#Hans Tammen

[jgthirlwell]

02.02.24 Tribute to legendary NYC composer Phill Niblock at Hunter College in NYC, organized by Hans Tammen. With Lucie Vitkova, Marcia Bassett, Teerapat Parmongkol, Alex Zhu, Luke Dubois, Emad Jamal, Monica Rocha, Shoko Nagai, Crystal Penalosa, Chuck Bettis, Kamran Sadeghi, Michael Schumacher, David Galbraith, Daniel Neumann, David First, Abby Davis, David Rothenberg, Daniel Neumann, Ben Manley, Miguel Frasconi, Andrew Neumann, Laura Feathers & Hans Tammen. Visuals by Katherine Liberovskaya.

#Phill Niblock #Hans Tammen #Katherine Liberovskaya #Lucie Vitkova #Marcia Bassett #Michael Schumacher #David Galbraith #David First #Miguel Frasconi #Chuck Bettis #Luke Dubois #Teerapat Parmongkol

[soniayuditskaya]

IPA House Concert from yuditskaya on Vimeo.

Video by Hans Tammen

Harvestworks is pleased to partner with the Institute for Public Architecture to present an experimental audio visual performance by Sofy Yuditskaya, Monica Rocha, Johannes Sistermanns and Hans Tammen who come together for the sake of the sound and the silences in between the sounds. It is about architecture and how we relate to it and each other within it.

Using the Block Building #9 on Governors Island as a musical instrument, the artists will activate the first floor room and explore how they relate to it and each other within it. It’s about listening and being present in the moment. Friction is a cue to listen more deeply. We don’t always want to know the motivations behind every move. And yet: we are curious about what provokes each action, each sound, sculpture, body surrounding emptiness. Breaking out of it, like a crash, falling back into silence, unmoving. Network, intensity, authenticity, simple frame, noise, listening floors… time is too short for us to break off after 45 minutes. EnTsemble always meets again, somewhere else, hearing grass grow.

[digi-de]

Survey 1 for Artby

q. How would you describe your relationship with art? a.  make art

q. What qualifies as art& why?   a.  visual, sonic, dance, theater, sculptural, performance, word - anything requiring creativity and often things that want feedback?

q. How often do you make an effort to look at art?   a.  i try to look at it every day, make it regularly

q. Where do you currently intake art ? (digitally & non-digital) a. both

q. a. What do you enjoy about looking at art digitally?       b. What do you enjoy about looking at art in person? a.  a. i can see it any time of day and can see all of the artist's work in one swoop whenever i want. b. It's nice to be able to walk around it and also to discus with others who are there in the space also - our attention is on the object and we are invested, sharing the experience

q.  c. what don’t you enjoy about looking at art digitally, d. what don’t you enjoy about looking at art in person?   a.  c. hard to see details, you do miss a lot when it's not in person. d. in person - it's hard to make it to art events. they are sometimes far and only available for a limited amount of time q.  Who are some of your favorite artists? a.  american artist (that's their artist name), illana harris babou, nick cave (the sculptor), simone yvette leigh, ayo okunsiende, caroline woolard, pooneh maghazihe, susan jahoda, rose nestler, sam lavigne, nora nurato, adam parker smith, hans tammen, q.  What are some of your favorite art mediums? Least favorite? a.  media art, sculpture, performance q.  Who would you connect with/follow on an art sharing app? a.  friends who make art and also these folks: american artist (that's their artist name), illana harris babou, nick cave (the sculptor), simone yvette leigh, ayo okunsiende, caroline woolard, pooneh maghazihe, susan jahoda, rose nestler, sam lavigne, nora nurato, adam parker smith, hans tammen, q.  What would you want to see in an art sharing app?  ( Like what would you want it to bring to the table?) a.  process - behind the scenes,salons - get togethers, discussion rooms, seminars (places of learning) workshops, art studio visits (virtual), list of artists that the person recommends you to check out also q. What wouldn’t you want to see in an art sharing app?

a. ads, personal posts and stories

q. What kind of art would you like to see on an art sharing app? a. anything really - all the ones i listed first earlier, no restrictions

[michaelgogins]

Reflections on ICMC/NYCEMF 2019

Looking back at the combined International Computer Music Conference/New York City Electroacoustic Music Festival held July 16th through the 23rd on and near the campus of New York University, I here offer my reflections as one of the organizers, as a composer with a piece in the conference, and as an audience member for many of the concerts. 

I was also a referee for music, but that does not enter into my remarks.

First, I will briefly mention pieces I liked well enough that I would probably go out of my way to hear them again. Please note, I did not attend all the concerts, I do not mention pieces for which I was a referee but that I did not hear in concert, and I have my own biases and predilections in the field of electroacoustic music. I am mainly but by no means only interested in algorithmic composition and in through-composed music for fixed media, what we used to call "tape music." 

Where possible, I provide hyperlinks to online renderings of the pieces.

Concert 3, Monday June 16, 16:30, Hebrew Union College sanctuary

Ewan Stefani, black drums rolled, fixed media. Complex and accomplished collage of sampled/processed sounds.

Concert 7, Tuesday June 18, 16:30, Hebrew Union College sanctuary

Angelo Bello, Ricercar, fixed media. Builds on years of experiment based on the algorithmic synthesis/composition methods of Iannis Xenakis. I have heard a number of Bello's pieces and this one was by far my favorite, especially as there was a change of texture towards the end of the piece where melodic whistles and glissandos introduced a different mood.

Concert 12, Wednesday June 19, 20:00, Loreto Theater

Naotoshi Osaka, Kakekagami, with Kourtney Newton on cello. A lot of interesting goodies in the sounds.

Natasha Barrett, Dusk's Gait, fixed media. My interest in this spatialized, hyper-realistic pseudo-collage of "natural" sounds never flagged.

Concert 16, Thursday June 20, 20:00, Loreto Theater

Mara Helmuth, Sound Dunes, with Esther Lamneck on tarogato. Harpies skirling wild and free.

Orlando Garcia, separacion, with Enzo Filippetti on soprano saxophone. Very nice drone that kept me listening through over 12 minutes.

Manuela R. Blackburn, Snap Happy, fixed media. Glitchy, bass ostinato, musical.

Zurine F. Gerenabarrena, Barne, with Patti Cudd on percussion. Frankly this was mostly just Cudd playing with the electronics providing some sonic decorations and fillips. But what playing! Virtuosity on Cudd's level is totally engaging.

Concert 22, Saturday June 22, 20:00, Grand Hall of the Kimmel Center.

Russell Pinkston, Zylamander, with Mark Zyla on French horn. Jazz harmony, rhythmic, an engaging mix of electronic and acoustic sounds and processes.

Concert 24, Sunday June 23, 16:30, Grand Hall, Kimmel Center

Dafna Naphtali and Jen Baker, Clip Mouth Unit, with Jen Baker on trombone and Hans Tammen on blippo box, processed vocals by Dafna Napthali. Slushy sludge, slipping and sliding with lots of processing, musical. Note: the hyperlink is to a different performance from this group.

Concert 25, Sunday June 23, 20:00, Loreto Theater

Mario Davidovsky, Synchronisms No. 11, with Ross Wrightman on double bass. Just good.

Kang Shinae, Aruna, fixed media. The sounds were a bit muddied, perhaps from over-processing, but very musical and with spiritual content.

Timothy Sapp, There Is a Piece Missing, interactive electronics. Wonderful and inventive. The multiple controllers actually contributed to and drove the music.

Rainer Burck, Lamento industriale, fixed media. Really enormous sounds, like a foundry in Heaven (or Hell), musically coherent.

It has been a continuing topic of discussion among the organizers of the NYCEMF how best to present this music. Currently the festival is funded almost exclusively from registration fees. In order to generate enough revenue to pay for theaters etc., a large number of composers must be registered. This has several effects: the audience consists mostly of the composers and some of the performers (and associated friends and family), many pieces are scheduled, and the overall quality of the pieces is, I think, somewhat watered down compared to a festival where a smaller number of pieces would be selected with an eye towards attracting a wider audience.

If the concerts consisted exclusively of pieces on the level of those above, there should be no trouble attracting a wider audience, not to mention more critics and music journalists. But then the difficulty of finding, renting, and running theaters becomes greater.

If someone out there wants to generously assist the future of music in New York City, please grant sufficient funds to the New York City Electroacoustic Music Society to rent, on an annual basis, a suitable venue for the festival. I will spell it out. The venue should have two or more theaters, each seating at least 200, both suitable for the diffusion of electroacoustic music which means a dry sound without a lot of echo and preferably a square shape, acoustically isolated from street noise. The festival has been borrowing really good speakers from Genelec, as normally music theaters do not have speakers adequate for the demands of electroacoustic music, but an exception would be delightful. And there should be a room or so for installations and just generally hanging out and talking. Ideally, this venue will be located where the life in the city is, which means lower Manhattan, Williamsburg, East New York, or such.

#music #electroacoustic music #nycemf #icmc #computer music #new york city

[ajoesaxme]

Ensemble 2INCQ.mp4 from Joachim Zoepf on Vimeo.

Frei improvisierendes Großensemble mit Marianne Schuppe (Stimme), Margret Trescher (Querflöte), Dirk Marwedel (erweitertes Saxophone), Hans Tammen (Gitarre, Elektronik), Ulrich Böttcher (Elektronik), Ulrich Philipp (Kontrabass, Elektronik), Georg Wolf (Kontrabass), Michael Vorfeld (Perkussion), Wolfgang Schliemann (Perkussion), Joachim Zoepf (Sopransaxophon, Bassklarinette) - 2006.

Free improvising large ensemble with Marianne Schuppe (voice), Margret Trescher (flute), Dirk Marwedel (extended saxophone), Hans Tammen (guitar, electronics), Ulrich Böttcher (electronics), Ulrich Philipp (double bass, electronics), Georg Wolf (double bass), Michael Vorfeld (percussion), Wolfgang Schliemann (percussion), Joachim Zoepf (soprano saxophone, bass clarinet) - 2006.

[les-proliferations-malignes]

Festival des Musiques Innovatrices / Saint-Etienne (1987-2014)

12ème Edition du 5 au 10 Juin 2001 : John Butcher - Hans Tammen - Katz - John Butcher / Sophie Agnel / Matthew Ostrowski - Trouble-Fête - Michel Doneda / Tetsu Saitoh - Makoto Kawabata - Didier Petit - Red - 202 Le Projet Chaos - Keith Rowe  / Toshimaru Nakamura - The Cleee Septet

[grafiary]

7 kirjailijaa vinkkaa lukemista

Erkka Mykkänen

Mitä luet juuri nyt? ”Luen Pentti Linkolan Vihreän liikkeen tavoiteohjelmaa vuodelta 1986. Hiton vaikuttavaa proosaa. Haluan välittömästi siirtyä Linkolan ihanneyhteiskuntaan. Kuolisin tosin ensimmäisenä päivänä.”

Mitä odottaa lukulistalla? ”Chimamanda Ngozi Adichien Puolikas keltaista aurinkoa. Haluaisin ottaa haltuun afrikkalaistaustaisia kirjailijoita. Harmi kyllä hehkutetun Yaa Gyasin kerronta ei oikein vakuuttanut.”

Mitä suosittelet ehdoitta? ”Täällä Pohjantähden alla -trilogiaa. Pitäisi olla lainvastaista olla lukematta sitä seitsemän vuoden välein.”

Mitä kehotat välttämään?”Kaikkia romaaneja, jotka ovat 200–400-sivuisia. Kirjan pitää olla joko todella lyhyt tai todella pitkä. Muuten se ei sano mitään hyvin.”

Minkä kirjan ulkoasu on kiinnittänyt huomiosi viimeksi? ”Selailin kirjakaupassa Pertti Lassilan Kesän kerran mentyä -romaania. Kansipaperin ja sivujen materiaali teki vaikutuksen, tiettyä karheutta ja painoa, joka tuo yksinkertaisuudessaan harvinaista arvokkuutta teokselle.”

Erkka Mykkänen (s. 1988) on kirjailija, toimittaja ja esiintyjä, jonka esikoisteos novellikokoelma Kolme maailmanloppua (WSOY) julkaistiin vuonna 2015.  Tänä syksynä ilmestyi hänen toimittamansa Jatkuu!-novelliantologia (Gummerus), ja esikoisromaani Something not good julkaistaan tammikuussa 2018.

Miki Liukkonen

Mitä luet juuri nyt?

”Tällä hetkellä lähinnä sekalaisia artikkeleita tulevan kirjan taustatyötä varten. Aiheita ja tutkittavaa on paljon, mutta nyt jotain mainitakseni (ja ehkä myös jonain salakavalana ennakkomarkkinointina): Derridan filosofiaa, kulttuuriantropologiaa (lähinnä Yanomami-intiaanit), Marshall McLuhania, Brasilian plastiikkakirurgia-aaltoa, artikkeleita botoxista ja kissoista, depersonalisaatiosta ja The Smithsistä ja Jaska Jokusesta.”

Mitä odottaa lukulistalla?

”Ajattelin lukea jotain Kafkalta, sitten ehkä Han Kangin Vegetaristin, kun sitä ei näemmä pääse pakoon. Luin myös vasta Miranda Julyn novellikokoelmaa nimeltä Uimakoulu, mutta se oli liian absurdi minun makuuni ja jätin kesken.”

Mitä suosittelet ehdoitta? 

”James Joycen Odysseusta.”

Mitä kehotat välttämään?

”Kaikenlaisia itsensäkehittämiskirjoja, ja sitten sariinia.”

Minkä kirjan ulkoasu on kiinnittänyt huomiosi viimeksi?

”Pajtim Statovcin Kissani Jugoslavian amerikkalaisen painoksen mahtavan 50-lukulaiset kannet.”

Miki Liukkonen (s. 1989) on kirjailija, runoilija ja muusikko, joka on julkaissut kolme runokokoelmaa ja kaksi romaania. Jättiläisromaani о (WSOY) ilmestyi tänä keväänä.

Heikki Valkama

Mitä luet juuri nyt?

”Lopetin juuri Kjell Westön Rikinkeltaisen taivaan. Ja seuraavana aloitan Arundhati Royn Äärimmäisen onnen ministeriön. Väliin luin vähän sarjakuvaa japaniksi. Taitaa minulla joitain muitakin olla kesken.”

Mitä odottaa lukulistalla?

”Lukupino vain kasvaa. Esimerkiksi Yuval Noah Hararin Homo Deus on listalla.”

Mitä suosittelet ehdoitta? 

”Hararista tuli heti mieleen hänen edellinen Sapiens: Ihmisen lyhyt historia, joka antaa kaksi vuotta lukemisen jälkeen edelleen ajattelemisenaihetta.”

Mitä kehotat välttämään? ”Harvoja kirjoja kannattaa vältellä kokonaan. Ainakaan minun makuni mukaan.”

Minkä kirjan ulkoasu on kiinnittänyt huomiosi viimeksi? ”Viimeksi tänään ihailin Emmi Itärannan Teemestarin kirjan yksinkertaista viestiä. Se sopi hyvin kirjan henkeen. Jos kirjailija on tuntematon ja kansi huono, vaikkapa täysin geneerinen kuvapankkikuva, en yleensä anne sille edes mahdollisuutta.”

Heikki Valkama (s. 1975) on journalisti ja japanilaisen kulttuurin tuntija, jonka esikoisteos gastrodekkari Pallokala (Tammi) ilmestyi tänä syksynä.

Sissi Katz

Mitä luet juuri nyt? ”Luen parhaillaan Elena Ferranten Loistava ystäväni -kirjaa.”

Mitä odottaa lukulistalla?

”Odottamassa on Max Seeckin Mefiston kosketus.”

Mitä suosittelet ehdoitta? ”Zadie Smithin Valkoiset hampaat kannattaa lukea ehdottomasti.”

Mitä kehotat välttämään? ”En kehota välttämään mitään kirjallisuutta.”

Minkä kirjan ulkoasu on kiinnittänyt huomiosi viimeksi? ”Alan Bradleyn kirjojen kansiin olen viimeaikoina kiinnittänyt huomiota.”

Sissi Katz (s. 1971) on silmälääkäri, jonka esikoisromaani Coco Kafkan ihmeellinen elämä (Tammi) ilmestyi tänä syksynä.

Max Seeck

Mitä luet juuri nyt? ”Pauliina Suden Seireeniä, jonka sain kustantajalta ennakkoon.”

Mitä odottaa lukulistalla?

”David Lagergrantzin Tyttö joka etsi varjoaan.”

Mitä suosittelet ehdoitta? ”Tammen kirjoja.”

Mitä kehotat välttämään? ”Tähän en uskalla lähteä, sillä se mikä ei toimi minulle saattaa toimia jollekin toiselle.”

Minkä kirjan ulkoasu on kiinnittänyt huomiosi viimeksi? ”Christoffer Carlssonin Salaisuudet. Siinä on tyylikästä kulmikkuutta.”

Max Seeck (s. 1985) on markkinointialan yrittäjä, jonka esikoisteos Hammurabin enkelit (Tammi) ilmestyi viime vuonna. Trilleritrilogian jatko-osa Mefiston kosketus ilmestyi tänä syksynä.

Iisa Pajula

Mitä luet juuri nyt? ”Luen parhaillaan Miki Liukkosen о-romaania. Liukkosen esikoinen Lapset auringon alla jäi minulta aikoinaan harmikseni lukematta, ja odotin kovasti mahdollisuutta tarttua uutuuteen. Pääsin järkäleen puoliväliin viikossa ja kokemus on ollut riemastuttava, se on niin hyvä.”

Mitä odottaa lukulistalla? ”Lukulistalla odottaa Paul Austerin 4321, jonka ajattelin lukea alkuperäiskielellä. Luen kaunokirjallisuutta pääsääntöisesti suomeksi käännettynä. Auster on ollut pitkään suosikkikirjailijoitani, mutta jossain vaiheessa suhde hänen teoksiinsa pääsi väljähtymään. Odotan, nostaako 4321 Austerin takaisin suosikkikirjailijoideni kärkeen.”

Mitä suosittelet ehdoitta? ”Georges Perecin teosta Elämä – Käyttöohje. Haluan lukea sen itsekin pian uudestaan. Se on  yhtä aikaa yksi rauhoittavimmista ja teknisesti ällistyttävimmistä lukemistani kirjoista: hypnoottinen, täysin uniikki lukukokemus.”

Mitä kehotat välttämään? ”En halua kehottaa välttämään mitään. Sama pätee kirjojen ohella muihinkin kulttuurikokemuksiin – myös huono leffa, näytelmä tai levy saattaa herättää hyviä oivalluksia. Mutta ei huonoa kirjaa ole mikään pakko kahlata väkisin loppuun saakka.”

Minkä kirjan ulkoasu on kiinnittänyt huomiosi viimeksi? ”Miki Liukkosen о:n kansilehtien alta paljastuvat metallinhohtopainatukset ovat kauniit ja mystiset. Ne sopivat hyvin teokseen, samoin kuin munakoisoihin viittaava violetti väri.”

Iisa Pajula (s. 1979) on laulaja-lauluntekijä, joka kirjoitti yhdessä kahdeksan muun muusikon kanssa kirjan laulujen synnystä. Eetu Kauppisen toimittama Miten lauluni syntyvät? (SKS) ilmestyi tänä syksynä.

Saara Turunen

Mitä luet juuri nyt? ”Luin jokin aika sitten Lena Anderssonin teoksen Omavaltaista menettelyä. Se oli upea, hiottu timantti. Päähenkilö oli yhtä aikaa inhottava ja kiehtova, tarina tuntui eräänlaiselta modernilta tragedialta, siinä oli kaiken aikaa pahan enteet.”

Mitä odottaa lukulistalla? ”Haluan lukea Kaari Utriolta vuonna 1985 julkaistun teoksen Eevan Tyttäret – eurooppalaisen naisen, lapsen ja perheen historia. Anna Kortelainen suositteli sitä eräässä paneelikeskustelussa ja siitä asti kirja on ollut lukulistalla, mutta vielä en ole päässyt siihen käsiksi.”

Mitä suosittelet ehdoitta?

”Liv Stromquistin Kiellettyä hedelmää. Pimppiä käsittelevä sarjakuvateos, joka on samaan aikaan sivistävä ja superhauska. Toivoisin, että kaikki maailman ihmiset lukisivat tämän.”

Mitä kehotat välttämään? ”En mitään. Luulisin, että lukeminen on aina hyväksi.”

Minkä kirjan ulkoasu on kiinnittänyt huomiosi viimeksi? ”Pajtim Statovcin Kissani Jugoslavian englanninkielinen painos. Se oli ihanan tyylikäs ja yksinkertainen. Tuntuu, että kotimaassa kirjan ei uskota myyvän, jos kannessa ei ole jotakin suurieleistä kuvaa. Itselleni riittäisi usein pelkkä taustaväri, kirjan ja kirjailijan nimi. En kaipaa kannelta sen enempää.”

Saara Turunen (s. 1981) on näytelmäohjaaja ja kirjailija, jonka esikoisromaani Rakkaudenhirviö (Tammi) ilmestyi vuonna 2015. Hänen ohjaamansa Kim, Lekki & Namwaan -esityksen ensi-ilta on lokakuussa Teatteri Jurkassa ja seuraava romaani Sivuhenkilö ilmestyy ensi keväänä.

Teksti: Marko Ylitalo

Kuvitus: Ulla Donner

#grafialehti kirjallisuus kirjanumero

[empatheticvibrations]

[steponwolf]

revision, impromptu

Fred Moten

with David Rothenberg, Nicola Hein, George Lewis, Dafna Naphtali, Andrew Drury, Tanya Kalmanovich, Hans Tammen, Sarah Weaver, David Grubbs, and Ally-Jane Grossan Logistics sounds like a work song. The bottom anticipates and tills and then it’s time to turn over. This limbned, uncoordinated independence is anagnostic. Flesh touches. I am because we are is some bullshit. I ain’t because we share air lore, more notes on Auto da Fé’s blacking of the presence of an absence. The abyss between frames, that dehiscence, indicates this refusal either to fuse or choose between tearing and binding, a careful preservation of wounding. The whole fade in a shuffle it projects and prepares, a soufflé of angles, a palimpsest of snares and rides, some continually hidden h, a heft of air, a thievish shift carnival, a tufted shear, a shhhh of whirr and bookfan. We wear a fan of books, page over other kissing inside lip to disappear into another outside in coming into view. We all come from nothing to hard tone row and that cool move, chafing against the new phasis of the history of displacement, sound like it got a three on it to me. Blackness is the revelation of that which makes a people uncertain, unclear and awry in its action and knowledge. I think I been thinking ‘bout that for ‘bout thirty years, Krupa become Krupskaya having lost their aura, but when I get a chance I ask Scott La Rock why I start to think and then I sink into the paper like I was ink, like I was a Chinese painter in the hold of the beholding. The zero degree is what he says; she says nothing in reply, a festival, irreparable. The age of quantum mechanical reproduction is giving tune away to rise. Collaborate elaboration, William. Infinite consanguinity, Dumbo. Fleeta Drum came with us, brought something with him, brought a swing with her to fold the document. Can improvisation be documented? Has it ever been? Lemme ask Scott when I see him—see if improvisation can be revised. Scott, can improvisation be revised? That’s an arctic jazz question, regarding whales and, further inland, elephants, and saxophone kids, non-expert users, autodidactic squirrels in task decomposition. Is there an analogy between improvisation and optimization, affirmation and ingardenation on improvisational gardening? What’s the Greek word for “reading”? Which is the point of all this rub and cyclone, when the eye falls into plenitude in a series of caressive abuse and kisses, oikopolitics and storms, good and bad time weather in a tore up propagation of clicks, which is when I realized you’d prepared the back of our throat for a speech about the tragic ship, the interminable line to it and the endless line from it, woodskin, wind’s skin, wound and drumbone, bowed, time to stay, string, till poise come back for poise, for our unsupported method and post-sculptural stuttering and non-purposive black massive hymn and sold, celebratory subcanadian scotchplain, plummets of bird patterning, the scotchirish hazarding of north ideas, habitually prenational birds, field recordings of syncrudescent birds flew down to tailing in the good and bad time weather, bird in the collective head of mama’nem at the blues university, Clyde’n’mama’nem and her and ask and think a digital conference of the birds, viola, ‘cause music is the fruit of love and earth and nobody gon’ buy it anyway, for there is nothing lost, that may be found in these findings, by these foundlings, driving ‘round vising and revisiting in the inescapable history of not being you. Our name is unnameable in this regard and miles ahead, feeling what you can’t see all incompletely. The half-fullness of your glasses makes you wanna make the word go away but you do have a capacity for massage that gives me hope. In the delicate evening software, I can understand Russell Westbrook. It’s ulmeric, oliveirian, in its unfirewalled all over the placelessness. We gig everywhere and it just makes me wanna giggle, or holler at you from way over here, party over there, if you can wait, we being behind the beat a little bit but right at the beguining, gynomonastically basic and maternal earth tones all out from the tone world, deep in the bass loom, twilight weaving morning in La Jolla/moonlight in Vermont someplace, some folks parking, some just getting dressed, everybody waiting with everybody for right now in right there, party over here. Well moled, old Grubbs! We all here in the ruins but we got something in our hands—an experimental bandcamp for news and flowers. And I appreciate y’all letting me sit in, being so far from virtuosity. I wanna be communicable from way back. I wanna be in your base community, grace abounding to the chief of sinners. Remember that song by the Spinners called “Sadie”? The one on Spinners Live! where he reverted—that contrapulsive, not just knee-deep conversioning he got caught up in? Soul Wynne was sewing that night. It was like he had a drum in his chest, just to let you know that nothing lasts forever. The improvisation of forgetting is redactive flow everyday with all these voices in our head. These are always revising herself. One said they told us to be Germanic so, with great surprise, we took a picture of your tech with yourself, our constraint, and it was undecidable between us but plantational, since we the police of different voices, to be your instrument in this sovereign fade. Go back and look at it again when we fade a little bit, when invention won’t let us come up on it from behind. I don’t know my own stuff well enough to mix it right now, but we been remixing it all along past the everyday fade. Mama’nem are the different voices in your head. Are you gon’ play me now? I wanna be played with you. I wanna be down with you. My code voice is Stanley Clarke, rajautomatic mixive for the people’s quartet, no way to control it, can’t caul it, won’t be covered, some uncoverable cuvée, girl, some prekripkean cupcake, causally unnameable as that Krupa keep coming back, tense but casually anafrican. Scott says the Greek word for reading is writing. It could be, I don’t know. I’m undecidable between us but you can ring my bell. The night is young and full of possibilities, the only trace of which, when I go back, is how I sound for you from one diffusion to another, as if the room were our hijab, as if we were a roomful of people writing about Cecil Taylor, as if writing about Cecil were reading James Cone, as if I were Sharon Cone’s escort to Cecil’s going home, as if we were the temporary contemporary—air above mountains, buildings in our hands.

#words

[jazzworldquest-blog]

USA: Inn-fest: innova Recordings Label Showcase Saturday, March 11th @ National Sawdust

Inn-fest: innova Recordings label showcase Saturday, March 11, 2017 7pm & 10pm (two separate bills) Inn-fest video trailer: https://youtu.be/9sTAWHhgrMA Venue National Sawdust 80 North 6th St. Brooklyn, NY 11249 [phone] nationalsawdust.org Tickets: Act 1 (7pm): http://ift.tt/2aRndBTevent/inn-fest-innova-recordings-label-showcase/ Tickets: Act 2 (10pm): http://ift.tt/2aRndBTevent/inn-fest-innova-recordings-label-showcase-2/ $29 advance/$34 door Facebook event: http://ift.tt/g8FRpYevents/1739768609674505/ Program Contact: [email protected] [phone] A preview playlist of the artists on the program is here: https://soundcloud.com/innovadotmu/sets/inn-fest-at-national-sawdust/s-IpDHP Innova Recordings label catalog: https://www.innova.mu/    

Inn-fest is a two-act mini-festival curated by innova Recordings and showcasing an all-star cast of composers and performers from its New York contingent. As the label of the Minnesota-based American Composers Forum, innova is dedicated to expanding the boundaries of new music. Since 1982, innova has produced an ever-growing catalog that currently stands at over 550 albums, and promotes a staggering array of idiosyncratic genres and voices. This micro-marathon will celebrate the variety and vision that is a hallmark of the award-winning label. The first act (7 pm) features Miya Masaoka’s powerful double quartet, Eleonore Oppenheim’s performance works for double-bass and electronics, Mari Kimura’sastonishing violin techniques, and the Afro-Cuban inspired Bohemian Trio.   The second act (10 pm) opens with excerpts from Peter Van Zandt Lane’s ballet about cyber hacking, followed by Neil Rolnick’s works for laptop and piano (with Kathleen Supové), and Cornelius Dufallo performing works for amplified violin. The evening ends with a massive graphic score by Mark Applebaum interpreted by the previous artists joined by other labelmates, including Hans Tammen, Neel Murgai, Guy Barash, Gordon Beeferman, Yuki Numata Resnick, Viv Corringham, Trevor Babb, Grant Cutler, Bernd Klug, Neel Murgai, Hans Tammen, Jennie Oh Brown, and more. ARTIST BIOS AND PROGRAM DETAILS ACT ONE (7pm) Miya Masaoka Koto player and composer Miya Masaoka presents excerpts from the title track from her album Triangle of Resistance, inspired by her mother’s experiences in a Japanese internment camp in World War II. Played by a “double ensemble” consisting of a string quartet, percussion, synthesizer, and koto, “Triangle of Resistance” conveys the horror, chaos, and stoicism of that experience. Performers: Jennifer Choi, Vln, Melissa Tong, Vln, Lev 'Ljova’ Zhurbin, Vla, Alex Waterman, Cello, Ben Vida, analog modular synth,Satoshi Takeishi, Japanese percussion, Miya Masaoka, koto. Eleonore Oppenheim “Quietly virtuosic” (New York Times) double bassist and electric bassist Eleonore Oppenheim has a reputation as both a valued ensemble player and an engaging soloist. Her “subtle expressivity” and “particular eloquence” (San Francisco Chronicle) have made her a worthy collaborator for composers of her generation, and through these relationships she has built a rich repertoire of solo pieces. For Inn-fest she performs Crocodile by Florent Ghys; Home (the title track of her innova album) byJenny Olivia Johnson for double bass and electronics; and Angelica Negron’s La Isla Magica. Eleonore has performed and recorded with a variety of artists and groups, among them the Philip Glass Ensemble, Tyondai Braxton, Bang on a Can, Wordless Music Orchestra, Meredith Monk, My Brightest Diamond, Signal Ensemble, Steve Reich, Jonny Greenwood, and the “All-star, all-female quintet” (Time Out New York) Victoire, of which she is a member. Mari Kimura Mari Kimura is at the forefront of violinists who are extending the technical and expressive capabilities of the instrument. As a performer, composer, and researcher, she has opened up new sonic worlds for the violin. Notably, she has mastered the production of pitches that sound up to an octave below the violin’s lowest string without retuning. This technique, which she calls Subharmonics, has earned Mari considerable renown in the concert music world and beyond. She is also a pioneer in the field of interactive computer music. For Inn-fest she performs her own works with interactive electronics: Voyage Apollonian and Eigenspace, along with Brazilian favorites byGismonti and Pascoal. Bohemian Trio Few groups live up to their name as well as Bohemian Trio, whose debut albumOkónkolo speaks to the true voice of America: a cacophony of cultures that together forge a new identity that transcends Old World boundaries. Their original blend of classical lyricism, jazz harmony, Latin dance and Afro-Cuban beats reflects their diverse cultural and musical backgrounds. Saxophonist/composer Yosvany Terry and pianistOrlando Alonso were born and trained musically in Cuba, while French-American cellistYves Dharamraj is also part Trinidadian. Sax, piano and cello? This unique configuration was a conscious choice by the group to eschew traditional instrumentation for an improvising group, and it pays dividends in the sound of Okónkolo, at once refined and edgy. ACT TWO Peter Van Zandt Lane Peter Van Zandt Lane's electroacoustic ballet, HackPolitik, was described as “angular, jarring, and sophisticated” (Boston Musical Intelligencer) after its Boston Premiere in 2013, and dubbed a New York Times Critics Pick for its second run of performances atHere Space Manhattan in 2014. At Inn-fest, dancers from The People Movers (Kate Ladenheim, choreographer) and musicians from Juventas New Music Ensemble will present a scene from HackPolitick, a wild collision of music, technology, and politics that brings the compelling story of cyber-dissident groups Anonymous and LulzSec to the stage. Excerpts from a new work and Peter and Kate’s second collaboration, Four Passages, will also be featured. Neil Rolnick            Composer Neil Rolnick has a thing about machines. He likes to play with them. And he likes to tell other people how to play with them. For this performance, he will present works from his latest album, Ex Machina — WakeUp and O Brother! — mashups which spin and shape alternative narratives from familiar samples. He will be joined by pianistKathleen Supové for a performance of Digits with a video track by R. Luke Dubois. Cornelius Dufallo Bringing together elements of electronics, extended techniques, chance procedures, and digital interactivity, Cornelius Dufallo will perform works for amplified violin from his brand new release, Journaling 2: Missy Mazzoli’s Dissolve, O my Heart, Guy Barash’sTalkback II, and Kinan Azmeh’s How Many Would it Take? For the past two decades, Dufallo has performed and promoted new music, as a soloist and as a collaborator. He has been a member of several notable ensembles, including the Flux Quartet (1996-2001), Ne(x)tworks (2003-2011), and ETHEL (2005-2012). Currently, it is rumored, he performs as a member of the Secret Quartet.

via Blogger http://ift.tt/2ml59mi

[soniayuditskaya]

Another one from last night. We’re following instructions from a program based on Hans Tammen’s visual scoring cards called AutoHans.pd This iteration of Bunker is Meg Schedel, Suzanne Thorpe ( @feminumelectric ), and Sofy Yuditskaya (me) #electronicimprov #glitch #drone #witches #internationalwitchcollective #puredata #sofyyuditskaya #megschedel #suzannethorpe http://bit.ly/2MYCzFt

#sofy yuditskaya

[meversusthesound-blog]

Hans Tammen

My next endeavor is into something more abstract.  Hans Tammen, in his Endangered Guitar project, uses an electric guitar processed by a computer to come up with some rather peculiar sounds.  I listened specifically to his latest tracks from 2009 to 2011.  Initially I heard sounds that were fairly easy to conceive as originating from a guitar: scraping strings, strings pressing against frets, the occasional plucked string.  Later the sounds became more obscure, and I began to hear sounds reminiscent of airplanes and grumbling stomachs.  Tammen is extremely successful in creating percussive rhythms without using pitch, redefining the term "rhythm guitar."  

I'm an old-fashioned girl when it comes to music, and I'll admit I do like to hear a melody and rhythm in time. So perhaps this wasn't my exact cup of tea, but I could appreciate the cohesiveness of the performance, the originality of the idea, and the technological complexity.

Listen here:

http://tammen.org/endangered-guitar/

#hans tammen #endangered guitar

[jgthirlwell]

02.23.2020 Hans Tammen presented a performance of the complete Cornelius Cardew Treatise graphic score at Spectrum in Brooklyn. It was performed in various combinations by a lot of NYC’s heavy hitters from the musical vanguard, including Chris McIntyre, Miguel Frasconi, Dan Joseph, David Rothenberg, Nicola Hein, Hans Tammen, Saman Samadi, Melissa Grey, David Morneau, Sarah Manning, Gisburg, Briggan Krauss, Glenn Cornett, David Rothenberg, Stuart Diamond, Ras Moshe, Laura Feathers, Andrew Drury, Josh Sinton, Giacomo Merega, Joe Hertenstein, David Watson, Sarah Bernstein, Prof. David Hyman, Michael Evans, Andrew Neumann, Marcus Cummins, Kurt Ralske, Damien Olsen, David First, Michael Schumacher and Matthew Ostrowski.

#Cornelius Cardew #Spectrum #Hans Tammen #Chris McIntyre #Miguel Frasconi #Dan Joseph #David Rothenberg #Saman Samadi #Nicola Hein #Melissa Grey #Michael Schumacher #David First #Sarah Bernstein #David Watson #Briggan Krauss #Michael Evans #Matthew Ostrowski

[soniayuditskaya]

Dark Circuits Modular Synth Orchestra (2 Performance Excerpts) from yuditskaya on Vimeo.

I got to participate in this awesome concert by Hans Tammen last summer--here's looking forward to many more!

[soniayuditskaya]

I got to participate in this awesome concert by Hans Tammen last summer--here's looking forward to many more!

#sofy yuditskaya

[jazzworldquest-blog]

USA: Inn-fest: innova Recordings Label Showcase Saturday, March 11th @ National Sawdust

Inn-fest: innova Recordings label showcase Saturday, March 11, 2017 7pm & 10pm (two separate bills) Inn-fest video trailer: https://youtu.be/9sTAWHhgrMA Venue National Sawdust 80 North 6th St. Brooklyn, NY 11249 [phone] nationalsawdust.org Tickets: Act 1 (7pm): http://ift.tt/2aRndBTevent/inn-fest-innova-recordings-label-showcase/ Tickets: Act 2 (10pm): http://ift.tt/2aRndBTevent/inn-fest-innova-recordings-label-showcase-2/ $29 advance/$34 door Facebook event: http://ift.tt/g8FRpYevents/1739768609674505/ Program Contact: [email protected] [phone] A preview playlist of the artists on the program is here: https://soundcloud.com/innovadotmu/sets/inn-fest-at-national-sawdust/s-IpDHP Innova Recordings label catalog: https://www.innova.mu/    

Inn-fest is a two-act mini-festival curated by innova Recordings and showcasing an all-star cast of composers and performers from its New York contingent. As the label of the Minnesota-based American Composers Forum, innova is dedicated to expanding the boundaries of new music. Since 1982, innova has produced an ever-growing catalog that currently stands at over 550 albums, and promotes a staggering array of idiosyncratic genres and voices. This micro-marathon will celebrate the variety and vision that is a hallmark of the award-winning label. The first act (7 pm) features Miya Masaoka’s powerful double quartet, Eleonore Oppenheim’s performance works for double-bass and electronics, Mari Kimura’s astonishing violin techniques, and the Afro-Cuban inspired Bohemian Trio.   The second act (10 pm) opens with excerpts from Peter Van Zandt Lane’s ballet about cyber hacking, followed by Neil Rolnick’s works for laptop and piano (with Kathleen Supové), and Cornelius Dufallo performing works for amplified violin. The evening ends with a massive graphic score by Mark Applebaum interpreted by the previous artists joined by other labelmates, including Hans Tammen, Neel Murgai, Guy Barash, Gordon Beeferman, Yuki Numata Resnick, Viv Corringham, Trevor Babb, Grant Cutler, Bernd Klug, Neel Murgai, Hans Tammen, Jennie Oh Brown, and more. ARTIST BIOS AND PROGRAM DETAILS ACT ONE (7pm) Miya Masaoka Koto player and composer Miya Masaoka presents excerpts from the title track from her album Triangle of Resistance, inspired by her mother’s experiences in a Japanese internment camp in World War II. Played by a “double ensemble” consisting of a string quartet, percussion, synthesizer, and koto, “Triangle of Resistance” conveys the horror, chaos, and stoicism of that experience. Performers: Jennifer Choi, Vln, Melissa Tong, Vln, Lev 'Ljova’ Zhurbin, Vla, Alex Waterman, Cello, Ben Vida, analog modular synth, Satoshi Takeishi, Japanese percussion, Miya Masaoka, koto. Eleonore Oppenheim “Quietly virtuosic” (New York Times) double bassist and electric bassist Eleonore Oppenheim has a reputation as both a valued ensemble player and an engaging soloist. Her “subtle expressivity” and “particular eloquence” (San Francisco Chronicle) have made her a worthy collaborator for composers of her generation, and through these relationships she has built a rich repertoire of solo pieces. For Inn-fest she performs Crocodile by Florent Ghys; Home (the title track of her innova album) by Jenny Olivia Johnson for double bass and electronics; and Angelica Negron’s La Isla Magica. Eleonore has performed and recorded with a variety of artists and groups, among them the Philip Glass Ensemble, Tyondai Braxton, Bang on a Can, Wordless Music Orchestra, Meredith Monk, My Brightest Diamond, Signal Ensemble, Steve Reich, Jonny Greenwood, and the “All-star, all-female quintet” (Time Out New York) Victoire, of which she is a member. Mari Kimura Mari Kimura is at the forefront of violinists who are extending the technical and expressive capabilities of the instrument. As a performer, composer, and researcher, she has opened up new sonic worlds for the violin. Notably, she has mastered the production of pitches that sound up to an octave below the violin’s lowest string without retuning. This technique, which she calls Subharmonics, has earned Mari considerable renown in the concert music world and beyond. She is also a pioneer in the field of interactive computer music. For Inn-fest she performs her own works with interactive electronics: Voyage Apollonian and Eigenspace, along with Brazilian favorites by Gismonti and Pascoal. Bohemian Trio Few groups live up to their name as well as Bohemian Trio, whose debut album Okónkolo speaks to the true voice of America: a cacophony of cultures that together forge a new identity that transcends Old World boundaries. Their original blend of classical lyricism, jazz harmony, Latin dance and Afro-Cuban beats reflects their diverse cultural and musical backgrounds. Saxophonist/composer Yosvany Terry and pianist Orlando Alonso were born and trained musically in Cuba, while French-American cellist Yves Dharamraj is also part Trinidadian. Sax, piano and cello? This unique configuration was a conscious choice by the group to eschew traditional instrumentation for an improvising group, and it pays dividends in the sound of Okónkolo, at once refined and edgy. ACT TWO Peter Van Zandt Lane Peter Van Zandt Lane's electroacoustic ballet, HackPolitik, was described as “angular, jarring, and sophisticated” (Boston Musical Intelligencer) after its Boston Premiere in 2013, and dubbed a New York Times Critics Pick for its second run of performances at Here Space Manhattan in 2014. At Inn-fest, dancers from The People Movers (Kate Ladenheim, choreographer) and musicians from Juventas New Music Ensemble will present a scene from HackPolitick, a wild collision of music, technology, and politics that brings the compelling story of cyber-dissident groups Anonymous and LulzSec to the stage. Excerpts from a new work and Peter and Kate’s second collaboration, Four Passages, will also be featured. Neil Rolnick           Composer Neil Rolnick has a thing about machines. He likes to play with them. And he likes to tell other people how to play with them. For this performance, he will present works from his latest album, Ex Machina — WakeUp and O Brother! — mashups which spin and shape alternative narratives from familiar samples. He will be joined by pianist Kathleen Supové for a performance of Digits with a video track by R. Luke Dubois. Cornelius Dufallo Bringing together elements of electronics, extended techniques, chance procedures, and digital interactivity, Cornelius Dufallo will perform works for amplified violin from his brand new release, Journaling 2: Missy Mazzoli’s Dissolve, O my Heart, Guy Barash’s Talkback II, and Kinan Azmeh’s How Many Would it Take? For the past two decades, Dufallo has performed and promoted new music, as a soloist and as a collaborator. He has been a member of several notable ensembles, including the Flux Quartet (1996-2001), Ne(x)tworks (2003-2011), and ETHEL (2005-2012). Currently, it is rumored, he performs as a member of the Secret Quartet.

via Blogger http://ift.tt/2kvb3QW