the dancer in real-time. The images are processed and layered in real-time, creating a dialogue of shapes and forms with the dance. Dance and image drift in and out of abstraction, simultaneously or in contrast. The video functions variously as a set design, as a commentary on the dance, and as counterpoint to the dance. At times, multiples of images of the dance act as a “real-time Greek chorus” to the solo dancer, providing a record of what has occurred, expanding on what is occurring, and hinting at what is to come. At other times, the dancer’s motions have the quality of a ritual, with the video’s abstractions serving to make the invisible aspects of the ritual visible. “RL.1″ utilizes two very different techniques of communication via the presentation of image (dance and video), while achieving a harmony and simultaneity of expression. “RL.1″ premiered at Joyce Theater Soho in May 2001.

RADICAL LOW is a dance and multimedia ensemble formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical Low has performed at Joyce Theater Soho, Merce Cunningham Studio, at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall, and Galapagos Art Space.

RADICAL LOW is exploring the intersection of dance and technology by using custom software created by the artists. New avenues are opened for the relationship between dance and sound and image. Some techniques the artists have used are: video capture, real-time video processing, image analysis, sensors, and networked audio-video control systems

Click here to view the embedded video.

In February 2003, Kurt received received the Image Award at Transmediale International Media Art Festival in Berlin, for for his work on the DVD “Live in Bruxelles” by real-time video improvisation ensemble 242.pilots.

Kurt works mainly as a performer: as a soloist, with other video artists, with live dancers, or with live musicians. He has created interactive video installations, software art, and video-derived still images. He is the author of Auvi, a commercially released software environment for creating custom real-time video programs. (http://auv-i.de)

Chantal Yzermans [dancer/choreographer] was born in Ostend, Belgium, currently residing in NY. Chantal worked in Europe as a freelance choreographer in collaboration with Belgian composer Starfish Pool. Together they toured throughout Europe and Canada with “Ritual for the Dying.” Yzermans was invited to work for the Belgian National Television, German National Television and Festival van Vlaanderen for which she choreographed a contemporary opera “Turm aus Zimst” by German composer Hans Rotman and Belgian film director Jaak Servaes. As a choreographer in residence, she worked at the Keizer Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills and One Dandelion,” presented at venues throughout France, the Netherlands, Germany and Spain. She received an award “The Vondelpreis (reisestipendium)” from the arts granting organization Alfred Toepfer Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work has been performed at venues such as Judson Church, presented by Movement Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre Soho.

“. . . the power of this solo lay in its unarticulated yet strong emotions, conveyed through impressive physical and emotional control.”
-Jennifer Dunning, in review of “R-1″ for New York Times (April 3, 2001)

“RL.1″ is a work for solo dancer, video, and music. Dancer/choreographer Chantal Yzermans creates expressive, abstracted forms and motions with the restrained power and expanded time-sense of butoh. In “RL.1″, she performs blindfolded. Video artist Kurt Ralske uses a camera to capture images of the dancer in real-time. The images are processed and layered in real-time, creating a dialogue of shapes and forms with the dance. Dance and image drift in and out of abstraction, simultaneously or in contrast. The video functions variously as a set design, as a commentary on the dance, and as counterpoint to the dance. At times, multiples of images of the dance act as a “real-time Greek chorus” to the solo dancer, providing a record of what has occurred, expanding on what is occurring, and hinting at what is to come. At other times, the dancer’s motions have the quality of a ritual, with the video’s abstractions serving to make the invisible aspects of the ritual visible. “RL.1″ utilizes two very different techniques of communication via the presentation of image (dance and video), while achieving a harmony and simultaneity of expression. “RL.1″ premiered at Joyce Theater Soho in May 2001.

RADICAL LOW is a dance and multimedia ensemble formed in Spring 2001 by Kurt Ralske and Chantal Yzermans. Radical Low has performed at Joyce Theater Soho, Merce Cunningham Studio, at Recyclart Centre (Bruxelles, Belgium), the 92nd St. Y, Judson Hall, and Galapagos Art Space.

RADICAL LOW is exploring the intersection of dance and technology by using custom software created by the artists. New avenues are opened for the relationship between dance and sound and image. Some techniques the artists have used are: video capture, real-time video processing, image analysis, sensors, and networked audio-video control systems

Click here to view the embedded video.

In February 2003, Kurt received received the Image Award at Transmediale International Media Art Festival in Berlin, for for his work on the DVD “Live in Bruxelles” by real-time video improvisation ensemble 242.pilots.

Kurt works mainly as a performer: as a soloist, with other video artists, with live dancers, or with live musicians. He has created interactive video installations, software art, and video-derived still images. He is the author of Auvi, a commercially released software environment for creating custom real-time video programs. (http://auv-i.de)

Chantal Yzermans [dancer/choreographer] was born in Ostend, Belgium, currently residing in NY. Chantal worked in Europe as a freelance choreographer in collaboration with Belgian composer Starfish Pool. Together they toured throughout Europe and Canada with “Ritual for the Dying.” Yzermans was invited to work for the Belgian National Television, German National Television and Festival van Vlaanderen for which she choreographed a contemporary opera “Turm aus Zimst” by German composer Hans Rotman and Belgian film director Jaak Servaes. As a choreographer in residence, she worked at the Keizer Karel Hogeschool in Antwerp, Belgium, where she created “11 Windmills and One Dandelion,” presented at venues throughout France, the Netherlands, Germany and Spain. She received an award “The Vondelpreis (reisestipendium)” from the arts granting organization Alfred Toepfer Stifftung (Hamburg, Germany) for Choreography in 1998. In NYC, her work has been performed at venues such as Judson Church, presented by Movement Research; 92nd Street Y; the Merce Cunningham Studio; and Joyce Theatre Soho.

Location One is proud to present:

Poetic Spectrum – Images, Objects, and Words of Gozo Yoshimasu

September 3 – September 23, 2003
Opening Reception: September 3, 6 – 8pm

Listen to a sound clip of “Ishikari sheets” (music by Scott Fraser)
[display_podcast]

Poetry reading by Yoshimasu: September 23, 2003 at 7 PM
Live translation by American poet Geoffrey O’Brien
Improvisational music by guitarist Jean-François Pauvros
Poems translated by Hiroaki Sato
Admission: Free – Doors open at 6pm

Curated by Miwako Tezuka
Gallery hours: Tue – Sat 12-6 PM
Tuesday, September 23 12-7 PM

Location One is pleased to present the New York debut exhibition and special performance reading by renowned Japanese poet Gozo Yoshimasu, recent recipient of the Purple Ribbon Award from the Japanese Government for his significant cultural contributions. Poetic Spectrum will present Yoshimasu’s photographs and copperplate calligraphies for the first time to the New York audience, and will also bring the legendary poet to New York to perform after a ten-year absence.

A highly acclaimed avant-garde poet since the 1960s, Yoshimasu is a poet of migrant vision, creating his works while he travels to different locales and cultures, composing his poems through vision, touch, and sounds. He has more recently expanded his poetic works to include the media of photography and calligraphy. The exhibition Poetic SpectrumPoetic Spectrum captures the multi-faceted nature of the poet’s work through 30 photographs and 15 engraved calligraphies, each treated as a word, and interwoven to create textual complexity in space. explores Yoshimasu’s poetry as a web of interconnected images, objects, and words that reflect on a conflicting sense of nostalgia and estrangement.

In a rare event, Yoshimasu will come to New York City to read/perform selections from his most recent poems on September 23rd. Through his unique performance style, his voice, ultimately weaves together the visions and touches of the past, and revives the singularity of those encounters. The amalgamation of images, objects, words, and reading as performance, will present a possibility of transcending the limit of language, and reveal the trans-cultural fertility of poetry.

This performance will last just under an hour and will include a live translation by American poet Geoffrey OíBrien, as well as improvisational music by experimental guitarist, Jean- François Pauvros. The event will be streamed live on the Location One website beginning at 7PM EST.

Poetic Spectrum – Images, Objects, and Words of Gozo Yoshimasu is made possible through the generous support of The Japan Foundation, as well as through contributions from members of Location One. Poetic Spectrum is a participating event of “US-Japan 150,” a two-year nationwide festival commemorating the 150th anniversary of the inception of relations between the US and Japan in 1853. Thanks to Itoen Tea for its generous contribution of beverages.

BIOGRAPHIES

Gozo Yoshimasu was born in Tokyo in 1939 and published his first book of poems entitled Shuppatsu (Departure) in 1964. Juxtaposing imagery of reality and memories of various locations, his poems open new vistas that reach one’s collective consciousness. Yoshimasu is also known for his unusual, trance-like reading through which he has collaborated with artists such as Kazuo Ono and Nobuyoshi Araki. Considered to be an emblematic presence in postwar Japanese poetry, many of his poems have been translated into various languages. He has given readings at Centre Georges Pompidou (2000), Taipei International Poetry Festival (2001), and has exhibited his photographs and calligraphies at São Paulo Biennale (1990), Chambre de Commerce et Industrie, Strasbourg (2000), among others. In May 2003, he received the Purple Ribbon Award from the Japanese government for his significant cultural contributions.

Miwako Tezuka is an independent curator and a Ph.D. candidate at the Department of Art History and Archaeology, Columbia University. She specializes in postwar Japanese avant-garde art. She was a recipient of the Luce Foundation Museum Fellowship in Asian Art at the Asia Society, NY. Her recent work includes curatorial consultation for The Legacy Project’s 9/11 commemorative exhibition, In Memory: The Art of Afterward, at the Mishkin Gallery, NY (2002), and co-curation of Making It Home: Three Contemporary Asian Artists, at the ISE Gallery, New York (2002).

Jean-François Pauvros, guitar, was born in France. A well-known avant-garde guitarist composer and performer, he made his debut in the late 1970s, forming a trio called Catalogue with Gilbert Artman (ex. urban sax) and Jac Berrocal (trumpet, voice). He is considered one of the foremost European experimental guitarists.

Geoffrey O’Brien is a widely published poet, critic, editor, and cultural historian. He has been honored with a Whiting Award and fellowships from the Guggenheim Foundation and the New York Institute for the Humanities. A regular contributor to The New York Review of Books, he is the editor-in-chief of The Library of America. His most recent publication is A View of Buildings and Water. He lives in New York City.

Poems by Yoshimasu in English translation:

A Thousand Steps…and More: Selected Poems and Prose 1964-1984. Translated by Richard Arno, Brenda Barrows, and Takko Lento. Oakland: Katydid Books, Oakland University, 1987.

Osiris, the God of Stone. Translated by Hiroaki Sato. Laurinburg: St. Andrews Press, 1989.

“Kadena” (To appear in Simple Vows, #4. Ed. Kemp Gregory, San Antonio.)

Radical Low :: Music and Video Performance by Kurt Ralske and Chantal Yzermans
Tuesday, December 16, 2003 8 PM

Re-Mapping 4 Dimensions: Three New Works
January-February, 2004

Kurt Ralske is a Manhattan-based video artist and composer. His work is exclusively created with his own custom software, written in C, Java, and Max/MSP, and involves the expressive improvisation of both sound and image, simultaneously and in real-time. Kurt has performed at museums, galleries, and theaters throughout Europe, Canada, and the US, including the Los Angeles Museum of Contemporary Art and the Montreal Museum of Contemporary Art. The New York Times has praised his “compelling, ingenious alliance of sound and motion” and his “technological wizardry”.

In February 2003, Kurt received received the Image Award at Transmediale International Media Art Festival in Berlin, for for his work on the DVD “Live in Bruxelles” by real-time video improvisation ensemble 242.pilots.

Kurt works mainly as a performer: as a soloist, with other video artists, with live dancers, or with live musicians. He has created interactive video installations, software art, and video-derived still images. He is the author of Auvi, a commercially released software environment for creating custom real-time video programs.

Online ::
http://retnull.com/

All tickets at the door: $10, Members Free

Janene Higgins and Ikue Mori will perform a live duet of video and music.

JANENE HIGGINS’ videos and digital media have been presented internationally at numerous festivals and galleries throughout the world. She has developed a unique style for live video performance, utilizing video mixers and Powerbook as performance instruments. This brought collaborations with such artists as Alan Licht, Prema Murthy, Elliott Sharp, and Zeena Parkins. She has performed in many music festivals in Europe and North America, including Music Unlimited in Wels, Austria; the City of Women festival, Slovenia; Vasistas Festival of Multimedia, Montreal; Roulette Festival of Mixology, NYC, and at Documenta X.

IKUE MORI, one of New York’s most exciting improvisers and composers, has played with musicians such as Fred Frith, John Zorn, Zeena Parkins and Jim Staley. Ikue Mori has developed a personal and innovative technique of playing samplers triggered by adapted drum machines and incorporated laptop computer programming to broaden her scope of musical expression. Her most recent albums are Labyrinth, solo computer (Tzadik 2001), One Hundred Aspects of the Moon (Tzadik 2000), Painted Desert (Avant) with guitarists Marc Ribot and Robert Quine, Death Praxis (Nonsequitor) with vocalist Tenko, and Vibraslaps (Rec Rec) with singer Catherine Jauniaux. Other recent projects include the collaboration Mephista (Tzadik, 2002) with Sylvie Courvoisier and Susie Ibarra. She has also recorded as a member of the groups Fukuko, Tohban Djan, and The Worlds Of Love (with David Garland and Cinnie Cole). Mori was a member of the legendary late ’70s “No Wave” group DNA (with Arto Lindsay) who can be heard on albums on Avant and American Clave, and on the Brian Eno-produced No New York compilation on Antilles. Ikue has given workshops at the International Percussion Festival in Berlin, and performed at NY Symphony Space and Derek Baily’s Company Week in London. In 1999 she won the Distinctive Award for Prix Ars Electonics in the Digital Music category.

All tickets at the door: $10, Members Free

Janene Higgins and Ikue Mori will perform a live duet of video and music.

JANENE HIGGINS’ videos and digital media have been presented internationally at numerous festivals and galleries throughout the world. She has developed a unique style for live video performance, utilizing video mixers and Powerbook as performance instruments. This brought collaborations with such artists as Alan Licht, Prema Murthy, Elliott Sharp, and Zeena Parkins. She has performed in many music festivals in Europe and North America, including Music Unlimited in Wels, Austria; the City of Women festival, Slovenia; Vasistas Festival of Multimedia, Montreal; Roulette Festival of Mixology, NYC, and at Documenta X.

IKUE MORI, one of New York’s most exciting improvisers and composers, has played with musicians such as Fred Frith, John Zorn, Zeena Parkins and Jim Staley. Ikue Mori has developed a personal and innovative technique of playing samplers triggered by adapted drum machines and incorporated laptop computer programming to broaden her scope of musical expression. Her most recent albums are Labyrinth, solo computer (Tzadik 2001), One Hundred Aspects of the Moon (Tzadik 2000), Painted Desert (Avant) with guitarists Marc Ribot and Robert Quine, Death Praxis (Nonsequitor) with vocalist Tenko, and Vibraslaps (Rec Rec) with singer Catherine Jauniaux. Other recent projects include the collaboration Mephista (Tzadik, 2002) with Sylvie Courvoisier and Susie Ibarra. She has also recorded as a member of the groups Fukuko, Tohban Djan, and The Worlds Of Love (with David Garland and Cinnie Cole). Mori was a member of the legendary late ’70s “No Wave” group DNA (with Arto Lindsay) who can be heard on albums on Avant and American Clave, and on the Brian Eno-produced No New York compilation on Antilles. Ikue has given workshops at the International Percussion Festival in Berlin, and performed at NY Symphony Space and Derek Baily’s Company Week in London. In 1999 she won the Distinctive Award for Prix Ars Electonics in the Digital Music category.

Shelley Hirsch will perform solo and improvisational works with turntablists Marina Rosenfeld and Toshio Kajiwara. Hirsch will be celebrating her record release The Far in Far Out Worlds of Shelley Hirsch (Tzadik) and Duets with Uchihashi Kasuhisa (Innocence).

SHELLEY HIRSCH is a vocalist, composer, performance artist whose written and improvised work for stage, concert, record, film, television and radio has been presented on 5 continents. Hirsch has been called “enormously inventive, scathingly satiric and virtuosic” by the NY Times. Her work incorporates extended vocal techniques, real and imaginary language, international music styles, stream of consciousness, electronics, characterizations, storytelling, movement and mixed visual media.

She has presented her mostly staged solo pieces at prestigious festivals, theaters and museums around the world including The Hebbel Theater (Berlin), WienerFestWochen (Vienna), The Zurcher InternationalTheaterSpektakel (Zurich) Adelaide State Theater (Australia) The Whitney Museum (NYC) Experimenta Festival (Buenos Aires), Helsinki Biennale (Finland) Angelica Festival (Bologna Italy)City of Women Festival (Llubliana Slovenia). She has performed improvised music with musicians Anthony Coleman, Christian Marclay, Ikue Mori, John Zorn, Fred Frith , DJ Olive and Toshio Kajiwara, Min Zhou Feng among others and can be heard on dozens of CDs including her latest CDs Duets with Uchihashi Kasuhisa and a soon to be released solo CD The Far Out Far In Worlds Of Shelley Hirsch on Tzadik; States; her storytelling CD O, Little Town of East New York on Tzadik ; Haiku Lingo on No Mans Land (both with keyboardist David Weinstein) and with the groups September Band and X-Communication (both on FMP). She can also be heard on CDs by Richard Teitelbaum, Jon Rose, Elliot Sharp, Nicolas Collins, John Zorn, David Moss, Sven Ake Johannson and Alexander Von Schlippenbach, Butch Morris, Jim Staley, Hans Koch, Martin Schutz and many compilation CDs. Hirsch is the recipient of many grants and fellowships including NEA, NYFA , NYSCA and Creative Capital.

Curated by Heather Wagner
September 10 – October 19, 2002
Opening Reception: Tuesday, September 10th, 6-8pm

Location One is happy to present “Signal to Noise“, a group exhibition featuring works that explore the relationship of sound and light waves. Not merely illustrations of audio-visual synaesthesia, several of the pieces act literally as transducers, that is, devices that convert input energy of one form into output energy of another.The range of frequencies detectable by the human ear is about 20 Hz to 20,000 Hz, and the visible light spectrum is 400 terahertz (red light) to 740 terahertz (violet light). But there are also frequencies like radio waves, microwaves, infrared and ultraviolet light that, unless converted to a human-readable format, course through our environments invisibly and silently.

The notion of seeing the Invisible is both seductive and ordinary. From night vision goggles and microscopes to consumer software like iTunes that invites you to “visualize your music”; digital audio tools that render music as waveforms on a monitor, allowing an audio engineer to edit both visually and aurally, we are accustomed to a kind of mediated synaesthesia.

But in a sense, bringing to light the Invisible can be thought of as a metaphor for what all art (not to mention religion and philosophy) attempts to do. In “Signal to Noise” the artworks act as translators of sound waves to light waves (or vice versa) in elegant, sometimes quite low-tech and simple examples of this phenomenon.

Atsushi Nishijima, trained in experimental and contemporary music, creates sculptures and installations, which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. He was artist-in-residence from Japan at Location One in 2001.

Erwin Redl uses sound and light to create both stunning large-scale installations and smaller meditative pieces. Most recently, his LED grid piece “Matrix VI” adorned the façade of the Whitney Museum for the 2002 Biennial.

Laurie Spiegel is a pioneer in computer music and one of the first composers to experiment with concepts of visual music. Though she navigates the upper echelons of high technology she “sees the computer as a new kind of folk instrument”. As she says, “music is a way to deal with the extreme intensity of moment to moment conscious existence.”

Heather Wagner has created sound installations and internet performances that explore ethernity, the imaginary connection between cyberspace and dreams. She also plays drums and is grateful to the curator for thinking of her.

Friday March 22nd: The Julius Hemphill Sextet (Marty Ehrlich, Music Director) $15
Saturday March 23rd: Dave Douglas and Trisha Brown- An Evening of Improvisation $20
Sunday March 24th: Atsushi Nishijima $10

Special Ticket Price: $35 for all three nights, or the individual rates listed above. Members: FREE Advanced tickets are available Tuesday- Saturday 12-6:00PM at Location One

March 23: Dave Douglas and Trisha Brown: An Evening of Improvisation
Two internationally renowned artists — Trisha Brown, the most widely acclaimed choreographer to emerge from the postmodern era, and Dave Douglas, a widely acclaimed composer and trumpeter who has developed new music which finds itself outside the traditional language of jazz – will craft an improvisational work for the second evening of the festival. Said of their previous collaboration, El Trilogy (2000): “Brown and Douglas seem simpatico in their ability to use structure and improvisation. Both appear able to trust their imaginations so they’re not afraid to take risks.” Dave Douglas, musical talents Ikue Mori and Erik Friedlander and former Trisha Brown Company members Kathleen Fisher and Keith Thompson will perform tonight’s work.
www.davedouglas.com
www.trishabrowncompany.org.

Friday March 22nd: The Julius Hemphill Sextet (Marty Ehrlich, Music Director) $15
Saturday March 23rd: Dave Douglas and Trisha Brown- An Evening of Improvisation $20
Sunday March 24th: Atsushi Nishijima $10

Special Ticket Price: $35 for all three nights, or the individual rates listed above. Members: FREE Advanced tickets are available Tuesday- Saturday 12-6:00PM at Location One

March 22: The Julius Hemphill Sextet
Over the past thirty-five years Julius Hemphill has earned a reputation as one who broke down boundaries and defied labels. A prodigious composer, who wrote luscious and shimmering sonorities with the ever-present tang of the blues, Hemphill was as comfortable writing for full orchestra as he was for his Sextet or Big Band. The Last Supper at Uncle TomÕs Cabin: The Promised Land, composed for choreographer Bill T. Jones and featuring the Julius Hemphill Sextet, toured the United States and Europe with the Bill T. Jones/Arnie Zane Co. during the 1990-91 season to a chorus of raves. In 1991, Hemphill received a Bessie Award for each of his dance compositions, Long Tongues: A Saxophone Opera and The Last Supper At Uncle TomÕs Cabin: The Promised Land. An improviser of immense talent and saxophonist who could coax the best out of any musical unit, Hemphill performed in almost every major jazz festival and hall in North America and Europe, including Berlin, Montreal, Kool, Rome, Paris, Den Haag (North Sea), and Warsaw. Julius Hemphill died on 2 April 1995.

Location One is happy to present the works of two innovative sound artists/composers: The late John Cage and Laurie Spiegel. John Cage’s 1992 film work One 11 and 103, an exploration of light and sound scores, will play in alternation with Laurie Spiegel’s electronic music, Obsolete Systems.

One 11 and 103 by John Cage
Abstractions of light travel across and into the sounds and space created by artist and composer John Cage. Writes Cage: “One 11 is a film without subject. There is light but no persons, no things, no ideas about repetition and variation. It is meaningless activity which is nonetheless communicative, like light itself, escaping our attention as communication because it has no content to restrict its transforming and informing power. 103 is an orchestral work. It is divided into seventeen parts. The lengths of the seventeen parts are the same for all the strings and the percussion. The woodwinds and the brass follow another plan. The shots of the cameraman still another. Following chance operations, the number of wind instruments changes for each of the seventeen parts.”
Director of Photography: Van Theodore Carson. Director: Henning Lohner.
Editor: Bernadine Colish.
Writer/Composer: John Cage.
From the Electronic Arts Intermix website

Obsolete Systems by Laurie Spiegel
Obsolete Systems, released last year through Electronic Music Foundation, is a collection of Spiegel’s compositions that spans more than thirty years. A display of Spiegel’s electronic music making mastery, Obsolete Systems includes the 1971 work Mines (Modular analog synthesizer, built by Don Buchla, mid-1960s) and Immersion, from 1983 (Electronic tape realized on McLeyvier computer-controlled analog synthesis music system). “Laurie Spiegel is one of those rare composers in whom head and heart, left brain and right brain, logic and intuition, merge and even exchange roles. Though she is one of the highest-tech computer composers in America, Spiegel is also a lutenist and banjo player, and sees the computer as a new kind of folk instrument. She makes her most intuitive-sounding and melodic music from mathematical algorithms, and her most complex computerized textures by ear and in search of a desired mood. Form and emotion are as difficult to separate in her music as they are in that of her idol, J.S. Bach.” From Kyle Gann, www.retiary.org/Is/obsolete_systems

Mark Dresser Modular Ensemble
a music performance curated by Ned Rothenburg

Mark Dresser & Marcus Weiss Duo

8:00 PM Each night
$10 admission – Members Free

Mark Dresser Modular Ensemble Composer and bassist Mark Dresser will present an evening of his compositions including the U.S. Premier of “Althaus” for an ensemble of virtuoso musicians from Switzerland including tuba soloist, David LeClair with Marcus Weiss (alto sax), Regula Schneider (clarinet), Stefania’ Verita’ (cello) and New York bassist, Mark Dresser.

“Althaus” is written for tuba virtuoso David LeClair and a mixed ensemble of reeds and strings. It was recorded on Mark Dresser’s 2000 Tzadik release, “Marinade”. This “tuba-fest” has Mr. LeClair as featured soloist in a work that integrates composition and improvisation, mining rich “new” sounds, catchy grooves, a long evolving melody, and a singing chorale. Also featured will be “Quartet for Trio” with Matthias Ziegler (flutes), Regula Scheneider (voice and clarinet) and bassist Dresser. There will also be a world premier of a sextet composed by saxophonist, Marcus Weiss.

Mark Dresser & Marcus Weiss Duo
Swiss virtuoso saxophonist Marcus Weiss, a champion of contemporary music performance, and the New York bass virtuoso and composer Mark Dresser will present an evening of compositions, structured improvisations and solo pieces. In the last ten years Marcus Weiss has premiered more than a hundred works for solo saxophone, chamber music and saxophone concertos. Such composers as Georges Aperghis, John Cage, Helmut Lachenmann, Salvatore Sciarrino, Vinko Globokar, Hanspeter Kyburz, Manuel Hidalgo, Jô Kôndô, Elliott Sharp, Brice Pauset, Stefano Gervasoni, Mauricio Sotelo and others have composed for him.

IN HOT PURSUIT at Location One
New Theatre. Innovative Directors.
Curated by Jocelyn Ruggiero

SONNETS FOR AN OLD CENTURY
A New Play by Jose Rivera
Directed by KJ Sanchez
January 24 and 25
8:00 PM Tickets $10 (Members free)

With Carolyn Baeumler, George Bass, Doug Bost, Alison Briner, Ron Cohen, Michael Escamilla, Dion Graham, Bridgett Ane Lawrence, Kriste Peoples, Bray Poor, Jocelyn Ruggiero and Dawn Saito;
Stage Manager Emily Mendelsohn
Live Sound by Atsushi Nishijima and Richard Huntley

SONNETS FOR AN OLD CENTURY examines what it means to be alive at this particular time and place and what traces each of us will leave behind. In a series of exquisitely written monologues, using dance and live music, SONNETS captures the subtle, often overlooked treasures of everyday life.

KJ SANCHEZ (Director)
recently starred as Thyona in Charles L. Mee’s BIG LOVE at the Brooklyn Academy of Music. KJ was also fight captain this production which began at the 2000 Humana Festival, then moved to Long Wharf Theater, Berkeley Rep, The Goodman and culminated in the Next Wave Festival at BAM. This past year KJ created, choreographed and directed TOO MUCH WATER, a dance theatre piece about Ophelia, for the graduate theatre training program at the University of Washington in Seattle. KJ was a member of Anne Bogart’s SITI Company for many years with whom she co-created plays such as GOING GOING GONE, SMALL LIVES BIG DREAMS and CULTURE OF DESIRE and performed extensively throughout the US and internationally.

JOSÉ RIVERA (Playwright)
Puerto Rican-born Jose Rivera’s plays have been seen nationally, internationally and translated into seven languages. Rivera’s plays havebeen performed at the Joseph Papp Public Theatre, Playwrights Horizons, South Coast Rep, the Goodman Theatre, the Mark Taper Forum, Actors Theatre of Louisville’s Humana Festival, Hartford Stage Company, and Manhattan Class Company — as well as theatres in Mexico, Puerto Rico, Peru, Scotland, Greece, Rumania, Sweden, Norway, England, and France. They include the Obie Award-winning plays MARISOL and REFERENCES TO SALVADOR DALI MAKE ME HOT, as well as CLOUD TECTONICS, EACH DAY DIES WITH SLEEP, THE PROMISE, THE HOUSE OF RAMON IGLESIA, GIANTS HAVE US IN THEIR BOOKS, THE STREET OF THE SUN, SONNETS FOR AN OLD CENTURY, and SUENO. His work has been generously supported by the Kennedy Center Fund for New American Plays, the National Arts Club, the NEA, the Rockefeller Foundation, the New York Foundation for the Arts, the Fulbright Commission, PEN West, the Whiting Foundation, and the Berilla Kerr Foundation. THE HOUSE OF RAMON IGLESIA appeared on the public television series American Playhouse. Rivera has studied with Nobel Prize Winner Gabriel Garcia Marquez at the Sundance Institute and has been a writer-in-residence at the Royal Court Theatre, London. Television credits include co-creating and producing the critically-acclaimed NBC series “Eerie, Indiana” as well as “The Eddie Matos Story” for HBO; episodes of “Goosebumps,” “The Great Brain,” and “Night Visions” for the Henson Company; “The Brothers Garcia” for Nickelodeon; and “A.K.A. Pablo” for ABC. Films include “The Jungle Book: Mowgli’s Story,” “Mr. Shadow,” and “Family Matters,” all for Disney, as well as the 3-D IMAX film “Riding the Comet” for Sony. Current theatre and film projects include SCHOOL OF THE AMERICAS and BRAINPEOPLE (both commissioned by South Coast Rep), ADORATION OF THE OLD WOMAN (commissioned by La Jolla Playhouse), and the films “A Bolero for the Disenchanted” (Showtime), “Somewhere in Time, II” (Universal Home Video), “The Motorcycle Diaries,” (Robert Redford’s Wildwood Co. directed by Walter Salles), “Lucky” (Interscope), and “Cesar Chavez” (Showtime).

ATSUSHI NISHIJIMA
received his Bachelor’s degree in Musical Technology from the Osaka University of Art in 1989 and his Master’s degree in Media Art in 2001 from the International Academy of Media Arts and Science in Gifu. Trained in experimental and contemporary music, Nishijima creates sculptures and installations that emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city as a gigantic synthesizer from which everyday sounds are selected and transformed into a unique “sound” due to “space”. Nishijima’s work has been exhibited and performed throughout Japan (solo exhibitions: Osaka Contemporary Art Center and Ashiya City Museum of Art & History, Hyogo 1992; Dohjidai Gallery of Art, Kyoto, 1998), as well as Singapore, Paris and New York (“Citycircus”, New Museum of Contemporary Art, 1994, an exhibition curated by Laura Trippi).

The New York City based percussionist RICHARD LIVINGSTON HUNTLEY plays a wide variety of music including jazz, Brazilian, klezmer, and avant garde. He has performed and recorded with jazz greats Mulgrew Miller and Cameron Brown. Huntley has performed with notable jazz musicians such as Billy Drewes, Don Braden and Shunzo Ohno; the Brazilian pianist Dom Salvador; klezmer music with Frank London from the Klezmatics, among others. Huntley co-leads a band with the Danish saxophonist Emil Hess. The Hess/Huntley group has released two CDs, most recently “Skovens Nat.” The Hess/Huntley group has toured extensively throughout Europe and performs regularly in New York City. Huntley is also an endorser/clinician for Bosphorus cymbals and Regal Tip sticks and brushes.

EMILY MENDELSOHN (Stage Manager)
recently graduated from SmithCollege where she studied theatre and a whole lot else.She has dabbled in stage managing atTNC, The Bloomsbury Theatre in London and New England Actor’s Theatre in New Haven.
CAST BIOGRAPHIES:

GEORGE BASS
is a graduate of the High School of Performing Arts in Buenos Aires, Argentina, where he worked as an actor, singer, dancer, director and choreographer. In New York City since 1975, he has been actively working in theatre both English and Spanish. Principal credits include JESUS CHRIST SUPERSTAR, HAIR, ANTHON Y AND CLEOPATRA, ARSENIC AND OLD LACE , DEATH AND THE MAIDEN, LATE NITE CATECHISM and a concert version of DESIREE, a comic opera by J.P. Sousa (CD Recording). He is well known by Spanish audiences for his performances in Zarzuelas (Spanish Operettas) such as THE PHARAOH’S COURT, THE MERRY GENERAL’S WIFE, THE BARBER OF SEVILLE and LA PARRANDA. Mr. Bass received several awards and his voice can be heard in numerous T.V. and radio jingles and commercials. Film credits: THE BREAK and THE CRYSTAL CAGE. T.V. appearances include LAW & ORDER, AMERICA’S MOST WANTED, THE SOPRANOS, STRANGERS WITH CANDY and THE BEAT.

CAROLYN BAEUMLER
spent most of last year appearing with KJ Sanchez in Charles L. Mee’s BIG LOVE, directed by Les Waters (2000 Humana Festival at Actors Theatre of Louisville, Long Wharf Theatre, Berkeley Repertory, The Goodman Theatre, and the 2001 Next Wave Festival at BAM). Other recent credits include: Marilyn Monroe in MISS GOLDEN DREAMS (ACT,Seattle); Mae West in SEX (The Hourglass Group); understudy for Blanche and Stella in A STREETCAR NAMED DESIRE (NYTW); A CLOCKWORK ORANGE (Steppenwolf); Courtney Love in LOVE IN THE VOID; THE EROTICA PROJECT and IN-BETWEENS. She is a co founder of The Hourglass Group and a Usual Suspect at New York Theatre Workshop and Doug’s wife.

DOUG BOST
is an original member of the sketch comedy group Euphobia. He has been heard in the award-winning radio dramas DEAD MAN’S HOLE and DECEMBER17, both broadcast on Bavarian State Radio and National Public Radio’s NPR Playhouse. Doug is well known to lovers of Japanese hentai video as THE MASTER from the series BRIDE OF DARKNESS. Doug is also a writer.

ALLISON BRINER
was most recently seen in The Great Lakes Theatre Festival’s pre-Broadway production of LONESTAR LOVE OR THE MERRY WIVES OF WINDSOR, TEXAS. Prior to that she played the role of Chic in The Cape Playhouse production of CRIMES OF THE HEART, starring Sandy Duncan. Off Broadway: RETURN TO THE FORBIDDEN PLANET, FORBIDDEN BROADWAY, JACQUES BREL…THE 25TH ANNIVERSARY, FORBIDDEN HOLLYWOOD, SONG OF SINGAPORE and PETE “N” KEELY. National Tours: LES MISERABLES, TITANTIC…A NEW MUSICAL. Ms. Briner will be featured in The Denver Center for the Performing Arts’ production of ALMOST HEAVEN, the musical based on the life and music of John Denver.

RONALD COHEN
has appeared such roles as Shakespeare’s Othello, Vershinin in THE THREE SISTERS, and Graham in Stuart Spencer’s 10011/MANHATTAN ZIP. This past fall he was in Chiori Miyagawa’s WOMAN KILLER at HERE! Films include Frank Whaley’s THE JIMMY SHOW, show last week at Sundance Film Festival. For many years he was an editor at Women’s Wear Daily where he also reviewed theater and cabaret. He currently covers New York theater for Musical Stages Magazine, published in Britain.

MICHAEL RAY ESCAMILLA
NYC: Mayi-Theatre at The Public, Lincoln Center Theatre, Classic Stage Company, Theatre for a New Audience, Cherry Lane Theatre, Soho Rep. and Camilla’s. Regional theatre: ATL (Humana Festival), Repertory Theatre of St. Louis and North Shore (Boston). TV: THE JOB.

BRIDGETT ANE LAWRENCE
is thrilled to be performing in this fabulous space with such talented people. Stage credits include: EINSTEIN’S DREAMS at the Kraine Theatre, the two-woman play SHE FINDS HER at the Manhattan Theatre Source, Nina in THE SEAGULL with StreetSigns Center for Literature & Performance, the American Globe Theatre’s ANTIGONE, Drew Pisarra’s YES IS FOR A VERY YOUNG MAN at the Brooklyn Arts Exchange and two seasons of A CHRISTMAS CAROL at the Goodman Theatre in Chicago; BA received her BFA in Acting from Ithaca College. She would like to thank KJ for this rare opportunity and her beautiful, daring direction. BA dedicates this performance to her husband, Chris, a constant inspiration.

KRISTE PEOPLES
is not new to the stage, though SONNETS marks her first acting experience in some time. She can usually be found singing jazz and blues at clubs in and around Manhattan with her trio. Website: http://www.kristepeoples.com

JOCELYN RUGGIERO
last worked with KJ Sanchez developing an original project about medicine this past summer. They met while acting in a production of FEFU AND HER FRIENDS at Santa Fe Stages, directed by Maria Irene Fornés. Other acting credits include THE MAN WHO SHOT HIS WASHING MACHINE, directed by Tom O’Horgan at TNC; THE BITTER TEARS OF PETRA VON KANT, directed by Sonja Moser; SPRINGTIME at The Image Theatre and LOVE AND UNDERSTANDING at Long Wharf Theatre, directed by Mike Bradwell. In March, she will perform at Location One in PHILOCTETES, directed by Sonja Moser. Jocelyn is currently rehearsing PERSEPHONE, written and directed by Emily Davis, a play that will use masks and puppets by Shannon Harvey. She is a graduate of Sarah Lawrence College.

DAWN AKEMI SAITO
actress/performance artist, writer and Butoh dancer/choreographer has collaborated with major innovative performance groups, as well a presenting her own works in New York, Los Angeles and Europe. Her works include: A FACE OF OUR OWN, in collaboration with composer Myra Melford presented at the Orpheum Theatre in Graz, Austria; Leaves, Water, Sun (Berkshire Theater); Red Eye (Whitney Museum at Philip Morris); HALO (Asian American Theater Workshop at Mark Taper and Highways); HA directed by Maria Mileaf (Dance Theater Workshop, New York Theater Workshop); PASTIME (LaMaMa, E.T.C.); DreamCatcher (Dance Theater Workshop and Aaron Davis Hall). Other Dance/Theatre background includes performing in: Arden/Ardennes at Theatre du Rond-Point in Paris; MY HOUSE WAS COLLAPSING TOWARD ONE SIDE, conceived and directed by Charles Mee, Jr. with music composed by Myra Melford (Dance Theater Workshop); Bill T. Jones’ LAST SUPPER AT UNCLE TOM’S CABIN at Brooklyn Academy of Music; Ping Chong’s DESHIMA and ELEPHANT MEMORIES; Music-Theater Group’s MOBY DICK IN VENICE directed by Roman Paska at the Public Theater’s Henson Festival; CHILDREN OF WAR directed by Larry Sacharow at the Taganka Theatre in Moscow; ‘MAID by Erik Ehn and directed by Maria Mileaf at Lincoln Center’s Summer Festival; HEDDA GABLER at The Old Globe Theater; PHOTOGRAPHS AT S21, directed by William Carden; SUDDENLY LAST SUMMER and THE POET at Hartford Stage Co., directed by JoAnne Akalaitis. Dawn is currently an Artist-In-Residence and teaches at Fordham University.

Fall 2001 Music Series, curated by Ned Rothenberg
Time: 8PM
Tickets: $10

Location One is happy to announce the third performance of our Fall 2001 Music Series. Violinist and Composer Mark Feldman will present a concert of music for solo violin featuring compositions from his CD Music for Violin Alone (Tzadik). Synthesizing new music, virtuoso violin gestures and improvisation, Feldman injects new life into solo violin performance. MARK FELDMAN In 1994, Õ95, 99, 2000, and 2001 violinist and composer Mark Feldman received the First Place award for “Talent Deserving Wider Recognition” in Down Beat magazine’s critics’ poll. He has been a featured soloist with various European groups: Basel Sinfonetta, George Gruntz Big Band (Switzerland), WDR Radio Orchestra and WDR Big Band (Koln, Germany), UMO Big Band (Helsinki), and with the Sweet Basil Monday Nite Big Band in NYC. Last June he premiered a Violin Concerto by Bill Dobbins in the Vienna Concert House, Austria. Likewise, in jazz festivals and concerts, he has performed with John Zorn, Billy Hart, John Abercrombie, Joe Lovano, Paul Bley, Dave Douglas, Bill Frissell, Uri Caine, Tom Harrell, Sylvie Courvoisier, Ray Anderson, Don Byron, Trilok Gurtu, Pharaoh Saunders, Richard Galliano and Anthony Davis. Mr. Feldman has been recorded as a soloist in over 100 recordings including his own release, Music for Violin Alone (Tzadik). Other recordings include: Music for Violin and Piano (Avant) with pianist/composer Sylvie Courvoisier; “Book of Tells” (Enja), his music for string quartet; “Charms of the Night Sky” A Thousand Evenings (RCA/BMG), a quartet with Dave Douglas; Open Land (ECM) with John Abercrombie; and as a member of the Zorn Quartet, John Zorn: The String Quartets (Tzadik). As a studio musician in Nashville where he lived from 1980 to 1986, Feldman made over 200 recordings including albums by Johnny Cash, George Jones, Willie Nelson, Tammy Wynette, Jerry Lee Lewis, and television evangelist Jimmy Swaggart. He also performed in the ensembles that accompanied Country western singers Loretta Lynn and Ray Price. Mr. Feldman moved to New York City in 1986 where he worked as a studio musician with Sheryl Crow, The Manhattan Transfer, Diana Ross, Carol King, and They Might Be Giants. The Kronos Quartet and the WDR Radio Orchestra have commissioned FeldmanÕs compositions. Other projects include collaborations with Lee Konitz, The Arcado String Trio, Tim Berne, and Bobby Previte.

Myth and the Contemporary, Dec. 11, 7:30 pm
Panelists: Meredith Monk,, John Jesurun,, Mary Lucier, Eiko Otake, Theodora Skiptares,
Moderator: Bonnie Marranca

Meredith Monk is a composer, choreographer, singer, creator of new opera, musical theatre works, films, and installations. A pioneer in what is now called “extended vocal technique” and “interdisciplinary performance,” she has created more than 100 works. She is a recipient of a MacArthur “Genius” Fellowship. Monk has made more than a dozen recordings, and her music has been heard in numerous films.

Mary Lucier has been a sculptor, photographer, and performance artist before turning to video in the early seventies. Her video pieces are widely exhibited in museums and galleries in the U. S. and abroad. Among her many works are Ohio at Giverny, Last Rites (Positano), Noah’s Raven, and House by the Water. Mary Lucier is represented in the current Whitney Museum exhibition entitled Into the Light.

Eiko Otake is one half of the dance partnership known as Eiko and Koma who choreograph and perform only their own works. Since leaving their native Japan almost three decades ago, they have presented their works at theatres, universities, museums, galleries and festivals across North America, Europe, and Asia. Recently, they premiered a new piece, Be With, in collaboration with dancer/choreographer Anna Halprin and Joan Jeanrenaud, a former member of Kronos Quartet, at the Kennedy Center in Washington. In January it will be seen at the Joyce Theatre.

John Jesurun is a playwright, director, and media artist. Among his many plays are Deep Sleep and fifty-two pisodes of his serial play Chang In a Void Moon. His White Water is currently running in Mexico City. The End of Cinematics, an opera in collaboration with composer Mikel Rouse, premieres in fall 2002 at the Orange County Performing Arts Center. His new media work, Virtual Actor, made in collaboration with scientists from Bell Labs, will be presented in December as part of the Brooklyn Academy of Music’s Arts in Multimedia program.

Theodora Skipitares is a visual artist and theater director who has been working for more than two decades in New York. She began as an autobiographical solo performer before incorporating realistic puppet figures, original music scores, film and video in larger theatre works that examined historical and social themes. Recently, she has been working in Vietnam and India. Next month, she will travel to Cambodia where, with La MaMa’s Ellen Stewart, she will create an opera with life-size shadow puppets. Along with Dan Hurlin, she is co-director of the Arts at St. Ann’s Puppetry Lab.

Bonnie Marranca, Moderator.
She is the author of Ecologies of Theatre and Theatrewitings, and editor of several anthologies, including Conversations on Art and Performance, Plays for the End of the Century, and The Theatre of Images.

This project is supported, in part, with public funds from the New York City Department of Cultural Affairs Challenge Program, The New York State Council on the Arts and Ellynne Skove. Special thanks to Barbara Dufty of Meredith Monk/The House Foundation for the Arts and to the Location One staff for their technical and administrative support.

“Sound does not exist without space and space is always filled with sound. Space represents sound as something visible, sound represents space as something audible. Our daily life is made of inevitable factors such as time and space. As for myself, that is a place where contemporary music exists.” Atsushi Nishijima Location One is happy to announce two upcoming events by artist-in-residence Atsushi Nishijima: a multi-media installation opening on December 7th and a sound performance on December 15th. We are most grateful to the Asian Cultural Council for sponsoring his residency. Nishijima received his Bachelor’s degree in Musical Technology from the Osaka University of Art in 1989 and his Master’s degree in Media Art in 2001 from the International Academy of Media Arts and Science in Gifu. Trained in experimental and contemporary music, Nishijima creates sculptures and installations that emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city as a gigantic synthesizer from which everyday sounds are selected and transformed into a unique “sound” due to “space”.

Nishijima’s work has been exhibited and performed throughout Japan (solo exhibitions: Osaka Contemporary Art Center and Ashiya City Museum of Art & History, Hyogo 1992; Dohjidai Gallery of Art, Kyoto, 1998), as well as Singapore, Paris and New York (“Citycircus”, New Museum of Contemporary Art, 1994, an exhibition curated by Laura Trippi).

View a video interview of Atsushi Nishijima by Yuzo Sakuramoto

click on image to view perfomance:

Click here to view the embedded video.

Atsushi Nishijima was an artist-in-residence at Location One in 2001.
His residency was made possible by the the Asian Cultural Council.

December 6: Frequency Hopping
January 24 + 25 Sonnets for an Old Century
March 7-9 Philoctetes

FREQUENCY HOPPING
a work-in-progress written & directed by Elyse Singer
with Isabel Keating
Music/Radio Consultant: Joshua Fried
Costume Designer: Angela Kahler
Dramaturg: Erika Rundle

“Films have a certain place in a certain time period. Technology is forever.” –Hedy Lamarr

In 1940, Hedy Lamarr, the “most beautiful woman in the world” and composer George Antheil, the “bad boy of music” met at a Hollywood dinner party. Two years later, they received a patent for an invention now recognized as the model for wireless communication. Based on the true story of the film icon and the avant-garde composer’s extraordinary collaboration and friendship, Frequency Hopping is a darkly comic play about connecting with another person operating at the same frequency.

ELYSE SINGER (Writer/director)
Elyse Singer’s work includes Love in the Void (alt.fan.c-love), Private Property (Edinburgh Festival), Care-less: Eva Tanguay (Dixon Place) and Frequency Hopping, which was commissioned by the EST/Sloan Project and featured in the Drama League’s 2001 New Directors/New Works Program. She directed the Hourglass Group’s Off-Broadway production of the first NYC revival of Mae West’s play SEX and Deborah Swisher’s Hundreds of Sisters & One BIG Brother at the Clurman, following runs at HERE, HBO Workspace in LA, and Brava in San Francisco. In New York, she has worked extensively downtown, directing and producing the premieres of new plays by writers such as Ruth Margraff, Neena Beber, Naomi Iizuka, Catherine Zimdahl and Aaron Mack Schloff. A Yale graduate, Elyse is a Usual Suspect and Convener at New York Theatre Workshop, an alumna of Lincoln Center Theater Directors Lab and Artistic Director of the Hourglass Group. She will direct the premiere of Ruth Margraff’s newest play, Red Frogs, at P.S. 122 in February 2002.

ISABEL KEATING (Hedy Lamarr)
Isabel Keating most recently appeared in Donald Margulies’s Dinner with Friends at the Old Globe Theatre, directed by Leonard Foglia. She is the recipient of the 2000 Helen Hayes Award for Best Actress for her work in Tom Stoppard’s Indian Ink (dir. Joy Zinoman) at the Studio Theatre. [In the recent workshop of Judy's Scary Little Christmas at the ArcLight Theatre, also directed by Mr. Foglia, she played Judy Garland.] Off-Broadway: Atlantic Theatre Co.; New York Shakespeare Festivval (New Works Now); Watermark Theatre, etc. Regional: Hartford Stage; McCarter Theatre; O’Neill Theatre Center (National Playwrights Conference company member); Actors Theatre of Louisville (Humana Festival); Denver Center Theatre, etc. Films: Magnetism; Sunnyside.

JOSHUA FRIED (Sound/Radio Consultant)
Joshua Fried emerged from New York’s downtown experimental music and East Village performance scenes of the ’80s. The recipient of numerous fellowships and awards, Fried’s work has been presented at Lincoln Center, Bang On a Can, The Kitchen, etc. in NYC as well as in LA, Chicago, Berlin, Paris, Tokyo, Amsterdam, Warsaw, Prague, Copenhagen and elsewhere. His collaboration with choreographer Douglas Dunn, Spell for Opening the Mouth of N (featuring eight singer-actors wearing wireless radio headphones, and a dance company of ten), premiered in a sold-out run at The Kitchen, New York, and was one of the highlights of the 1997 Lincoln Center Out-of-Doors Festival. Fried’s recording “Jimmy Because” (with guest guitarist Fred Frith) was released by Atlantic Records; he has been re-mix producer for They Might Be Giants, Chaka Khan and Ofra Haza.

ANGELA KAHLER (Costume Designer)
Angela Kahler has worked with Elyse previously on Hourglass’s workshop of The Triple Happiness by Brooke Berman, and the American Living Room productions of The Table Dance by Mark Russell and Family Running for Mr. Whippy by Catherine Zimdahl. When not working downtown, Angie sells her soul to commercial venues such as Broadway, Opera and Film. Recent projects include: The Lion King, Annie Get Your Gun, 42nd Street and, currently, Mamma Mia.

ERIKA RUNDLE (Dramaturg)
Erika Rundle was most recently seen this summer as Ellida in Waxfactory’s Lady from the Sea at BAX. She also starred in So to Speak, which appeared at the New York Experimental Video Festival at Lincoln Center. Currently she is the dramaturg for Heiner Müller’s Quartet at Waxfactory, and a dramatic adaptation of Studs Terkel’s American Dreams: Lost and Found at The Acting Company. She co-directed multi-media productions of Lorca’s The Love of Don Perlimplin and Belisa in the Garden at the Yale Cabaret and Megan Terry’s Approaching Simone at Brown’s Production Workshop. She teaches in the theater, film, and comparative literature departments at Yale College and is the Associate Editor of Theater magazine.

HOURGLASS GROUP develops and produces provocative plays by writers who experiment with heightened dramatic language and innovative theatrical forms. Founded in 1998 by Elyse Singer, Carolyn Baeumler and Nina Hellman, the company is especially interested in presenting new work that put women’s words and imagination center-stage. In 1999, Hourglass produced the first NYC revival of Mae West’s 1926 play SEX off-Broadway at the Gershwin Hotel and the company’s production of Deborah Swisher’s Hundreds of Sisters & One BIG Brother moved Off-Broadway following a run at San Francisco’s Brava Theater. Committed to new play development, Hourglass hosts an annual summer retreat at Choate Rosemary Hall in Wallingford, Connecticut, where theatre artists work on new scripts as well as teach performance workshops to high school students in the Summer Arts Conservatory. Other programs include a reading series of adventurous new plays at the Gershwin Hotel. Hourglass will produce Ruth Margraff’s new play Red Frogs at PS122 in February 2002.

Frequency Hopping was originally commissioned and developed by the EST/Sloan Project. The play received funding and developmental support in 2001 from the Drama League Directors Project’s New Directors/New Works program.

Curated by Meredith Monk and Bonnie Marranca

Free and Open to the Public: Location One, 26 Greene St, New York, NY 10013 tel: 212.334.3347

Art as Spiritual Practice Panel
[display_podcast
click image to see video (requires QuickTime)

Art as Spiritual Practice, Nov. 5, 7:30 pm

Click here to view the embedded video.

Panelists:

Meredith Monk is a performer, composer, choreographer, and filmmaker. She has been creating multi-media and musical works for more than three decades, among them Atlas, Quarry, Education of the Girlchild, and Songs from the Hill. A major retrospective of her work was shown at the Lincoln Center Festival 2000. Meredith Monk and visual artist Ann Hamilton have collaborated on a new work, titled Mercy.

Linda Montano is best-known for her many duration performances. She is also a teacher and writer whose books include Performance Artists Talking and Art in Everyday Life. She has taught and given workshops at universities and spiritual centers throughout the U.S. Linda Montano is based in Kingston, N.Y., where she runs the Art/Life Institute.

Erik Ehn has been writing an ongoing cycle of plays loosely based on the lives of saints and biblical characters, many of which are published in a volume entitled, The Saint Plays. His work includes musicals, plays for children, and opera libretti. He is an artistic director of the Tenderloin Opera Company in San Francisco. Erik Ehn’s work has been produced in theatres and universites throughout the U.S.

Eleanor Heartney is an arts critic and contributing editor to Art in America and artpress. She is the author of Critical Condition: American Culture at the Crossroads and Postmodernism. Currently, she is working on a book about the Catholic imagination in contemporary art, entitled Postmodern Heretics.

Alison Knowles is one of the founding figures of the Fluxus group. She has recently performed and exhibited at the Drawing Center in Soho using beans and paper as acoustic materials. Her sound sculptures in paper have taken her to Germany, Italy and often to Japan. Among her several books are: Bread and Water, Event Scores, and Footnotes.

Bonnie Marranca, Moderator.
She is the author of Ecologies of Theatre and Theatrewitings, and editor of several anthologies, including Conversations on Art and Performance, Plays for the End of the Century, and The Theatre of Images. She is editor of PAJ: A Journal of Performance and Art and Curator of Special Performance Projects at Location One.

“…undoubtedly one of the most stimulating percussionists on the planet.” Andy Hamilton, Jazz Review (6/01)

Location One presented a solo performance by composer and performer Gerry Hemingway. Since 1974, Hemingway has worked as both a solo and an ensemble musician. Hemingway has led numerous groups including, most recently, a quartet with Ellery Eskelin, Ray Anderson and Mark Dresser, and worked in collaborative groups with Georg Graewe, Ernst Reijseger, Marilyn Crispell, Tambastics, BassDrumBone, Thomas Lehn, John Butcher and many others.

“Hemingway is an extraordinary and highly original drummer. Using mallets or his hands more frequently than sticks, and preferring arcs of rhythm to a continuous beat, he shapes his solo pieces with concern for dynamic balance and thematic continuity. While Hemingway is not averse to employing unconventional techniques, in his hands the uncommon effect never becomes an end in itself.” Bob Blumenthal, Boston Globe (2/97)

“…Hemingway has adapted “abstract” techniques of tape manipulation to create non-programmatic sound images (i.e., not imitations of visual images) that suggest the vagaries of Nature, the three dimensionality of sculpture and a belief in ghosts.” Art Lange, Fanfare (10/96)

Click here to view the embedded video.

Composer and visual artist, Atsushi Nishijima received his Bachelor’s degree in Musical Technology from the Osaka University of Art in 1989 and his Master’s degree in Media Art in 2001 from the International Academy of Media Arts and Science in Gifu. Originally from Kyoto and trained in experimental and contemporary music, Nishijima creates sculptures and installations which emphasize the idea that sound, and thereby music, is inherent in all objects and environments. A particularly important resource for the artist is the city, which becomes a gigantic synthesizer from which everyday sounds are selected and transformed them into a unique “sound” due to “space”. Laura Trippi , curator of “Citycircus” in 1994 (New Museum of Contemporary Art, New York) included Nishijima’s “Mondrian Ping Pong”. She connects his work to the aesthetic sensibility of John Cage, who employed chance operations and rule-governed improvisations. Ong Ken Sen, artistic director of Theatre Works in Singapore, considers Nishijima to be an artist of extraordinary talent and inventiveness who addresses the critical relationship between art and science. His works have been exhibited and performed throughout Japan (solo exhibitions in 1992 at the Osaka Contemporary Art Center; in 1998 at the Dohjidai Gallery of Art, Kyoto and Ashiya City Museum of Art & History, Hyogo) , as well as Singapore, Paris and New York (1994, “Citycircus”, New Museum of Contemporary Art).

View a video interview of Atsushi Nishijima by Yuzo Sakuramoto.
with excerpt in english.

Subtractive Creation/Visible Sound
A Multimedia Installation by composer and visual artist Atsushi Nishijima
December 8th – 29, 2001

Location One announces the last performance of its Spring Music Series, which will be an evening with Zeena Parkins and Janene Higgins, presenting their latest works, Arch and How I See the World, #1. With electric harp, processors, multiple projections, and cameras, they perform a live music/live video duet. Parkins continues her sonic research on her self-invented electric harp, a hybrid of an acoustic harp and an electric guitar. Higgins utilizes video mixers and cameras in a live performance setting, enabling her to “play” the video as a musician would play an instrument. The performance will be presented in the gallery and be streamed live at www.location1.org.

Arch considers the human body and its penetration into architecture and the urban landscape. The piece premiered at Roulette, New York City, in May 2000 as part of their Festival of Mixology. It since has been taped for Roulette TV, airing in early 2001, and was part of the December music series at Phill Niblock’s Experimental Intermedia. How I See the World is the first of a series of more purely improvisational works.

The duo have been collaborating for five years. Their last full-length piece, Artificial Eye, premiered in Kassel, Germany, for Documenta X. Other presentations include Music Unlimited festival in Wels, Austria and at the City of Women festival in Slovenia.

The development of Arch was partially funded by a grant from The Experimental Television Center, which is supported in part by the New York State Council on the Arts.

Zeena Parkins
multi-instrumentalist, improviser, composer, is a leading light in European and North American ‘Other Music’ circles. A frequent guest of festivals covering the broadest spectrum of musical activity, she is not only one of the pioneers of the electric harp, and extended techniques and digital processing on the acoustic and electric harps, but a composer with a unique vision of how to meld acoustic and electronic processes, in pieces such as Isabelle, Mouth=Maul=Betrayer, Pan-Acousticon and VOU-Valley of Unrest. Zeena has performed and/or recorded with (among others): John Zorn, Ikue Mori, Fred Frith, Elliott Sharp, Jim O’Rourke, Thurston Moore, Lee Renaldo, David Shea and Pauline Oliveros and has toured throughout Europe, Japan in Russia and in the States. Recent collaborations include scores for choreographers Neil Greenberg, Emmanuelle Vo-Dinh, Jennifer Lacey and video artist Janene Higgins. Zeena is a recipient of the prestigious grant for Contemporary Performance Arts, numerous commissioning funds from Mary Flagler Cary Trust, the Jerome Foundation, a Rockefeller Foundation grant, and Nysca Composer Commission. Most recently Zeena performed with Yoko Ono at the Japan Society and has also been working with Bjšrk on her newest record.

Janene Higgins
is a graphic designer and video artist living in New York City. Since 1996, her videos and digital media have been presented in numerous festivals throughout the world, including New York and Chicago’s Underground Film Festivals, The Barcelona Festival of Independent Video, Art Institute of Chicago, The Impakt Festival in Holland, New York Lesbian & Gay Film Festival, Experimenta Festival in Buenos Aires, The Hamburg Short Film Festival, and at New York’s Irving Plaza. In the realm of live video performance she has worked with such artists as Vernon Reid, Prema Murthy, Wharton Tiers, sculptor Jude Tallichet, and has an ongoing duo with Zeena Parkins. She is a frequent artist-in-residence at The Experimental Television Center in Owego, New York, and was a recent recipient of their Finishing Funds grant. Her latest video, We Hate You Little Boy, was featured in the multimedia exhibits “FACING FEAR” at the San Francisco Art Commission Gallery, and “VIVISECTION” at Location One in NYC.

For more information: http://www.echonyc.com/~myrakoob/performance/arch.html
Interview with Zeena and Janene at the “Noisy.org” website: http://www.noisy.org/mixology.html.

Click here to view the embedded video.

Location One announces its Spring Music Series, Wake the Dead. The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They will premier both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500). Their performance will be presented in the gallery and streamed live at www.location1.org.

Upcoming Spring Music Series artists
May 26: Marcus Rojas, Peter Apfelbaum, & Satoshi Takeishi

Click here to view the embedded video.

Location One announces its Spring Music Series, Wake the Dead. The Third of five exciting performances will be a collaboration between Earl Howard and Mari Kimura. Mari Kimura and Earl Howard are both recognized composer/ performers in the field of electroacoustic music, as well as virtuosos on the violin and saxophone. They will premier both solos and duets for violin and saxophone, as well as compositions by Earl Howard for digitally processed violin and synthesizer (Kurzweill 2500). Their performance will be presented in the gallery and streamed live at www.location1.org.

Upcoming Spring Music Series artists
May 26: Marcus Rojas, Peter Apfelbaum, & Satoshi Takeishi

Click here to view the embedded video.

Location One announces a Spring Music Series, Wake the Dead. The second of five exciting performances will be a collaboration between Leroy Jenkins and Felicia Norton. Their performance will be presented in the gallery and streamed live on our website: www.location1.org Leroy Jenkins, violinist/composer, is a “master who cuts across all categories” (San Francisco Chronicle). He received a Bessie Award for his opera, The Mother of Three Sons, which was produced by the New York City Opera and Houston Grand Opera. Jenkins, “New York’s soulfulest violin improviser” (Village Voice), is a major figure in the development of contemporary music.

Felicia Norton, dance soloist, featured in Philip Traeger’s book Dancers, is “an extraordinary dancer” (New York Times) who has performed internationally to critical acclaim. She has been described as “compellingly sensual…a lovely dancer” by the noted London critic, John Percival (Dance & Dancers). She was also deemed “the discovery of the evening” at the Third International Festival of Dance in Brussels. Leroy Jenkins and Felicia Norton have combined their talents to create an innovative fusion of contemporary dance and Jazz violin called “magical” by the New York Times. Since their collaboration on live music/dance programs began in 1988, they have presented specially created solos and commissioned duets with choreography by Molissa Fenley, Mark Dendy, Tamar Rogoff, Alison Chase, Linda Tarnay, Lynn Taylor Corbett and others at a range of venues including the Whitney Museum of Art at Phillip Morris, the Lincoln Center Out-of-Doors Festival, Performance Space 122, the 14th St. Dance Center, the Metropolitan Artists Series at the Met Life Building and Merkin Concert Hall — all in New York City.

They have also been presented by the Pyramid Art Center in Rochester, N.Y., Dance Place in Washington, D.C., Connecticut College, Seven Lakes in Atlanta, GA., the Contemporary Arts Center in New Orleans, LA., Bennington College in VT., The Music Gallery in Toronto, Ontario, The New Arts Program at the Painted Bride Art Center in Philadelphia, PA., the Duke University Institute of the Arts in Durham, N.C., as part of the National Performance Network Touring and Residency Program, and at Jazz Arts ’98 at the Carter Barron Ampitheater, Washington, D.C.

The Jenkins/Norton collaboration has been supported by funds form the New York Council on the Arts, Meet the Composer, and has received repeated commissions from the 14th St. Dance Center and Lincoln Center, N.Y.C.

Click here to view the embedded video.

Location One announces a Spring Music Series, Wake the Dead. The second of five exciting performances will be a collaboration between Leroy Jenkins and Felicia Norton. Their performance will be presented in the gallery and streamed live on our website: www.location1.org Leroy Jenkins, violinist/composer, is a “master who cuts across all categories” (San Francisco Chronicle). He received a Bessie Award for his opera, The Mother of Three Sons, which was produced by the New York City Opera and Houston Grand Opera. Jenkins, “New York’s soulfulest violin improviser” (Village Voice), is a major figure in the development of contemporary music.

Felicia Norton, dance soloist, featured in Philip Traeger’s book Dancers, is “an extraordinary dancer” (New York Times) who has performed internationally to critical acclaim. She has been described as “compellingly sensual…a lovely dancer” by the noted London critic, John Percival (Dance & Dancers). She was also deemed “the discovery of the evening” at the Third International Festival of Dance in Brussels. Leroy Jenkins and Felicia Norton have combined their talents to create an innovative fusion of contemporary dance and Jazz violin called “magical” by the New York Times. Since their collaboration on live music/dance programs began in 1988, they have presented specially created solos and commissioned duets with choreography by Molissa Fenley, Mark Dendy, Tamar Rogoff, Alison Chase, Linda Tarnay, Lynn Taylor Corbett and others at a range of venues including the Whitney Museum of Art at Phillip Morris, the Lincoln Center Out-of-Doors Festival, Performance Space 122, the 14th St. Dance Center, the Metropolitan Artists Series at the Met Life Building and Merkin Concert Hall — all in New York City.

They have also been presented by the Pyramid Art Center in Rochester, N.Y., Dance Place in Washington, D.C., Connecticut College, Seven Lakes in Atlanta, GA., the Contemporary Arts Center in New Orleans, LA., Bennington College in VT., The Music Gallery in Toronto, Ontario, The New Arts Program at the Painted Bride Art Center in Philadelphia, PA., the Duke University Institute of the Arts in Durham, N.C., as part of the National Performance Network Touring and Residency Program, and at Jazz Arts ’98 at the Carter Barron Ampitheater, Washington, D.C.

The Jenkins/Norton collaboration has been supported by funds form the New York Council on the Arts, Meet the Composer, and has received repeated commissions from the 14th St. Dance Center and Lincoln Center, N.Y.C.

Click here to view the embedded video.

Marc Ribot (pronounced REE-bow)
was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, the Haitian classical guitarist and composer Frantz Casseus. In 1978, Ribot crossed the river to New York City, where he served as sideman for such musicians as jazz organist Jack McDuff and legendary soul shouter Wilson Pickett. The following year, Ribot joined up with the Realtones and the Uptown Horns Band, which worked as a NYC pickup band for such Stax/Volt stars as Carla Thomas, Rufus Thomas, Solomon Burke and many others. Ribot began his five year stint as a member of the Lounge Lizards John Lurie’s innovative and influential Downtown jazz ensemble in 1984.

His six-string stylings, which blended elements of classicist Blues guitar with an ironic No Wave/Knitting Factory aestethic, caught the ear of a number of artists who were also interested in amalgamating and disrupting disparate musical traditions. Ribot went on to perform on some of these singer/songwriter’s finest moments, including Elvis Costello’s “SPIKE,” “MIGHTY LIKE A ROSE,” and “KOJAK VARIETY”; Marianne Faithful’s “BLAZING AWAY”; and, most notably, Tom Waits’ “RAIN DOGS,” “BIG TIME,” “FRANK’S WILD YEARS,” and the new “MULE VARIATIONS.”

All the while, the increasingly in-demand guitarist continued to explore the ever-changing terrain of New York’s New Music, working with such musicians as Arto Lindsay, Don Byron, Elliot Sharp, Anthony Coleman, T-Bone Burnett, the Jazz Passengers, Evan Lurie, Chocolate Genius, Jamaaladeen Tacuma, and John Zorn in any number of incarnations. Ribot also composed and recorded his own brand of Downtown soul music with his bands, Rootless Cosmopolitans and Shrek, as well under his own name. His 1996 “DON’T BLAME ME,” which found a solo Ribot reinventing a number of American standards, was hailed by The Village Voice’s Gary Giddins as “a record filled with savory and unlikely amusements.”

In recent years, Ribot’s always-eclectic workload has included sessions with Cibo Matto, the late Allen Ginsburg, Phish guitarist Trey Anastasio’s Surrender To The Air project, Atlantic recording artist Madeleine Peyroux (found on her 1996 “DREAMLAND”), and Patty Scialfa on her forthcoming solo album. Ribot also continues to do a great deal of work with Zorn, having played on his “FILMWORKS” collections, and as a member of his Bar Kokhba ensemble.

Click here to view the embedded video.

See RADIOLARIA description

Her music is available from ECM records. She is also the subject of the recent book, Meredith Monk, edited by Deborah Jowitt. Meredith Monk was recently the subject of a major retrospective at the Lincoln Center Festival 2000.

website :: www.meredithmonk.org

Click here to view the embedded video.

Location One inaugurated the Locution interview series with Meredith Monk, the internationally-celebrated performer/composer/choreographer/filmmaker. Monk has been creating multimedia and musical works for more than three decades, among them Atlas, Quarry, Education of the Girlchild, Dolmen Music, and Songs from the Hill.

Her music is available from ECM records. She is also the subject of the recent book, Meredith Monk, edited by Deborah Jowitt. Meredith Monk was recently the subject of a major retrospective at the Lincoln Center Festival 2000.

website :: www.meredithmonk.org

Premiered at the 42 St. Whitney Museum in December ’99, RADIOLARIA is the latest of E#’s algorithmic compositions.

Based on biological models of growth and reproduction, the 12-piece ensemble of winds, brass, samplers, and percussion plus real-time computer processing, uses sets of simple instructions to manipulate a variety of composed cores, creating structures in a mode analogous to that of organisms such as “radiolaria,” a kind of aquatic, single-celled protozoa. These structures are not just ordered in time but also in acoustic space, with the stacked overtones of the interacting instruments manifesting difference tone effects and “ghost instruments.” This effect is enhanced by the live computer processing of the massed sound of the ensemble to extract overtones and subharmonics fed back into the mix.

The group includes: Frank London and Eric Shanfield (trumpets), Ned Rothenberg and Sam Furnace (alto saxes), Evan Spritzer and Tim Smith (bass clarinets), Steve Swell and Julie Kalu (trombones), Zeena Parkins and David Weinstein (samplers), and Jim Pugliese (percussion.) E#: soprano sax, Powerbook

RADIOLARIA was commissioned for Orchestra Carbon as part of the national series of works from Meet The Composer/Arts Endowment Commissioning Music USA, with support from the Helen F. Whitaker Fund.

The latest Orchestra Carbon CD, SyndaKit, is now out on the zOaR label and available from Downtown Music Gallery (dmg@panix.com)

Elliott Sharp bio

Click here to view the embedded video.

Ned Rothenberg composes and performs on saxophones, bass clarinet, flute and shakuhachi (an end blown Japanese bamboo flute). He has been internationally acclaimed for his solo music which he has presented for the past 16 years in hundreds of concerts throughout North and South America, Europe and Japan. He leads the ensembles Double Band and Power Lines and was a founding member of the cooperative group New Winds (with Robert Dick, flutes and Herb Robertson, Trumpet). His newest project is Sync, a trio with guitarist/bassist Jerome Harris and Tabla virtuoso Samir Chatterjee. His co-collaborators in other projects have included Paul Dresher, Yuji Takahashi, Sainkho Namchylak, Richard Teitelbaum, Elliott Sharp, Samm Bennett, John Zorn, Katsuya Yokoyama, Kazuhisa Uchihashi and Fred Frith. He’s lived and worked in New York City since 1978.

Rothenberg’s musical interests are numerous and his work varies widely in its sonic, emotive and stylistic profiles. A strong underlying element of his instrumental voice is the extension of the woodwind language to incorporate polyphony and accurate microtonal organization through the manipulation of multiphonics, circular breathing, and overtone control, not only using his horns in their standard melodic role but also as rhythmic and harmonic engines in both solo and ensemble contexts. As a composer he can move from “Jazz-funk in cubist perspective, dizzying, yet visceral”* (Double Band) to a solo music that is “intense, slightly melancholic, rhapsodic without being sentimental”+, while avoiding the use of mere effect- “crafting distinct, evocative compositions that boast shape as well as texture^”. (*-Jon Pareles and +Edward Rothstein, NY Times and ^Neil Tesser, Chicago Reader).

A few of Rothenberg’s more notable sojourns have been 6 trips to Japan including a 6-month residency there during which he performed his music and studied shakuhachi with two of the foremost masters of the instrument, Goro Yamaguchi and Katsuya Yokoyama. 3 trips to the former Soviet Union in’89, ‘92 and ‘94 working solo, in various groups and in duo with Sainkho Namchylak. December ‘91 saw his first trip to South America where he presented his solo music. This is in addition to numerous tours in North America and Western Europe each year playing festivals, theatres and clubs as a leader or collaborator.

Ned Rothenberg’s discography includes: a solo CD, The Crux (Leo), Double Band’s ‘Over Lays’ and ‘Real & Imagined Time’, Power Lines’ premier recording (New World ), ‘Amulet’, duo with Tuvan vocalist Sainkho Namchylak (Leo), ‘Monkey Puzzle’, a duo with Evan Parker (Leo), a studio collaboration co-composed with Paul Dresher, ‘Opposites Attract’ (New World), 2 records by Semantics (Rift & SST), New Winds’ releases ‘Potion’,’Digging it Harder From Afar’ (Victo), ‘The Cliff’ and ‘Traction’ (Sound Aspects), Cafe 9.15 with the Japanese band Altered States (DIW) as well as 3 solo LPs: Trespass, Portal, and Trials of the Argo on Lumina. His work can also be heard on the Nonesuch, A&M, ECM, Recommended, Sub Rosa, Enemy and Virgin labels. (For a complete discography see url below)

Born in 1956 in Boston, Rothenberg graduated from Oberlin College and studied music at Oberlin Conservatory, Berklee School of Music, privately with Les Scott (saxophone & clarinet), and George Coleman (jazz improvisation). However, his trademark solo technique is self-taught. His musical efforts have been furthered by grants and commissions from the New York Foundation for the Arts, New York State Council on the Arts, Cary Trust, Lila Wallace Foundation, Chamber Music America, Asian Cultural Council, Roulette, Jerome Foundation, Meet the Composer, and ASCAP.

For booking information or other info Email Ned Rothenberg: location1@location1.org
To order CD’s Email Bruce Gallanter at New York’s Downtown Music Gallery: dmg@panix.com
For full discography posted on the web: http://www.nwu.edu/jazz/artists/rothenberg.ned/discog.html#ned_discography