Providence experimental duos in fort point

Saturday, July 13, 2013

10 Channel Center St.

8pm       donation $10

cpark/asha:

Caroline Park + Asha Tamirisa

http://www.blanksound.org/ | http://cargocollective.com/ashatamirisa


and


flood fringe:

Elliot Creager + Arvid Tomayko

ambient (but not too ambient) guitar/loops/electronics/noises flowing back and forth between soundscapes and grooves, minimal to maximal and back again.

http://arvidtp.net/floodfringe/






Cinematic Disobedience presents
Hamburger USA - Food and Film, 1970's-style

Sunday, June 2nd at 6pm
Studio Soto
!0 Channel Center St.
Boston
suggested donation $5-$10

Cinematic Disobedience is back! This summer, we are focusing on questions of personal health, lifestyle, and ecological impact, which are, at least partially, within the realm of our control.

What better way to begin than to survey the contents of our plates, 1970s-style?

We'll learn about the mysterious origins of all-American foods: peanut butter, hamburgers, and mustard, with the help of Woody Allen and a funky soundtrack, and keep up with latest food industry technologies of 1975.

Food safety and quality are as much a concern today as they were 40 years ago - but at least Food Sticks™ are no longer around.

THEMATIC SNACKS PROVIDED

Doors at 6pm, screening at 7. Suggested donation: $5-10. All films presented on 16mm unless noted. Big thanks to Liz Coffey at the Harvard Film Archive and Paul Shannon at the American Friends Service Committee for assistance with this screening.

PROGRAM:

The Story of a Peanut Butter Sandwich (1971, 16 min)
Is a Career in Food Preparation for You? (1975, 13 min)
Hot Dog: How Do They Make Mustard? (1972, 3 min)
Eat, Drink, and Be Wary (1975, 21 min)
Hunger (early computer animation by Peter Foldès , 1973, 12 min)
Hamburger, USA (1978, slide show & cassette, 28 min)

---

About Cinematic Disobedience:

Cinematic Disobedience is a loosely-structured, no-budget film & potluck series with a focus on social issues that are relevant to the Boston community. It was started in the spring of 2012 as a response to the questions raised by the occupation of Dewey Square. The series travels to venues in various Boston neighborhoods and presents off-the-beaten-path programs, such as locally-made documentaries, 1970s' ephemeral films, book readings, PowerPoint performances, and more. It is programmed by Brittany Gravely (HFA), Nellie Kluz (LEF Foundation), Mariya Nikiforova (Balagan), and Ricardo De Lima (Spectacle). cinematicdisobedience.com




Electroacoustic Music and solo voice, Thursday May 23

Doug Van Nort,

Ed Osborn and Jed Speare

and

Liz Tonne

Studio Soto
10 Channel Center St.
Fort Point, Boston

8pm suggested donation $10


Doug Van Nort is an experimental musician that explores the radical sculpting of recorded sound materials and electroacoustic composition/improvisation. Van Nort regularly performs solo, in the trio Triple Point with Pauline Oliveros and Jonas Braasch, in a duo with Al Margolis (If, Bwana) as a member of the Composers Inside Electronics and regularly collaborates with an array of artists across musical styles and artistic media. He has presented his work in a wide variety of venues and contexts internationally, and his music appears on several labels including Deep Listening, Pogus and Zeromoon.

Ed Osborn's sound art pieces take many forms including installation, sculpture, radio, video, performance, and public projects. His works combine a visceral sense of space, aurality, and motion with a precise economy of materials. Ranging from rumbling fans and sounding train sets to squirming music boxes and delicate feedback networks, Osborn's kinetic and audible pieces function as resonating systems that are by turns playful and oblique, engaging and enigmatic. Osborn has performed, exhibited, and lectured, and held residencies throughout the United States, Canada, Europe, Australia, New Zealand, and South America. The recipient of many awards including a DAAD Artists-in-Berlin Stipendium and a Guggenheim Fellowship, he is represented by the Catharine Clark Gallery in San Francisco and is on the faculty of the Visual Art Department at Brown University.

Jed Speare is an artist and arts manager working in a variety of media and settings. Initially trained in music composition, he has presented sound, performance, video, installation, conceptual, multimedia and community-based works locally, nationally, and internationally in festivals and locales such as San Francisco, Amsterdam, Canada, Taiwan, Croatia, Czech Republic, Poland, Belarus, Bulgaria, France, and Italy. He is known for his work, Cable Car Soundscapes (1982, Smithsonian Folkways Records) and Sound Works 1982-1987 (2008, Family Vineyard). He initiated an extensive sound recording project at Deer Island and its associated pump stations in the Boston area, culminating in site-specific concerts at Deer Island and Nut Island by New England Phonographers Union in 2011 and 2012. He is a member of the Mobius Artists Group and is Director of Mobius and Studio Soto.

Liz Tonne is a vocal artist inspired by the unorthodox use of the human voice. Her work explores the infinite possibilities of the human voice, unmodified by electronic effects and typically without amplification. As an improviser she deconstructs the traditional role of the singer as a story teller or "melodic center", using her voice purely as a sound source. Originally from Pueblo, Colorado, Liz moved to Boston in 1985 where she became immersed in Boston's underground rock scene. In the 1990's she joined Mile Wide, an eclectic art-rock ensemble. whose experiments in improvisation led Tonne to collaborate with other improvisers, notably with Jonathan LaMaster's Saturnalia. Tonne is a member of the undr quartet, formed with James Coleman, Greg Kelley and Vic Rawlings in 1998. She is also a member of The BSC, a large ensemble of Boston improvisers directed by Bhob Rainey.










Two Trios in concert, Thursday May 2

Guylaine Cosseron, Blondy and Charles (France)

and

Duck That (Angela Sawyer, Josh Jefferson, Steve Norton,  Boston)

Studio Soto
10 Channel Center St.
Fort Point, Boston

8pm suggested donation $10

"The trio of Charles Xavier, Guylaine Cosseron and Frederic Blondy, suggests a minimal music at the edge of secrecy and confidence, as something murmured in our ear: a whispering voice that suggests the crossovers of Guylaine Cosseron; accents to Morton Feldman's piano by Frédéric Blondy to where time stretches in long breaths issued by the clarinetist, Charles Xavier.
 
The tangle of voice and clarinet sounds that come together, meet and depart - sometimes punctuated by harmonic piano, sometimes rhythmic - opens a bare space, small and infinite, brushing the silence like a caress."

http://guylainecosseron.com/blondy_charles.html



Ducks are sometimes confused with several types of unrelated water birds with similar forms, such as loons or divers, grebes, gallinules, and coots. This trio of divers has been dipping their noses in water together amid Boston's electro-acoustic improvisation community since 2009. All three musicians play hunting calls, but you'll also note various other bread crumbs, including reed instruments, electronics, percussion, and voice. Angela Sawyer, Josh Jefferson, Steve Norton.










The New England Forum for Acoustic Ecology (NEFAE)

present talks, a reception, and concert

featuring special guest Eric Leonardson along with members of NEFAE

Sunday, April 28 at 5pm

suggested donation $10


Studio Soto
10 Channel Center St.

5pm artists talks:

Eric Leaonardson: 20 Years of Acoustic Ecology: Reflections and New Challenges

Tom Plsek: Hear We Are

6:30 – reception

7:00 – concert:

•members of the the New England Forum for Acoustic Ecology
– Michael Bullock, Ernst Karel, Tom Plsek, and Jed Speare

• Eric Leonardson – solo with Springboard

Audio artist, composer, performer, instrument inventor, radio artist, sound designer, visual artist, curator, and educator for over 30 years; Eric Leonardson devotes a majority of his professional career to unorthodox approaches to sound and its instrumentation with a broad understanding of texture, atmosphere and microtones. As a practicing artist and educator Leonardson has an interest in the elusive lines that separate art media and disciplines; the promise of technology to enable new possibilities in art, discovering connections between physical action, sound, images, and ideas through artistic collaborations and research. He is President of the World Forum for Acoustic Ecology, founder of the Midwest Society for Acoustic Ecology, Executive Director of the World Listening Project, and Adjunct Associate Professor in the Department of Sound at the School of the Art Institute of Chicago. He is currently an artist-in-residence at Amherst College as a Copeland Fellow.

The Springboard is an experimental instrument built in 1994 to explore the sonic potential of coil springs and other readily available materials. The inaudible vibrations of these materials are amplified by one very affordable piezo disc contact microphone. When played with cello bows and homemade friction mallets, Leonardson produces extraordinary sounds that belie the humble origin of these materials.

Trombone explorer Tom Plsek has been stretching trombones and our concepts of them for years. His compositions include pieces for ensembles and solo trombone often incorporate improvisation, technology, and performance art. Tom has performed with such artists as Jerry Hunt, Malcolm Goldstein, Phill Niblock, the Merce Cunningham Dance Company, Joe Morris, Marjorie Morgan, and with the Outsider Quartet. He has performed at New Music American in 1983 and 1986. He is a member of the Mobius Artists Group and Chair of the Brass Department at Berklee College of Music in Boston where he also teaches a course on acoustics. He is a member of the Acoustical Society of America for which he has given many presentations mostly about the use of technology with brass instruments. He is featured on several recording including "Firehouse Futurities," 1999: Rastascan Records (BRD038) and Tautology (005); and "Jump or Die; 21 Braxton Compositions 1992," Music and Arts (CD-843). The CD “MVP LSD” with Joe Morris, guitar and John Voigt, bass was released in 2009 and has received numerous positive reviews.

The New England Forum for Acoustic Ecology (NEFAE) is a regional chapter of the American Society for Acoustic Ecology (ASAE).

The ASAE is a membership organization dedicated to exploring the role of sound in natural habitats and human societies and promoting public dialogue concerning the identification, preservation, and restoration of natural and cultural sound environments.
Further information about the ASAE can be found at: http://acousticecology.us/






B U M P R (from Providence)

and   S Y M P T O M A T I C (Vic Rawlings and Steve Norton)

Thursday, April 11 at 8pm

suggested donation $10


Studio Soto
10 Channel Center St.
Boston, MA

BUMPR is a quartet from Providence: Peter Bussigel, Stephan Moore, Caroline Park and Timothy Rovinelli. BUMPR folds found sounds into improvised pulsars using a combination of hybrid instruments, digital processes and noisy handmade objects resulting in playfully experimental inter-stylistic chunks of spontaneously sculpted spacetime.

Symptomatic is a “piece” or operating mode that Vic Rawlings and Steve Norton have been working on since their east coast/mid-west tour in May of 2009—they performed the prototype on the last night of the tour in Pittsburgh, Pennsylvania, and have subsequently been refining and focusing it ever since in rehearsal and performance.
The piece focuses on the simultaneity of disparate languages, their dramatic contrast and (possible non-) interaction and coexistence.






    Nmperign (Greg Kelley, Bhob Rainey)

    Patrick McGinley (murmer)

    and Ernst Karel in concert

    Saturday, November 10, 2012  8:00pm

  • suggested donation $10

    Join Studio Soto for an outstanding evening of rare performances by American expat sound artist Patrick McGinley (aka murmer), and the renowned duo Nmpreign (Bhob Rainey and Greg Kelley), along with the sterling Ernst Karel.

    Patrick McGinley (aka murmer) is an american-born sound, performance, and radio artist who has been based in europe since 1996. since then he has been building a collection of found sounds and found objects that has become the basis of all his work. in 2002 he
    founded framework, an organisation that produces a weekly field-recording themed radio show, broad- and podcasting around the world. in 2005, he began working closely with the artist-run organisation MoKS in southeast estonia, relocating there permanently in 2009. most recently mcginley has been giving presentations, workshops, and performances based on the exploration of site-specific sound (with the revenant project) and sound as definition of space. in live performance his interest in field recording has developed into an attempt to integrate and resonate found sounds, found objects, specific spaces, and moments in time, in order to create a direct and visceral link with an audience and location.

    murmer’s work is about small discoveries and concentrated attention; it focuses on the framing of the sounds around us which normally pass through our ears unnoticed and unremarked, but which out of context become unrecognisable, alien and extraordinary: crackling charcoal, a squeaking escalator, a buzzing insect, or one’s own breath. he works equally with spaces, objects, resonances, and people, in composition, performance, or simply collective action and experience, in exploration of perception via attentive listening.



    nmperign began in 1998 as the trio of Greg Kelley (trumpet), Bhob Rainey (soprano saxophone) and Tatsuya Nakatani (drums and percussion). This line-up recorded the group’s debut CD, and toured the US before Nakatani left to pursue solo work. As a duo, Kelley & Rainey forged a unique style of improvised music informed as much by electronic music and noise as by the traditions of classical music (which Kelley studied at the Peabody Conservatory in Baltimore), modern composition (which Rainey practiced at the New England Conservatory), punk, and free improvisation.

    The duo toured extensively in the late 90s and early 00s, highlights of which were documented on a CD published by Ralf Wehowsky‘s Selektion label. They would hone the nmperign sound to a sharp point that would bring them into contact with people who would become frequent collaborators: Gunter Mueller, Axel Doerner, Andrea Neuman, Jerome Noetinger, Lionel Marchetti, Damon & Naomi, Le Quan Ninh, and most importantly Jason Lescalleet, with whom they would record two albums as a duo, and each work on an album with individually. --- from Intransitive Recordings

    In his audio projects, Ernst Karel works with analog electronics and with location recordings, sometimes separately, sometimes in combination, to create pieces that move between the abstract and the documentary. As an improvisor and performer on trumpet and/or analog electronics, or as a composer, he has participated in recordings released on and/OAR, Another Timbre, BoxMedia, Cathnor, Dead CEO, Formed, Kuro Neko, Locust, Lucky Kitchen, and Sedimental record labels, among others.






Staring Into the Sun & The Pierced Heart & the Machete

Two 60 minute documentaries by Sublime Frequencies contributor Olivia Wyatt. 

Monday, November 5, 2012 at 8pm

$8 donation

10 Channel Center St. 

Studio Soto in collaboration with Weirdo Records and Mobius presents:

STARING INTO THE SUN
...
Ethiopia is known to be one of the oldest areas inhabited by humans and presently has over 80 diverse ethnic groups. Photographer/filmmaker Olivia Wyatt explores 13 different tribes throughout Ethiopia in this visually stunning film. Traveling from the northern highlands to the lower Omo Valley, Wyatt brings together the worlds of Zar spirit possession; Hamer tribal wedding ceremonies; Borena water well polyphonic singing; wild hyena feedings; and bizarre Ethiopian TV segments; presenting an enchanting look at these ethereal images, landscapes and sounds from the horn of Africa. The tribes featured in this film are captured with an unflinching sense of realism and poetic admiration resulting in a visual and aural feast of the senses.

THE PIERCED HEART & THE MACHETE
Two Haitian Vodou religious pilgrimages that take place each year in mid-July. The first pilgrimage is for Èzili Dantò, Vodou goddess of love, art, and passion. Worshipers from all over the world descend upon the town of Ville-Bonheur, in the southwest region of Haiti, to worship, celebrate, and bathe in the sacred waterfall, where Dantò resides. The second pilgrimage is for Dantòs' husband Ogoun, Voudou god of war, iron, and healing. His pilgrimage takes place at the end of July and is in the northern part of Haiti in the town of Plaine du Nord. Practitioners bathe in a mud pool and make sacrifices for Ogoun. The film explores through worship and celebration the similarities of each pilgrimage and the varying characteristics of these two spirits.


Olivia Wyatt is a filmmaker and photographer living in Rockaway Beach, NY and is originally from Little Rock, Arkansas. She worked as a multimedia producer at Magnum Photos from 2005-2010 and is a member of the Sublime Frequencies collective. She directed, produced, shot and edited Staring Into the Sun (2011), a feature documentary, 136 page Polaroid book, and CD of field recordings about tribal music and culture in Ethiopia, that was released by Sublime Frequencies in the summer of 2011.Her second feature-length film about two religious pilgrimages in Haiti, The Pierced Heart and The Machete (2012) will be released on Sublime Frequencies this fall. She recently collaborated with Bitchin Bajas (members of Cave) for a Vinyl/DVD release, Vibraquatic (2012), which included 3 films she made to correspond to their music. She was also a videographer for the experimental documentary, Below the Brain (2011), which explores the West Indies day celebrations in Brooklyn. Her other films include two documentary shorts, several music videos, and some animations. She also co-produced Treebop a children's television show on CAT3 TV in Columbia, Missouri. Her films have been featured at the Milano Film Festival in Italy, the Picknick Im Kino Film Festival in Hamburg, the All Tomorrow's Festival in England, the Arnhem Mode Biennale in the Netherlands and the True/False Film Festival in Missouri. She has also screened at the Barbican in London and her work has also been published in National Geographic, Capricious, Spin, Slate, Famous Magazine, Multimedia Muse, Tiny Vices, Elle and XLR8R.







L I V E   S O U N D S / L I V E   F I L M S

Thursday, October 18th at 8pm

Live sound performance by TAPS

followed by

16mm and Super 8 Films by Tara and Gordon Nelson

10 Channel Center St.

Boston
...

Drums
Drone
Flicker
Film

$10 suggested donation

SOUNDS

TAPS is drums and drone performed live by Chris Strunk and Brendan Murray. TAPS will be performing with live projections by T&G Nelson.

FILMS

Scarecrow Man
16mm found footage by T&G
Old film, new narrative

Suzi and Sabina
by T
16mm dual projection
A homemade Warholian "screen test"

Snow
Super 8
by T
post-surgery film made under the influence of painkillers

Submerged
16mm by G
A Romance

Measures
Super 8 on 4 projectors
by T
LIVE SOUND made by the audience

Dolphin
16mm on 2 projectors by G
Films from the deep blue sea

In China
Super 8 on 2 projectors
A travel film edited live

Alaska
Super 8 by G
A travel film with live narration

Shadyside Fragments
Super 8 by G
Pittsburgh memories from the 1990s

60's Teen Dance Party
16mm by G
Psychedelic teenage freak outs
LIVE SOUND





T H E   S O U N D   O F   S I N G I N G   T H R O U G H   D U S T
an installation of hand-made slides and film loops by Luther Price

Sat Oct 13, 2012 - Sun Oct 28, 2012

Opening Reception: Saturday October 13th from 6- 8 pm
with Luther Price's films screening at 8pm
Gallery hours: Fri. 5-7; Sat. 2-5;Sun. 2-5, and by appointment
(Hours during Fort Point Open Studios, 10/19-21
Fri. 4-7; Sat. and Sun. 12-6)

10 Channel Center St.
Boston, MA


Studio Soto, in collaboration with Mobius presents:The Sound of Singing Through Dust an installation of handmade slides and film loops by Luther Price, with four-hundred slides from recent series', in rotation and double projection** including 16mm inkblot film loops 

Luther Price will be present during gallery hours to talk about the work on view.
 The installation will be on view from October 13th-October28th

Opening Reception October 13th, from 6pm-8pm, followed by a screening of these 16mm films by Luther Price:
• "Fancy” (2006) optical sound, 10min.
• "Singing Biscuits' (2008) optical sound, 5min
• "The Biscuit Day"(2007) optical sound, 12min.
• "Shelly Winters'. (2010) optical sound, 8min.
• "Inside Velvet K"(2006) optical sound, 8min
• "Kittens Grow Up"(2009) optical sound, 20 min.


**"Utopia" (2012) - 160 .handmade slides
**""SORRY" (2012) 80.handmade slides
**"# 9.(2012) – 160 slides

                        

Luther Price received a BFA in Sculpture and Media/Performing Arts from Massachusetts College of Art and Design, where he studied with Saul Levine.

He is an experimental filmmaker whose work has been widely screened in the United States and Europe at such venues as the Museum of Modern Art, the Whitney Museum of American Art, and the San Francisco Cinematheque. He is a professor at the Massachusetts College of Art and Design. His films, shot primarily on Super 8 mm, often include controversial subject matter, found footage, the artist performing in a variety of persona, and physical interventions into the actual material of the film, sometimes incorporating live performance. ]His films are distributed by Canyon Cinema in San Francisco, The Film-Makers' Cooperative in New York, Light Cone in Paris and others.        (source, Wikipedia)

“The short films of the underappreciated underground filmmaker Luther Price — one of the Biennial’s stars — are part of the film program. But in one of the third-floor galleries Mr. Price also contributes some of the show’s best pictorial art: projections of his lavishly scarified slides, pieced together from found film, filigreed with mold, textured with dust.

In these entrancingly delicate, implicitly violent works, life, chance, obsessive art making and an intense artistic psyche descended from Pollock, Rauschenberg and Jack Smith — if not Hercules Segers — flashes before your eyes.”

---Roberta Smith, NY Times, March 1. 2012








Concert for Saturday, October 6th at 8pm

Rinus van Alebeek
Pierce Warnecke
Andrew Neumann


10 Channel Center St.

suggested donation $10


Rinus van Alebeek (1956, Heerlen, The Netherlands) is a writer who uses his (environmental) recordings on tape to narrate a story. During the nineties he published two books (pseud. Philip Markus) in his native country.  The first novel (De Weg naar Oude God) won the prestigious Geert Jan Lubberhuizen Prijs, a yearly award for the best first novel.

An accidental encounter with electronic and avant garde music in the year 2000 at the Lem festival in Barcelona, and an introduction to the cassette culture gave way to his further artistic development. In the first decade of this century van Alebeek made a thorough research on how to make or manipulate recordings. Thanks to a great number of concerts, sometimes an average of ten in a month, he developed an approach of which people say it is ‘ between noise and pure poetry.’

Rinus Van Alebeek is a peculiar observer of reality and an artist who instinctively transforms lo-fi tape recordings into evocative sound poems, being able to create a “détachement” towards the used media, which is a characteristic of the most original artists.”
Luis Costa, president of Binaural and Associação Cultural de Nodar,
www.rinus.zeromoon.com

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

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

Born in California, Pierce studied and worked for 10 years in France before moving to Boston to attend the Berklee College of Music. He currently lives in Berlin where he is following a Meisterschüler Program at Universität der Kunst (UdK) under Dr. Alberto de Campo. He works as a MaxMSP programmer and sound designer, and co-curates the Emitter Micro festival and record label.
He has performed with artists such as Phill Niblock, Gino Robair, Louis Laurain, Yoann Durant and Pierre Borel and tours regularly in Europe and the US. He has presented his works in such places as Harvestworks (NY), GASP Gallery (Boston), Luggage Store Gallery (SF), AMODA (Austin), Le Labo (Toronto), Main d’Oeuvres (Paris), Ausland (Berlin) as well as festivals such as Boston Cyberarts, SXSW Interactive, Visionsonic, Optica, LPM, Mal au Pixel, Videoformes and more.
http://piercewarnecke.com/

Andrew Neumann is a Boston-based artist who works in a variety of media, including sculpture, film and video installation, and electronic/interactive music. Has received numerous grants and awards, including a Guggenheim Fellowship in 2004, and a LEF Foundation Grant in 2007.  He has been designing his own musical interfaces for the past ten years, and has performed in N.Y. at Roulette, Issue Project Room, and Experimental Intermedia Foundation. He has done residencies as STEIM, Amsterdam, as well as the MacDowell Colony, ART/OMI, YADDO, and The Experimental Television Center. He has also had shows at bitforms Gallery in Seoul, Korea, the DeCordova Museum in Lincoln, MA, bitforms Gallery, NYC, Studio SOTO, as well numerous shows for the Boston Cyberarts Festival.  In addition to performing solo, he has played  duets with Joe Morris, Katt Hernandez, Eric Rosenthal, Junko Fujiwara,  James Coleman, amongst many others. He currently runs a free -improv group, “Hi-Speed Coeds".  His music is available on Sublingual Records.  His videos have been shown on PBS, The Worldwide Video Festival, Artist Space, and elsewhere. 




BEYOND THESE THINGS: Rob List (movement) and Jed Speare (sound)

Friday September 21, 2012         8pm

10 Channel Center St.

suggested donation $10


Studio Soto presents a rare Boston appearance of the internationally-acclaimed American expatriate choreographer and performer based in Amsterdam, Rob List, in performance with Boston composer Jed Speare, a friend and collaborator for over thirty years. This performance precedes the weekend of performances List will be presenting at the Chocolate Factory in Long Island City, NY from October 4-6. http://www.chocolatefactorytheater.org/e_roblist.html

List and Speare have worked together in a loft in Tribeca (At the Falls, 1983) a neon factory in San Francisco (White Strand, 1983) and a sound art festival in Amsterdam (So und So und So II, 1986). In this performance, they will present an improvisation of up to one-hour long where the movement and sound are developed independently, yet simultaneously, heightening one another.

Rob List performed at Studio Soto in 2009 and on that occasion, a noted Boston choreographer said that after watching List she became aware that all modern dance could be traced to Martha Graham and Merce Cunningham….and that what Rob List embodied was something entirely new. Claudia La Rocca of the New York Times began her review of List’s 2010 performance at Parker’s Box in Brooklyn with this sentence: “Rob List is the sort of artist whose work transfixes, drawing you minute by minute through strange yet familiar terrain; the impulse is always to hold your breath.”

Jed Speare is the creator of the Smithsonian Folkways album classic, Cable Car Soundscapes (1982). His sound works from the eighties released in 2008 drew significant critical acclaim. Wire magazine called him “a pioneer of multimedia presentation, “ and Dusted Reviews, “multimedia avant la lettre.”

This event promises to be a meeting of two artists-friends endeavoring to explore one very memorable hour together for each other, and for an audience.

_____


Rob List is a performer, choreographer and teacher based in Amsterdam. In the early 80s he toured internationally in the avant-garde theatre and film work of Ping Chong and Meredith Monk, as well as performing his own movement works at La Mama and the Kitchen in New York.

From 1985-1990 he was artistic director of the Mime Opleiding in Amsterdam. From1987-1993 he was founder and co-director of the Institute for New Dramaturgy, which presented workshops in interdisciplinary composition by visual artists, architects, dancers and filmmakers in eastern and western Europe, as well as conducting research programs in new forms of dramaturgy for dance and mime.

Since 1990 Rob List has continued his solo performance career, creating a unique stage language and movement style in works such as the FIGURE SERIES [90-94], DOUBLE SERIES [95-99], STILL LIFE SERIES [96-00], and FOLLY SERIES [00-03]. These minimal movement pieces are based on subjects and ideas from the visual arts, science and architecture. He has performed these in theaters, galleries and international festivals in Europe and the USA.

Since 2002 Rob List has been working with young dancers, mimes, visual artists and filmmakers in an ever-changing ensemble called OZU, developing live performances which emphasize successive solo movement sequences. STRUIK AND STRUWEEL [02], FOLLY n.3 [03], BOSSCHAGE [04], NESCIO SERIES[ [05-07], and INJERTO/GREFFE [08].

In the past seven years Rob List has developed a workshop form for young choreographers, directors and performance artists called MOVING AND DRAWING. He has taught these throughout Europe and the USA. In the spring of 2007 he was movement advisor to Anne Teresa de Keersmaeker in the making of her solo ‘Keeping Still’.

Rob List has also created a company of young dance teachers who perform an original pantomime program for senior citizens called ‘SPROOKS: Young for Old’ which has entertained thousands of older folks in hundreds of centers throughout the Netherlands since 2005.

Rob List has received a number of awards for his work, including the 1997 VSCD Mime Prize and a 2002 Artists Prize from the City of Amsterdam. He was a 2004 Fulbright Scholar and a former recipient of a National Endowment for the Arts Choreographic Fellowship.

In my work I want to create an elementary theater removed of all psychological elements, a performance space which evokes a more basic moment in human communication - one without text, characters, or socially coded gestures - and which affects the audience in an emotional way without their quite being able to identify what is going on. This work is grounded in an active stillness in which the viewer's perceptions are reactivated outside the context of daily life. My work strives not to be a representation of human experience but rather a source of it, more akin to listening to music or looking at painting, but without being merely a formal aesthetic experience. In my performances the human being is an anonymous everyman whose eyes and ears share the same sensations as those of the audience, in a communal and elemental experience.
http://www.roblist.net/

Jed Speare is an artist working in a variety of media and settings. He has presented sound, video, performance and multidisciplinary work, locally, nationally, and internationally in Canada, Ireland, Poland, Belarus, Croatia, Bulgaria, Czech Republic, France, Italy, Sweden, Netherlands, and Taiwan. In 1978 he studied at the Sonic Research Studio of the World Soundscape Project, in Burnaby, British Columbia, an experience that led to his extensive work in field recordings, their transformation, and his advocacy about the sound environment.

In the eighties, he was closely associated with San Francisco industrial culture as the creator of the record album, Cable Car Soundscapes (1982) on Smithsonian Folkways Records. He was the founder of the group, Research Library, who performed with Joan Jonas and recorded on Subterranean Records. During this time, he was active creating numerous sound, collaborative, experimental theater, movement, and multidisciplinary performance works in San Francisco, New York, and Amsterdam (with Rob List, and Bill Talen now aka Rev. Billy), The double album, Sound Works 1982 - 1987, (2008) on Family Vineyard Records, includes several long-form works from that period.

Jed has also worked as an Industrial Hearing Conservationist, giving hearing tests to factory workers, and has created conceptual works about the sound environment, investigating and creating urban “Quiet Zones.” He has been a member of the Mobius Artists Group since 1995, and has served as Mobius’ Director and/or Co-Director since 1996. He is also Director of Studio Soto, and is currently active as a founding member of the New England Forum for Acoustic Ecology, the New England Phonographers Union, and the Mobius Quartet.






Concert, Wednesday August 29

Caroline Park, Doug Van Nort, Carver Audain, and Jason Sloan


10 Channel Center St. 8pm

$10 suggested donation


Caroline Park is a composer, musician, and artist working in experimental/new media art via performance and installation. She performs solo on laptop, or with BUMPR, a quartet with laptopists/multi-instrumentalists Peter Bussigel, Stephan Moore, and Timothy Rovinelli.
Caroline has performed at the RISD Museum, AS220 (Providence), 295 Douglass Street (Brooklyn), 16 Beaver (NYC), Boston Center for the Arts, Goethe Institut-Boston, Pulitzer Foundation for the Arts (St. Louis), Ambassador Auditorium (Los Angeles), as part of R.K. Projects (Providence), ((audience))'s Sound Off (NYC), Non-Event (Boston), Together: New England Electronic Music Festival, Musicacoustica Beijing, SICPP: Summer Institute for Contemporary Performance Practice (Boston), Boston Microtonal Society, and Boston CyberArts.  Caroline has shared the stage with artists such as Evidence, Dollshot, and Arnold Dreyblatt, and has worked with ensembles and performers Callithumpian Consort, Sound Icon, Los Angeles Children's Chorus, cellist Laura Cetilia, and pianists Stephen Drury and Yukiko Takagi.
A Los Angeles native, Caroline received degrees at the New England Conservatory and is currently a graduate student in the MEME program at Brown University. Her work has been presented in the U.S., U.K., and in China. Solo releases can be found on cassette, CD, and in digital formats via Private Chronology, Bathetic Records, VisceralMediaRecords, Boomkat, and Pure Potentiality Records. Caroline lives and works in Providence, RI. More info a www.blanksound.org.
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Carver Audain (b 1981) composes music in the Acousmatic tradition, which, as defined by French composer and theorist Pierre Schaefer, refers to "a sound that one hears without seeing the causes behind it."
Materially, he produces audio using digital signal processing and editing techniques on a variety of environmental and instrumental recordings. He is a self taught pianist, his recent works continue to explore harmonic structures utilizing the "slow change music' method. In a live setting, he arranges and manipulates this material into situation-specific compositions. Sonically, he produces an array of slowly shifting sound fields that merge and transform within their physical surroundings.  http://www.carveraudain.com
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Doug Van Nort explores electroacoustic composition and improvisation through a radical sculpting of sound materials, discovered through attentive listening to the world. He is fascinated with the limits of noise, tone, texture, gesture, deep listening, immersion, machines that improvise, density, sparsity, loudness, softness. Van Nort regularly performs solo, in the trio Triple Point with Pauline Oliveros and Jonas Braasch, in a duo with Al Margolis (If, Bwana) with the Composers Inside Electronics and recently has collaborated with a wide array of artists such as Francisco López, Judy Dunaway, Alessandra Eramo, Ben Miller, Carver Audain, in Sarah Weaver-led ensembles featuring Gerry Hemingway, Mark Helias and Dave Taylor, Katherine Liberovskaya, Jonathan Chen, Mike Bullock, Jefferson Pitcher and many others. He has enjoyed performing in recent years at venues such as the Stone, Issue Project Room, the Miller Theatre, Town Hall and Roulette in New York, Casa da Musica in Porto, Betong in Oslo, sharing the stage with Marvin Minsky at a concert in New Jersey, at the Red Room in Baltimore and Casa del Popolo in Montreal, to name a few. His music appears on several labels including Deep Listening, Pogus and Zeromoon. http://www.dvntsea.com

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Jason Sloan is an electronic musician, composer, sound and new media artist working from Baltimore, Md. His work explores aspects of immateriality and its connection in memory, systems and the virtual world. Through his performances, sound installations, videos transmission art works and sound recordings, he examines the need for transcendence beyond the body through a vehicle of visual and aural stimulation. With this dialog, Sloan feels an urgency to evoke a collective experience between the viewer, listener and artist that can bridge the gap between the physical and non-physical world. The focus of this transcendence is not to conform to any current trends or systems, but to take a non-dogmatic approach of artistic and intellectual inquiry that explores the basic human need for some type of spiritual alignment or wholeness.
In 2001 Sloan co-founded Slo.Bor Media with sound artist & web designer Matt Borghi as a vehicle for their individual releases and a platform for other artists. SLO.BOR Media is primarily a record label, but focuses on a variety of media and forms of distribution. SLO.BOR Media is also quite concerned with packaging, design, new media, sound and conceptual art.

Sloan received his BFA from Edinboro University in 1996 and his MFA from Towson University in 1999.  In addition to being the recipient of multiple Maryland State Arts Council's Individual Artist Awards, Sloan's performances, installations, net.art and video works have been exhibited internationally including Berlin, Copenhagen, Edinburgh, Kiev, Nagoya, Saint-Petersburg, Toulouse Lisbon and Vienna. In addition to releasing over a dozen studio albums and E.P.'s over the last decade on various record labels, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia's The Gatherings concert series, one of the country's oldest continuing ambient and electronic music series.

Sloan is a Professor teaching full-time in the Interaction Design and Art [IDA] department along with being the founder and program coordinator for the soundArt concentration at the Maryland Institute College of Art in Baltimore, Maryland.

For more information please visit:
http://jasonsloan.com
http://slobormedia.org






World Listening Day, July 18

On World Listening Day, Wednesday July 18th, the New England Forum for Acoustic Ecology presents composers Mike Bullock, Stephan Moore, Ben Houge, and Jed Speare in performance, presentations and a soundwalk based on location recordings, video game audio design, and the Fort Point soundscape.

The event will be held at Studio Soto, 10 Channel Center St., Boston at 8PM. Admission is free; donations are accepted.

  • Performance by Stephan Moore, Po-Ling Traversal based on a location recording made in a Buddhist Monastery in Hong Kong.
  • Presentation by Mike Bullock of a collection of the sounds of secular labor in ancient European cathedrals and churches. “In Spring 2008 I made recordings at Église St. Sulpice in Paris, coincidentally on the day the massive pipe organ was being tuned. That recording turned out to be the start of a collection of the sounds of secular labor in ancient European cathedrals and churches: organ tuning in Paris; choir practice in Nantes; floor repair, art restoration, and an organ lesson in Edinburgh; vacuuming in St. Gallen; souvenir vending in Strasbourg. I will present a sequence of these recordings with a brief discussion of how I arrived at them (always by chance, and never on Sundays) and how I recorded them.”
  • Presentation by Ben Houge. “One pervasive goal in video game development has been the emulation of the natural environment. In this regard, video game audio design seems nicely aligned with John Cage’s dictum that the goal of art is “to imitate nature in her manner of operation.” In this talk on the ecology of video game audio, Ben Houge will share some of his considerations on questions posed by the nature of this rapidly evolving medium, such as the following:
    - What is the role of ecology in a fully defined (and digitally mediated) space?
    - How can sound be organized in a system with no predetermined timeline?
    - What aesthetic issues are involved in defining a virtual listening environment?
    - What is the meaning of development in a finite-state system?
    - Is there any escape from the tyranny of loops?
  • A soundwalk in the Studio Soto neighborhood led by Jed Speare, who has either worked or lived in Fort Point since 1995. For this activity, we also invite the participation of the Fort Point community to come and share their sound memories and experiences along the way as we walk.

Come out a little earlier, because on Wednesday the 18th there will also be a neighborhood pot luck gathering in Wormwood Park from 5-8pm. Bring something there, have a bite, and then join us down the street for World Listening Day.


Bios:

Stephan Moore is a composer, improvisor, audio artist, sound designer, teacher, and curator based in Brooklyn and Providence. His creative work currently manifests as electronic studio compositions, solo and group improvisations, sound installation works, scores for collaborative performance pieces, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past decade. He also performs with the improvisation quartets Bumpr and Volume(n), and is a frequent collaborator with the performance groups The Nerve Tank and a canary torsi. Upcoming sound installation exhibitions include the Constellation Center (Boston), The Granoff Center for the Arts (Providence) and the Tang Museum (Skidmore College). His company, Isobel Audio, produces unique Hemisphere speakers for electronic music and sound design. Since receiving an MFA from Rensselaer Polytechnic Institute in 2003, where he studied with Pauline Oliveros and Curtis Bahn, he has created custom music software for a number of composers and artists, and taught workshops and numerous college-level courses in composition, programming, sound art and electronic music. He is a curator at Issue Project Room in Brooklyn, where he also serves on the Art Advisory Board. From late 2004 to mid-2010, he performed over 250 concerts with the Merce Cunningham Dance Company, serving as a touring musician, sound engineer, and music coordinator.

Mike Bullock performs music and visuals using a variety of analog, digital, and acoustic media. Since 1995, his performance practice has been centered around improvisation. In the sound realm, he plays contrabass; modular synthesizer; software platforms including Max/MSP, Ableton Live, and SuperCollider; and variety of handmade sound objects and modified string instruments such as banjo. For live visuals, he uses a hybrid video/audio modular synth and VDMX video performance software.

Ben Houge has been developing audio for video games since 1996. In seven years at Sierra, he contributing to titles including King’s Quest: Mask of Eternity, Leisure Suit Larry 7: Love for Sail!, and Arcanum: Of Steamworks & Magick Obscura, for which he composed a string quartet soundtrack performed by members of the Seattle Symphony. In 2004 he moved to Shanghai to take a job with French developer Ubisoft, and most of his four years at the company were spent heading up audio for Tom Clancy’s EndWar (http://www.benhouge.com/writings/?p=628), for which he devised an innovative, cell-based music deployment system. Parallel to his work in games, Ben has been active in music composition, concert production, performance, sound installation, and video art. In Seattle he founded the Sound Currents (http://soundcurrents.org/) concert series and was a member of Stranger Genius Award-winning composer collective Seattle School (http://www.seattleschool.net/) from its inception. During his six years in China from 2004-2010, Ben was an active participant in the underground sound scene, performing alongside musicians including Yan Jun, Torturing Nurse, Li Jianhong, and Wang Changcun, as well as visiting artists like Elliott Sharp and Owl City. His work has been presented at the Shanghai eArts Festival, Beijing Today Art Museum, Suzhou’s True Color Museum, the San Diego Museum of Art, Chapel Performance Space in Seattle, Studio Z in Saint Paul, and the Boston Cyberarts Festival. Last winter he was a visiting artist (http://web.mit.edu/newsoffice/2012/visiting-artist-ben-houge-panel.html) at MIT, working with the Media Lab’s Responsive Environments group on the sonification of data from ubiquitous sensor networks. His 80 foot tall, 7-channel video piece Model Lightbox (http://www.artonthemarquee.com/spring2012-artists/ ) is currently in rotation outside of the Boston Convention and Exhibition Center, and his real-time data visualization piece Cycles, Tides, and Seasons (http://bostoncyberarts.org/category/specialproject/) runs every night this summer from dusk until midnight at the Boston Harbor Island Pavilion. Ben holds degrees in music composition from St. Olaf College and the University of Washington. He currently teaches video game music at Berklee College of Music, and in the coming academic year, he will be a visiting researcher at MIT, collaborating with the music21 (http://mit.edu/music21/ ) team to develop computer models for musicological analysis. He continues to consult on audio for games, and is currently working on a new project with game music pioneers Harmonix Music Systems (http://www.harmonixmusic.com/).

Jed Speare is an artist working in a variety of media and settings. He has presented sound, video, performance and multidisciplinary work, locally, nationally, and internationally in Canada, Ireland, Poland, Belarus, Croatia, Bulgaria, Czech Republic, France, Italy, Sweden, Netherlands, and Taiwan. In 1978 he studied at the Sonic Research Studio of the World Soundscape Project, in Burnaby, British Columbia, an experience that led to his extensive work in field recordings and his advocacy about the sound environment. In the eighties, he was closely associated with San Francisco industrial culture as the creator of the record album Cable Car Soundscapes (1982) on Smithsonian Folkways Records and as a founder of the group, Research Library, who recorded on Subterranean Records. During this time, he was active creating numerous sound, collaborative, experimental theater, movement, and multidisciplinary performance works in San Francisco, New York, and Amsterdam, where he taught at the Theatreschool Mime Opleiding in 1986 and 1987. The double album, Sound Works 1982 – 1987, (2008) on Family Vineyard Records, includes several longer-form works from that period. Jed has also worked as an Industrial Hearing Conservationist, giving hearing tests to factory workers, and has created conceptual-activist works about the sound environment, investigating and creating urban “Quiet Zones.” He has been a member of the Mobius Artists Group since 1995, and has served as Mobius’ Director and/or Co-Director since 1996. He is also Director of Studio Soto, and is currently active as a founding member of the New England Phonographers Union, the New England Forum for Acoustic Ecology, and Mobius Quartet. In 2008, Wire Magazine called him “a pioneer of multimedia presentation.”

Acoustic ecology is a field of inquiry into the interrelationships between living beings and our environment, as mediated through sound.

The New England Forum for Acoustic Ecology intends to provide a forum in which to engage on issues of sound and sonic environments from a multiplicity of perspectives and approaches. This forum, broadly conceived, will take the form of concerts, salons, discussions, place-centered actions, and other events throughout the New England area.

NEFAE was founded as a chapter of the American Society of Acoustic Ecology (ASAE). For more information about ASAE visit http://acousticecology.us. We welcome composers, artists, researchers, performers, and others interested in acoustic ecology to join in.




Bob Raymond
this moment: missives from another world and other works


Saturday April 21 - Saturday, May 5, 2012
10 Channel Center St.
Boston

Thursday, Friday  4 - 7pm
Saturday, Sunday 1 - 5 pm

Bob Raymond was a photographer and intermedia artist who was a central part of the Mobius Artists Group and Mobius’ evolution for nearly thirty years. Before his involvement with Mobius, he was Assistant Director of Boston Film and Video Foundation, an important resource and venue for film and video makers and time-based artists. At Mobius, he was known as the one who photographed thousands of artists who presented work at Mobius, as well as at other sites and venues involving Mobius Artists Group works. If you have been to Mobius or a Mobius-sponsored event in the past 30 years, you probably saw Bob seated in the front row, quietly capturing moments in performance that he was so instinctively and craftily skilled at and prepared for.

Opening at Studio Soto on the 21st at 5pm will be an exhibition, “this moment: missives from another world and other works,” by Bob Raymond. The exhibition includes the images from the exhibition by that name from 2009, as well as additional prints made in the past year; images from Mobius’ 1996 Macedonia exchange project, “Liquor Amnii,” as well as photographs of some of his surviving partner and Mobius’ founder, Marilyn Arsem’s work.

This moment: missives from another world was originally exhibited at Studio Soto in the summer of 2009. Those photos are drawn from the over 15,000 35 millimeter slides and 10, 000 digital images he created as part of the Mobius archive. It was at that time that Bob Raymond began to work with and print some of his favorite images in a larger format. While their origin is in performance documentation, their outcome is the result of Raymond’s insight into the work and his unyielding attention towards it.

In March 2011, he added additional prints to this body of work when he exhibited them in New York at the Fountain Art Fair. More recently, the newest prints were shown at Boston University as part of the performance art exhibition, 100 Years in January 2012.

Bob Raymond’s work is a large part of a vast legacy and record of Mobius’ leading role in Boston’s experimental arts scene of the past thirty-five years. It will continue to grow in recognition and importance as it gains exposure. Exhibitions as well as the forthcoming transfer of Mobius’ archive, that features the tens of thousands of Raymond’s images, to Tufts University will ensure its preservation and future access. For now, join Mobius in honoring our beloved friend and colleague and view a portion of his voluminous, extraordinary work.

In lieu of flowers, contributions in his memory can be made to Mobius, Inc., 55 Norfolk Street, Cambridge, MA 02139. 

For a look at Bob Raymond’s website and this moment: missives from another world, go to: http://moeboyd.net/

this moment: missives from another world and other works will be on view from Saturday April 21st through Sunday, May 13th. Gallery hours will be Thursday and Friday, 4 – 7pm and Saturday and Sunday, 1- 5pm; and May 12, 13 12 - 5pm.








Jonas Braasch and Retribution Body

Saturday, April 7, 2012
10 Channel Center St.
suggested donation $10


Jonas Braasch (soprano saxophone)
Retribution Body (modular synthesizer)

Performing solo and as a duo.

About the artists:

Jonas Braasch (Troy, NY):

Jonas Braasch is an experimental soprano saxophonist and aural architect with interests in Telematic Music and Intelligent Music Systems.He has performed with Curtis Bahn, Chris Chafe, Michael Century, Mark Dresser, FranciscoLópez, Pauline Oliveros, Doug van Nort and Stuart Dempster –among others. His saxophone style expands the traditional repertoire by incorporating various non-western elements and extended techniques. Jonas Braasch studied at the Universities of Bochum and Dortmund (Germany) and received Ph.D. degrees in Musicology and Engineering. He currently works as an Assistant Professor in the School of Architecture at Rensselaer Polytechnic Institute, where he directs the Communication Acoustics and Aural Architecture Research Laboratory (CA^3 RL). His latest recordings appeared on Pogus (Oliveros/López/Van Nort/Braasch: Quartet for the End of Space, 2011) and and Deep Listening (Sonic Territories, Solo DVD, 2011).


RETRIBUTION BODY (Jamaica Plain, MA):
http://www.retributionbody.com/

RETRIBUTION BODY is an attempt to explore the Dharma through sound. Matthew Azevedo uses analog electronics to build expansive sound sculptures that slowly grow, churn, and dissolve. Retribution Body performances focus on a mandala-like building, observing, and dismantling of modular synthesizer patches; starting, ending, and existing in emptiness. Matthew has studied with Pauline Oliveros and performed with her Tintinabulate ensemble. He holds a Master's degree in Acoustics and has over 2000 credits as a mastering engineer.



Non-Event and Studio Soto present

LASSE MARHAUG + C. SPENCER YEH + GERT-JAN PRINS (solo sets)

Saturday, March 31, 2012
10 Channel Center Street
Boston (Fort Point)
8 p.m./$15 suggested donation

LASSE MARHAUG is one of the most active artists in Norway's celebrated noise scene. As a performer and composer, he has contributed to well over 200 CD, vinyl and cassette releases, and has touring and performed extensively in Europe, Asia, and America. In addition to his solo work, Marhaug plays regularly in projects Jazkamer, Nash Kontroll, DEL and Testicle Hazard. Past projects and bands include Origami Replika and Lasse Marhaug Band. He has collaborated with several artists in the fields of noise, experimental, improv, jazz, rock and extreme metal, as well as working with music and sound for theatre, dance, installations and video. He works with different kinds of instrumentation; from guitar-pedals and homemade electronics to computers and modified guitars, but he considers the mixing-board his main instrument.

C. SPENCER YEH was born in Taipei, Taiwan, studied film at Northwestern University in Chicago IL, repped Cincinnati OH for many years, and is now based in Brooklyn NY. He is recognized for his musical project Burning Star Core, as well as many other individual and collaborative activities with artists such as Tony Conrad, New Humans with Vito Acconci, Thurston Moore, Smegma, Prurient, and Jandek. Current projects include The New Monuments (with Ben Hall and Don Dietrich), a yet-to-be-named quartet with Nate Wooley, Ryan Sawyer, and Colin Stetson, and ongoing collaborations with Carlos Giffoni, Okkyung Lee, Justin Lieberman, John Wiese, Aaron Moore, Chris Corsano, and many others. Yeh has performed at events such as SONAR, Densités, All Tomorrow's Parties, No Fun Fest, and Frieze Arts Fair, and has also exhibited his visual and multimedia works at national and international venues including the Contemporary Arts Center in Cincinnati, the New Museum in New York City, White Flag Projects in St. Louis, International Film Festival Rotterdam, and alt.gallery in Newcastle. In the video medium, Yeh has worked with artists such as Hair Police, Deerhoof, Xiu Xiu, and LoVid.

GERT-JAN PRINS (electronics and percussion) has been one of the most important and challenging sound artists in the Netherlands for the past 20 years. His primary focus is on the sonic and musical qualities of audio interference or 'noise.' In recent years, visuals have figured more prominently in his work. He has collaborated with the video artist Bas van Koolwijk to develop an instrument called the Synchronator, which translates audio into a video signal) and has created a number of sound installations. He has collaborated with Pita, Thomas Lehn, Lee Ranaldo, Tomas Korber, Anne la Berge, Fennesz, the Vacuum Boys, Peter van Bergen, Domenico Sciajno, Marcus Schmickler, Thomas Ankersmit, Giuseppe Ielasi, Carlos Giffoni, Luc Houtkamp, Misha Mengelberg, and many others.

>>Watch a video excerpt of Gert-Jan Prins live at the 2007 Lausanne Underground Film and Music Festival






KEROAÄN (from Philadelphia)

and ess enn emm
(Reuben Son, Benny Nelson and Patrick Emm)

Friday, March 9, 2012 8pm

10 Channel Center St.
suggested donation $10

Studio Soto and Uppercase present


Come experience KEROAÄN's debut Boston performance. A powerful mix of digital synthesis and light, this will be a memorable evening of new music.

KEROAÄN is a musical artificial intelligence developed by FRASER/ROSENBERG that performs by implementing XENAKIS’S Dynamic Stochastic Synthesis. This non-standard synthesis is played in real time by the KEROAÄN program. Pushing and pulling between sections of hard noise, singing glissandos, jagged melodic scribble and other sonic curiosities, the program liberates the computer from its position as a mere tool of hyper-productivity and transports the machine into a state of creative and performative being. Operatic in scope, a live diffusion of KEROAÄN features lasers, strobe lighting, and fog synched to both audible and structural qualities of the music as an infinitely morphing chorus of digital voices croon, cry, scream and everything in between.

ess enn emm is the debut performance of a trio consisting of three of Boston's leading electronic musicians: Reuben Son, Patrick Emm and Benny Nelson.



http://ianmfraser.wordpress.com/keroaan/
http://www.studiosoto.org/
http://www.privatechronology.com/reubenson.html
http://pineboxrecordings.blogspot.com/
http://www.weakintheknees.net/weakintheknees/benjamin_nelson.html







Shawn Greenlee

Fourtissimo: four consecutive nights of music in Fourt Point

Studio Soto - Thursday 2/2 8pm & Friday 2/3 8pm
flopera house - Saturday 2/4 8pm & Sunday 2/5 2pm

Fourtissimo is sounding soon !!! - four consecutive nights of music in Fourt Point

Thursday 2/2/11 @ Studio Soto  8pm

Mike Bullock - electronics and video solo
Skinny Vinny – Josh Jefferson, Flandrew Fleisenberg
bumpr - new quartet from Providence based quartet with Peter Bussigel, Stephan Moore, Caroline Park and Timothy Rovinelli


Friday 2/3/11 @ Studio Soto  8pm

the Epicureans - Dave Gross, Ryan McGuire, Ernst Karel
Shawn Greenlee – graphic synthesis
Jajuno - James Coleman, Jules Vasylenko, Noell Dorsey



Saturday 2/4/11 @ flopera house (doors at 8)
'flancy dance part deux - a dance, movement and music spectacular'

Featured guests from Philadelphia
Megan & Peter Price (dance/ sound from fidget)
Joo Won Park (toys and fun stuff, check it out)
Loren Groenendaal (dance)


Local Dancers:
Joe Burgio, Callie, Betty Wang, Aisha Cruse, Liz Ronka, Paul & Lynn, Naoko Brown

Local Musicians:
Lou Cohen, Walter Wright, Akrm Foam, Steve Norton, Michael Rosenstein, Max Lord, Matt Murphy, Josh Jefferson, flandrew fleisenberg

Sunday 2/5/11 @ flopera house (doors at 2pm, show 3pm - 7pm)
'a late afternoon drone'
Triode
Bowed metal
Katze – Morgan Evens-Weiler, Noell Dorsey
Mobius trio – Derek Hoffend, Tom Plsek, Jed Speare


w/ movement from Loren G, Joe B, et al…

Studio Soto – 10 Channel Center St.
flopper house - 381 Congress St, Boston







l to r: Vic Rawlings, Bill Nace, Jake Meginsky, Brendan Murray

Concert: Jake Meginsky, Bill Nace and Vic Rawlings Trio
and Brendan Murray


Friday, January 27 at 8pm
10 Channel Center St.
suggested donation $10

The trio of Jake Meginsky, Bill Nace and Vic Rawlings will begin a weekend of performances Friday January 27 at Studio Soto.  8pm.  Free Improvisation.  Also appearing will be Brendan Murray.  

Vic Rawlings (cello/ electronics) employs a still and unstable sound language ranging from visceral excess to extreme austerity. He uses an amplified cello augmented with extensive and invasive preparations of his design, adapted from Baroque-era designs.  On this instrument he has developed a vocabulary of extended techniques, approaching near-total abstraction from the cello.  As an entirely separate unit, he uses and continually develops an electronic instrument with a highly unstable interface, acoustically realized by an array of exposed speaker elements. 

Rawlings primarily presents improvised music in the predictable settings and durations.  Exceptions to this are installation-length performances and a series of performances in standard music venues that suspend concepts of site, context, and content.    
Longtime collaborators include Greg Kelley, Liz Tonne, James Coleman, Bhob Rainey, Mike Bullock, Tim Feeney, Bryan Eubanks, Chris Cogburn, Tatsuya Nakatani, Ricardo Arias, Jake Meginsky, Jason Lescalleet, and Laurence Cook.  He has collaborated with Ikue Mori, Eddie Prevost, Jaap Blonk, Daniel Carter, Donald Miller, and Andrea Neumann.  He has performed the works of Christian Wolff (with the composer), Michael Pisaro (with the composer), Stockhausen, Cage, and Cardew.  He has toured extensively and has appeared at: Victoriaville (Quebec), Musique Action (Nancy, France), Vision (NYC), Cha'ak'ab Paaxil (Merida, Mexico), Improvised and Otherwise (NYC), Festival of New Trumpet Music (NYC), and No Idea (Austin, TX).  His recordings are on: Grob, RRR, Sedimental, Absurd, Emanem, Intransitive, Boxmedia, Semata, YDLMIER, Cathnor, and Rykodisc, among many others. His writings on music/ instrumentation and contemporary music education have been published in Leonardo Music Journal and Intransitive Magazine.

He has authored sound-based music and listening curricula that engage students at all levels in participatory experiences in which they often encounter unfamiliar experiential/ aesthetic territory.  He presents in settings ranging from Ivy-League Universities to juvenile detention facilities.  This has included an extended residency teaching collective improvisation to Electronic Music Composition to students at Harvard University as well as multiple residencies (ranging from single-day to an 8-week intensive course) in sound and electroacoustic instrument-making in elementary- and secondary-school settings ranging from suburban Massachusetts to a rural village in Yucatan, Mexico.  Other visiting artist/ teaching residencies have included Oberlin Conservatory, MIT, UC Berkeley, UC Davis, Princeton University, Dartmouth College, Wesleyan University, and Tinicum Art and Science High School, among many Universities, elementary- and secondary-schools in many states.

BILL NACE is an itinerant guitarist in the improv-minstrel mode. His best known projects are X.O.4, Northampton Wools (with Thurston Moore), Vampire Belt (with Chris Corsano), and in duo with Chirs Cooper.  He works happily without a net in a variety of settings.---B. Coley

Originally from Springfield, Massachusetts, JAKE MEGINSKY has collaborated and performed with such artists as Joan Labarbara, Milford Graves, Greg Kelley, Bhob Rainey, Joe McPhee, Vic Rawlings, Sabir Mateen, Tatsuya Nakatani, William Parker, John Blum, Daniel Carter, Paul Flaherty, Arthur Brooks, and Bill Nace. His work in composition, performance and sound installation has been presented in a wide variety of venues, including Vision Festival, The USDAN Gallery, The Center for Performance Research, Joyce SoHo Presents, Dance Theater Workshop, The Stone, Improvised and Otherwise, The No Fun Festival, The Flea Theater, Free 103, Work in the Performance of Improvisation (Bennington College, VT), Arts Center for the Capital Region (Troy, NY), Pioneer Arts Center (Easthampton, MA), The Fisher Center for the Performing Arts (Bard College, NY) and as a guest artist-in-residence at the University of Iowa. In 2006, Jake completed a national performance tour as musical director for Susan Sgorbati's Emergent Improvisation Project, performing at such venues as The Neurosciences Institute (La Jolla, CA), Bennington College (Bennington, VT), Flynn Center for the Performing Arts (Burlington, VT), and the New England Complex Systems Institute (Cambridge, MA).

BRENDAN MURRAY is a musician who uses digital processing, percussion, tuned instruments and analog synthesis to create large-scale compositions based in drone, pulse and repetition. Currently active as a solo performer and in numerous collaborative projects with filmmakers, writers and other musicians across the United States. He lives in North Cambridge, MA.








A Variation by Sets

A Variation of Sets by
Phill Niblock / Katherine Liberovskaya / Al Margolis (If, Bwana)

live sound and video mix concert
Thursday, January 12th at 8pm
10 Channel Center St., Boston
suggested donation $10


      Part 1: Katherine Liberovskaya, live video and Al Margolis (If, Bwana),music (prerecorded and live sounds)        (approx. 30min)
  • Part 2: Al Margolis (If, Bwana) music (prerecorded and live sounds)(approx. 30min)
  • Part 3: Live Video by Katherine Liberovskaya, with live mixing of audio pieces by Phill Niblock. In this live set, Niblock mixes between audio pieces based on diverse field recordings which are very different from his music compositions. Liberovskaya mixes video with Jitter/Max/MSP from a vast personal database of clips shot over the past fifteen years.(approx. 40min)

        a co-production of Mobius and Studio Soto

BIOS:

Phill Niblock is an intermedia artist using music, film, photography, video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60's he has been making music and intermedia performances which have been shown at numerous venues around the world. Since 1985, he has been the director ofthe Experimental Intermedia Foundation in New York(<http://www.experimentalintermedia.org/>) where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 (about 1000 performances) and the curator ofEI's XI Records label. In 1993 was formed an Experimental Intermedia organization in Gent, Belgium - EI v.z.w. Gent - to support the artist-in-residence house and installations there. Phill Niblock's music is available on the XI, Moikai and Touch labels. A DVD of films and music is available on the Extreme label. www.phillniblock.com  www.experimentalintermedia.org

Katherine Liberovskaya is a video/media artist based in Montreal, Canada andNew York City. Involved in experimental video since the 80s, she has produced numerous videos, video installations and performances shown aroundthe world. Since 2001 her work mainly focuses on collaborations with composers/sound artists mainly in live video+sound performance. Among these:Phill Niblock, Al Margolis/If,Bwana, Keiko Uenishi (o.blaat), Zanana,Hitoshi Kojo, Tom Hamilton, David Watson, Anne Wellmer, David First, and many others. In addition to her art practice she has concurrently always been involved in the programming and organization of diverse media artevents, notably with Studio XX and Espace Vidéographe in Montreal, as well as Experimental Intermedia, NY (Screen Compositions 2005, 2006, 2007, 2008,2009, 2010) and the OptoSonic Tea series at Diapason in NYC. www.liberovskaya.net

Al Margolis has been an activist in the 1980s American cassette underground through his cassette label Sound of Pig Music, co-founder of experimental music label Pogus Productions. Active under the name If, Bwana since 1984, making music that has swung between fairly spontaneous studio constructions and more process-oriented composition. Currently Margolis is label manager for Deep Listening, XI Records, and Mutable Music; plays bass guitar in the legendary punk/post-punk band Styrenes; and continues his work as If, Bwana. He has recorded and/or performed with Pauline Oliveros, Ione, Joan Osborne, Monique Buzzarté, Katherine Liberovskaya, Adam Bohman, Ellen Christi, Fred Lonberg-Holm, Jane Scarpantoni, Ulrich Krieger, David First, and Dave Prescott, among others. www.pogus.com   www.myspace.com/ifbwana

with special thanks to Non-Event, who will be producing a concert of Phill Niblock and his music in April, 2012.







photo: Benton C Bainbridge                                                                      Susanna Bolle         

E V I D E N C E   (Stephan Moore and Scott Smallwood)
perform L o s p e r u s

and CAROLINE PARK, laptop


in concert

Thursday, December 15th 8pm
10 Channel Center St
.
suggested donation $10

Evidence is a collaboration between sound artists Stephan Moore and Scott Smallwood, with activities ranging from studio compositions and live improvisations to sound installations, street performances, and numerous collaborations with other musicians, choreographers, and video artists. Since 2001, they have developed a distinctive language of deeply layered sound, using field recordings of natural and industrial sounds as a primary source of inspiration and sonic material. Recent projects include the participatory performance/installation "Receiver", which broadcasts multi-channel compositions on several closely-tuned FM frequencies to a radio-wielding audience, and "Losperus", a performance of unstable sound sculptures, fashioned improvisationally from discarded household items.

Losperus is a performance piece by Evidence (Stephan Moore + Scott Smallwood) that uses small microphones, resonant objects and commonplace motorized devices to create a dense, evolving texture of amplified sound.  Built by humans into spontaneous kinetic sculptures that swiftly form, interact, and disintegrate, the true performers are the objects themselves, speaking and moving with a volition that eerily emulates animal awareness.

Caroline Park is a composer, performer and artist based in Providence, RI. She primarily uses minimal material to create complex fields of sound. Treating sound as object, concept, and as durational / ephemeral material, she is interested in human perceptions of (sonic) memory and the ways in which memory can be manipulated, fragmented, or re-rendered. She is drawn to the richness of static performance and its resultant, undefined potential, coming from a "less is more" aesthetic; however, she allows for organic elements to filter in throughout the process. Her current work explores non-narrative text, process as product, and memory / illusion.

She has been involved with ((audience)), Boston Center for the Arts, Non-Event, Pulitzer Foundation for the Arts, Saint Louis Symphony, Callithumpian Consort, Together: New England Electronic Music Festival, Musicacoustica Beijing, SICPP (Summer Institute of Contemporary Performance Practice), Boston Microtonal Society, Boston CyberArts, and the Los Angeles Children's Chorus, with performances in the U.S., U.K. and in China.

Park received B.M. and M.M. degrees in composition at the New England Conservatory and is currently pursuing her Ph.D. in Computer Music and Multimedia at Brown University (MEME@Brown).  More information at blanksound.org.







Audain/Graham/Hayleck/Moore Quartet

Betsey Biggs performs "Remember/Wake Up"


Peter Whincop, Forrest Larson, Jed Speare Trio

Saturday, December 3, 2011

10 Channel Center St., Boston

8pm   $10 suggested donation

betsey biggs:

Betsey Biggs is a Brooklyn and Providence-based composer and artist whose practice in music, sound, video and installation aims to explore the resonance between sound and image, to actively engage the audience, and to explore the relationships among sound, memory, and geography. Her work has been described by The New Yorker as "psychologically complex, exposing how we orient ourselves with our ears." She has collaborated with musicians and artists including Margaret Lancaster, Evidence, The Now Ensemble, The BSC, So Percussion, Tarab Cello Ensemble, the Nash Ensemble and filmmakers Jennie Livingston and Amy Harrison. Her work has been seen and heard at venues as disparate as ISSUE Project Room, Abrons Arts Center, the Conflux Festival, MASSMoCA, Sundance Film Festival, and on the streets of Oakland, Red Hook, Williamsburg and the Gowanus. Biggs holds a Ph.D. in Music Composition from Princeton University and currently teaches a course about art and place at Brown University.


andy hayleck:

Andy Hayleck is an electro-acoustic musician who lives in

Baltimore, Maryland. He uses a Paia modular synthesizer and microphones

in improvisations and compositions, utilizing the resonance

characteristics of a variety of materials. Recordings include: "Two

Gong/Wire Pieces" (Ehse), "Gong/Wire" (Earlids), "Various Recordings

Involving Ice" (HereSee), and "The Disappearing Floor" (Recorded).


carver audain:

Carver Audain (b 1981) is a sound artist who focuses on creating immersive sonic environments. He produces work comprised of his own instrumental and environmental recordings, resulting in an array of textured fields. In live performances he integrates a variety of pre-recorded source material for the use of spontaneous arrangement, live sculpting, and sampling. He has presented works at venues such as The Red Room, Zebulon, Pyramid Atlantic, Mirkwood Estates, The Bank, Studio Soto, and ISSUE Project Room, and has performed as a part of the Sonic Circuits Festival, and the Floating Points Festival. In 2009, he was the recipient of ISSUE Project Room's Emerging Composer's Commission grant care of the Greenwall Foundation.

He lives and works in Brooklyn, New York.


forbes graham:

I am a performer and a composer of music and sound. My

main instruments are trumpet and laptop computer. I was born in Silver

Spring, MD, grew up there and currently reside in the suburbs of

Boston. I have been play

ing music for almost 24 years. I explore a

variety of themes in my work including numerology, water, poetry,

rhythm, and noise.

Festival appearances include High Zero, Festival of New Trumpet,

Vision Festival, and The Wire’s Adventures in Modern Music.


stephan moore:

Stephan Moore is a composer, performer, audio artist, sound designer

and curator based in Brooklyn and Providence. His creative work

currently manifests as electronic studio compositions, improvised solo

performances, sound installation works, scores and sound designs for

collaborative performance pieces, and sound designs for unusual

circumstances. Evidence, his long-standing project with Scott

Smallwood, has performed widely and released several recordings over

the past decade. He has created custom music software for a number of

composers and artists, and has taught workshops and numerous

college-level courses in composition, programming, sound art and

electronic music. He curates the annual Floating Points Festival at

Issue Project Room in Brooklyn, where he also serves on the Art

Advisory Board. From late 2004 to mid-2010, he performed over 250

concerts with the Merce Cunningham Dance Company, serving as their

sound engineer and music coordinator, and as a touring musician.


peter whincop:

Peter Whicop is from Napier, New Zealand. He currently teaches Electronic Music Composition at MIT, and received degrees in Music Theory and Composition from University of Otago and Harvard University. Formerly a pianist, he now performs under the name anonymous-∞, also a nexus website for free dissemination of his work (under construction). He also paints and draws, incorporating the processes into video work, which ultimately is a project in making “documentals.” These document the fringes of “acceptable sanity”—though the project itself is quite conservative, lacking the flights of fancy that it documents.


forrest larson:

Composer, violist and electronic musician Forrest Larson has composed both instrumental and electronic music. His work includes both strictly composed music and live improvised electronic music.  Instrumental works include music for string orchestra, wind ensemble as well as pieces for unaccompanied violin, viola and cello. He has had a life-long love of old pre-digital analog electronic instruments, and of collecting “found sounds” from both natural as well as urban landscapes.  Analog devices such as oscillators, stomp box filters and shortwave radios are of particular interest. Some of his works combine electronic sounds and live acoustic instruments such as cello and tuba.  Other work includes electronic scores for abstract films and for solo dancer.  His music has been performed locally at various venues in the Boston area such as Mobius, MIT, Brandeis University, and at the experimental music series CTRL+ALT+REPEAT in Providence, RI. Other performances have been at Carnegie-Mellon University, Washington and Jefferson University (PA), Mansfield University (PA), Southern Oregon University, in Ithaca NY and in Iceland. As a violist, he has played in the New England Philharmonic, Boston Chamber Ensemble, and other chamber groups.  He also played violin in the Commonwealth Vintage Dance Orchestra, performed traditional Scottish fiddle music and was the musician for the Middlesex Morris Dancers.


jed speare:

Jed Speare is an artist working in a variety of media and settings. He has presented sound, video, performance and multidisciplinary work, locally, nationally, and internationally in Canada, Ireland, Poland, Belarus, Croatia, Bulgaria, Czech Republic, France, Italy, Sweden, Netherlands, and Taiwan. In 1978 he studied at the Sonic Research Studio of the World Soundscape Project, in Burnaby, British Columbia, an experience that led to his extensive work in field recordings and his advocacy about the sound environment.

He has been associated with San Francisco industrial culture as the creator of the record album Cable Car Soundscapes (1982) on Smithsonian Folkways Records and as a founder of the group, Research Library, who performed with Joan Jonas and recorded on Subterranean Records. During this time, he was also active creating numerous sound, collaborative, experimental theater, movement, and multidisciplinary performance works in San Francisco, New York, and Amsterdam, where he taught at the Theatreschool Mime Opleiding in 1986 and 1987. The double album, Sound Works 1982 - 1987, (2008) on Family Vineyard Records, includes several longer-form works from that period.
In 2008, Wire Magazine called him “a pioneer of multimedia presentation," and since then has been performing in solo and group contexts. He has been a member of the Mobius Artists Group since 1995 and is the Director of Mobius and Studio Soto.




Grizzler
(big band)

Saturday, November 5th

10 Channel Center St

8pm

suggested donation $5-$10

two sets by grizzler
plus sets by groups from the band, including:

duck that
we love you morgan
2lous
rosenstein/rawlings/sawyer
empty house cooperative




                                                                    Sarah Baumert of Pop-Up Collective                                                                    Participants' dinner

BUMPKIN TRACES EXHIBITION: YEAR FIVE

in conjunction with Fort Point Open Studios
Friday October 14 Preview, 4-7pm
Saturday and Sunday October 15 and 16, 11am-6pm
Public reception: Sunday, October 16 from 6:00-8:00

Grounded by artifacts, works, and documentation from the 2011 Bumpkin Island Art Encampment, this exhibition is a forum for artists to synthesize their Bumpkin experience with their current practices. Artists present recontextualized work from Bumpkin, images and video of their experience, as well as new work that builds upon their work from Bumpkin. This exhibition is curated by Jed Speare and Carolyn Lewenberg.

2011 Artists:

Axiom group:
Heidi Kayser
Alexander Reben
Georgina Lewis
Meghan Hickson
Sarah Rushford

Memory Vessels:
Kate Jellinghaus, teaching artist with Esther Tutella and students:
Sasha Stone
Haley Smith
Autumn Yu
Allison Black
Isabelle Higgins
Rafaela Lowe

Packrat:
Dirk Adams
Jesse Kaminsky
Helen White

Pop-Up Collective:
Sarah Baumert
Meg Rotzel
Jenn Schmidt

Traubensaft:
Uta Hinrichs
Zannah Marsh

The The Bumpkin Island Art Encampment is a five-day public art experience in the Boston Harbor Islands national park area. During their residency, artists establish a home camp/village, create and install and/or perform work that responds to the island environment, and engage with the general public during and after their art making process.

The Bumpkin Island Art Encampment is produced through a partnership of the Berwick Research Institute, Mobius and Studio Soto, the Boston Harbor Island Alliance, the Massachusetts Department of Conservation and Recreation, and the National Park Service.

The Bumpkin Island Art Encampment is curated by Megan Dickerson, Carolyn Lewenberg and Jed Speare.


 

SIMON SCOTT (MIASMA / IMMUNE)

TAYLOR DUPREE AND MARCUS FISHER (12k)

PETER WHINCOP


Monday, October 3, 2011

8PM  suggested donation $10

Simon Scott (Miasmah / Sonic Pieces / Immune)

Simon Scott is an electroacoustic composer and sound artist based in Cambridge, England. Drawing from his shoegaze past and a curiosity for the ecology of sounds, he crafts expansive, haunted soundscapes navigated by fragments of songs and faraway melodies to create an ephemeral sonic journey. His second full length LP for Miasmah, following up on the critically acclaimed ‘Navigare’ is due early October.

Besides his solo work, Simon has also released with the band Seavault, co-produced and remixed artists including The Sight Below, ON and Jasper TX and produced sound designs for a number of installations, short films and television stations.

"Scott is particularly adept at layering coolly shimmering guitars and dark churning currents of noise into something vast". "A haunting aspect of 'Navigare' is how it seems to contain traces of tunes that stand out like half-forgotten relics of the past" (The Wire - Dec'09).”

A full stream ‘Navigare’ and an excerpts from the forthcoming album ‘Bunny’ are available here:

http://soundcloud.com/miasmah/sets/simon-scott-navigare/

http://soundcloud.com/miasmah/radiances

http://soundcloud.com/miasmah/gamma

http://simonscott.org/

Taylor Deupree and Marcus Fischer (12K)

A long-standing experimental electronic composer and founder of the 12k label, Taylor Deupree and Portland, OR-based musician and multimedia artist Marcus Fischer will be performing as a duo. Using a “network of guitar pedals and instruments ranging from analog synthesizers to sticks collected while photographing” the two will be playing the sonic component of their music and photography collaboration due to be released on 12k. Textural and quiet, their music feels like the exploration of a landscape: spacious, contemplative and scattered with details. A preview is available here:

http://soundcloud.com/12k/deupree-fischer-excerpt

Taylor Deupree (from Shoals - 12k, 2010)

http://soundcloud.com/12k/a-fading-found

Marcus Fischer (from Monocoastal - 12k, 2010)

http://soundcloud.com/mapmap/cascadia-obscura

http://www.12k.com/index.php/site/artists/taylor_deupree/
http://www.12k.com/index.php/site/artists/marcus_fischer/

Peter Whincop (MIT)

Peter Whincop is from Napier, New Zealand. He currently teaches Electronic Music Composition at MIT, and received degrees in Music Theory and Composition from University of Otago and Harvard University. Formerly a pianist, he now performs under the name anonymous-∞, also a nexus website for free dissemination of his work (under construction). He also paints and draws, incorporating the processes into video work, which ultimately is a project in making “documentals.” These document the fringes of “acceptable sanity”—though the project itself is quite conservative, lacking the flights of fancy that it documents.

http://www.youtube.com/watch?v=X5BKxMWPPQI

http://www.youtube.com/watch?v=FhQCNYWqzfM





Non-Event and Studio Soto present

JASON KAHN + BRYAN EUBANKS
with Katarina Miljkovic

Wednesday, September 14, 2011

8 p.m./$15

Zürich based sound artist JASON KAHN's work includes sound installation, performance and composition. He was born in New York in 1960, grew up in Los Angeles and relocated to Europe in 1990. Kahn performs both solo and in collaborations, using percussion, analog synthesizer or computer in different combinations. He composes for electronics, acoustic instruments and environmental recordings. Kahn has performed throughout Europe, North and South America, Japan, Mexico, Korea, Israel, Turkey, Russia, Lebanon, Egypt, Hong Kong, New Zealand and Australia. This will be his fourth performance with Non-Event.

BRYAN EUBANKS is focused on collaborative improvisation, solo musical projects, and sound installations. He has performed his work in live settings across the US, Europe, Japan, and Korea. Originally interested in the saxophone, his work has expanded to include computer music and instruments of his own design that incorporate open-circuits, samplers, radio transmission, and other electronics. He has been an active musician and organizer in Portland, Oregon and New York City, and currently lives and works in Saint Petersburg, Florida.

Composer KATARINA MILJKOVIC investigates interaction between science, music and nature through collaborative musical performance. This interest led her to the mathematician Benoit Mandelbrot's essay "The Fractal Geometry of Nature" and self-similar complex structures resulting in the cycle, Forest, a dreamy piece, along the lines of Feldman or Brown. Entirely captivating." (Signal to Noise). Her generative music has been described as "a refined, hypnotic dream" (Danas), "a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors" (Radio Belgrade), "an ambient tone poem... that moved hypnotically through the sonic frame" (Lucid Culture). Miljkovic has been on the faculty at the New England Conservatory of Music since 1996 and is the recipient of the Louis Krasner and Lawrence Lesser award for excellence in teaching.

This program is supported in part by Pro Helvetia






NEW ENGLAND PHONOGRAPHERS UNION
performing their Deer Island Water Treatment Plant
recordings in 4-channel sound

Rick Breault, Michael Bullock, Ernst Karel, Kara Oehler, Jed Speare

Saturday, September 10, 2011 8pm
10 Channel Center St.
suggested donation $10


Following their four-channel concert on World Listening Day (July 18) at the historic former Pump Station at the Deer Island Sewage Treatment Plant in July, which was co-presented by the Massachusetts Water and Resources Authority (MWRA) and Mobius, the New England Phonographers Union bring their recordings to the mainland to present to a Boston audience for an immersive concert in a large former industrial space in Fort Point currently being used by Studio Soto.

Their recordings were made over several hours on multiple days throughout the vast Sewage Treatment Plant itself (on which, see http://ludb.clui.org/ex/i/MA3134/http://ludb.clui.org/ex/i/MA3134/ and http://www.mwra.state.ma.us/03sewer/html/sewditp.htm) by the Phonographers Union: Rick Breault, Mike Bullock, Ernst Karel, Kara Oehler, and Jed Speare. In live performance, the sounds are re-presented, completely unprocessed but recombined and mixed improvisationally, through a four-channel array where each side of the square is a stereo field, resulting in a unique kind of quadruple-stereo spatialization for the audience (and performers) sited within that array.

For the original concert, video reporter Scott LaPierre did a piece for the Boston Globe, including sounds and images from the Sewage Treatment Plant, interviews with the phonographers and with MWRA officials on-site, and footage from the concert: http://www.youtube.com/watch?v=RyGAikK45PE






BUMPKIN FORWARD
Bumpkin Forward Exhibition April 1-10
Public opening reception: this Saturday April 2 6:00-9:00
Gallery hours: Friday through Sunday, 2 to 5 p.m.
Location: Mobius, 725 Harrison Ave, South End 02118

An Exhibition of the Bumpkin Island Art Encampment's 2010 Projects & Artists
works, traces, and recomposition

The 2010 Bumpkin Island Art Encampment artists, curators and project
fellows invite you to visit our public presentation of last year's
projects at Mobius! The Bumpkin book documenting all 4 years of the
Art Encampment will be available to look at and purchase. The new RFP
for the 2011 Art Encampment will be available at the exhibition as
well.

A performance by Sara June and Max Lord, and a talk by Cara Brostrom
will take place at the opening reception on Saturday April 2,
6:00-9:00.

Grounded by artifacts, works, and documentation from the 2010 Bumpkin
Island Art Encampment, this exhibition is a forum for artists to
synthesize their Bumpkin experience with their current practices.
Artists present recontextualized work from Bumpkin, images and video
of their experience, as well as new work that builds upon their work
from Bumpkin.

ARTISTS:
Marisa DiPaola
Camilo Alvarez (Jessica Gath, William Pope.L, Antoniadis & Stone,
Cyrille Conan & Douglas Weathersby)
Zsuzsanna Szegedi
Mike Szegedi
Maria Molteini
Shalini Patel
Ali Reid
Sara June
Nathan Andary
Mark Davis
Cara Brostrom
Sharon Dunn
David Tames
Kalmia Strong

For more information on artists and the event: www.mobius.org

The Bumpkin Island Art Encampment is a five-day public art experience
in the Boston Harbor Islands national park area. During their
residency, artists establish a home camp/village, create and install
and/or perform work that responds to the island environment, and
engage with the general public during and after their art making
process.

The project is produced through a unique partnership of the Berwick
Research Institute, Mobius and Studio Soto, the Boston Harbor Island
Alliance, the Massachusetts Department of Conservation and Recreation,
and the National Park Service.

The Bumpkin Island Art Encampment is curated by Megan Dickerson,
Carolyn Lewenberg and Jed Speare.

For more information about the project, contact bumpkinlandoffice@gmail.com.





Audain, Graham, Hayleck, and Moore in Concert

Friday January 28, 2011


at Art@12     12 Farnsworth St. Boston     8pm

admission free / donations suggested

Carver Audain (b 1981) is a sound artist who focuses on creating
immersive sonic environments. He produces work comprised of
pre-recorded instrumental and environmental recordings, resulting in
an array of textured fields. In live performances he integrates a
variety of pre-recorded source material as well as sounds of the
physical space for the use of spontaneous arrangement, live sculpting,
and sampling. He has presented works at venues such as The Red Room,
Zebulon, Pyramid Atlantic, and ISSUE Project Room, and has performed
as a part of the Sonic Circuits Festival, and the Floating Points
Festival. In 2009, he was the recipient of ISSUE Project Room's
Emerging Composer's Commission grant care of the Greenwall Foundation.
He lives and works in Brooklyn, New York.


Forbes Graham is a  performer and a composer of music and sound. His
main instruments are trumpet and laptop computer. He was born in Silver
Spring, MD, grew up there and currently resides in the suburbs of
Boston. He has been playing music for almost 24 years and explores a
variety of themes in his work including numerology, water, poetry,
rhythm, and noise.

Festival appearances include High Zero, Festival of New Trumpet,
Vision Festival, and The Wire’s Adventures in Modern Music.

Andy Hayleck is an electro-acoustic musician who lives in
Baltimore, Maryland. He uses a Paia modular synthesizer and microphones
in improvisations and compositions, utilizing the resonance
characteristics of a variety of materials. Recordings include: "Two
Gong/Wire Pieces" (Ehse), "Gong/Wire" (Earlids), "Various Recordings
Involving Ice" (HereSee), and "The Disappearing Floor" (Recorded).

Stephan Moore is a composer, performer, audio artist, sound designer
and curator based in Brooklyn and Providence. His creative work
currently manifests as electronic studio compositions, improvised solo
performances, sound installation works, scores and sound designs for
collaborative performance pieces, and sound designs for unusual
circumstances. Evidence, his long-standing project with Scott
Smallwood, has performed widely and released several recordings over
the past decade. He has created custom music software for a number of
composers and artists, and has taught workshops and numerous
college-level courses in composition, programming, sound art and
electronic music. He curates the annual Floating Points Festival at
Issue Project Room in Brooklyn, where he also serves on the Art
Advisory Board. From late 2004 to mid-2010, he performed over 250
concerts with the Merce Cunningham Dance Company, serving as their
sound engineer and music coordinator, and as a touring musician.






BUMPKIN ISLAND ART ENCAMPMENT 2010

The 2010 Bumpkin Island Art Encampment will open to the public July 31 - August 1.  For five days, eight artist groups will take temporary ownership of eight plots of land on Bumpkin Island. As "homesteaders," they will build some kind of home on the land, live on the land for five days, and "improve" the land via a site-specific, temporary performance or installation.   

2010 PROJECTS & ARTISTS

Octopus' Garden, Marisa DiPaola

Inspired by the Hawaiian creation myth and an Eyak story, "The Woman and the Octopus," DiPaola will act as an octopus homesteader and knit found materials into a floating shoreline shelter and aquatic garden, complete with a kelp bed, urchin cushions, and other domestic amenities.

The Great Bumpkin Hunt, Ali Reid

Building on island folklore that "Bumpkins" are "little guys with glowing eyes," Reid and a cast of intergenerational family members will lead daily interpretive tours exploring the mysterious species' rise and decline.

Tidal, Ellen Godena and Nathan Andary

Tidal is a series of body-land sculptures that mimic tidal movement over Bumpkin's "gut"-a land bridge to Hull that emerges at low tide. As Godena and Andary's movements shift pebbles and stones, piles of rock will accumulate and dissipate, appearing as rolling ‘waves' in the direction of their movements.

No Place to Go or Won't You Please Walk With Me, Cara Brostrom

Brostrom invites visitors to walk with her as she loops Bumpkin's 20 acres, walking the island clockwise some 12 miles per day. Traveling a great distance without going anywhere, she will mark her progress by adding one rock to a cairn each time she passes her starting point.

Bumpkin Sky-Land, Mark Davis

Davis will delve into the mystical realm of "sky-land"-alluded to in a WWI-era ballad about Bumpkin-as he summons the island's aerial genii loci to manifest themselves in the form of floating lattice structures and shoreline fire-glyphs.

4-D Map: Portraits of Stones & Plants Found Along the Water's Edge, Sharon Dunn

Stones and monumental portraits, positioned in a circle as "offerings," will map elements of Bumpkin's coastal ecosystem, tidal life zones, foliage and geology. Visitors will access digital photos and an online journal by mobile device.

Encampment within the Encampment, Camilo Alvarez, Shalini Patel, Mike Szegedi, Szussanah Szegedi, & Maria Molteni

Five artists will feed and support each other through a micro-encampment of nine distinct projects:

  • Camilo Alvarez, preparator, will install or perform works by four artists: Antoniadis & Stone, Jessica Gath, Douglas Weathersby, Cyrille Conan, Seth West and William Pope.L.
  • Mike Szegedi, engineer, will prepare a bicycle-mounted video confession booth that will travel the island collecting inhabitants' innermost feelings.
  • Maria Molteni, performer, will recreate an American myth and cryptozoological spectacle through the creation and inflation of a 20 - 30 foot "Montauk Monster."
  • Shalini Patel, practitioner, will explore ritual and engagement through two interrelated projects: the Bumpkin Island Tea Party, in which "Identitea Stalls" will provide settings for visitors to converse, drink tea and read Tarot cards, and Rain Free, the performance of creating the tie-dyed "Identitea Stalls" out of muslin, natural dyes, and island resources.
  • Zsuzsanna Szegedi, painter, will adapt to rising tides as she performs a drawing installation, suggesting outlanders' struggles in new places. Process will be captured with time-lapse video. Visitors are encouraged to participate.

 

VISIT INFORMATION

Getting There

The Bumpkin Island Art Encampment is free to all visitors. However, you have to get to the island first! Ferry tickets are $14 for adults, $10 for seniors, and $8 for kids. The inter-island shuttle to Bumpkin costs an additional $3. For a full schedule of ferry arrivals and departures and other tips on planning your visit, go to the Boston Harbor Islands website:

http://www.bostonharborislands.org/mainland-piers

In addition to the public ferry, a special Art Encampment boat shuttle will deliver visitors directly to the island. The boat leaves Christopher Columbus park at 1pm on Saturday, July 31 and Sunday, August 1, and returns to Boston both days at 7pm. Tickets are only $15 per person and WILL sell out. Purchase advance tickets now at:

http://www.brownpapertickets.com/event/117637

Curators and Partner Organizations
The Bumpkin Island Art Encampment is curated by Megan Dickerson, Carolyn Lewenberg and Jed Speare. The Art Encampment grew out of the Berwick Research Institute's Special Projects Incubator program, and is co-presented by Studio Soto, a space for ideas in Fort Point; Mobius, Boston's artist-run center for experimental work in all media; the Boston Harbor Island Alliance, a non-profit in support of the Boston Harbor Islands; and the Massachusetts Department of Conservation and Recreation.





CONCERT WITH KAFFE MATTHEWS (LONDON)

AND DEREK HOFFEND (BOSTON)

THURSDAY JULY 22nd 7:30 pm


On Thursday, July 22nd at 7:30 pm, Studio Soto presents the dynamic London sound artist Kaffe Matthews in a special Boston appearance. Joining her on the bill will be Boston's Derek Hoffend. Both artists share an interest in creating autonomous sound environments and special frequencies through sonic furniture, though this performance presents their concert works' modalities.

The concert is being held at and is produced in collaboration with the Fort Point Arts Community venue Art@12, on 12 Farnsworth St., Boston. Admission is free with a suggested donation of $10.

Kaffe Matthews  - making architectural music to feel through your body as well as your ears.- was born in Essex, England and lives and works in London.

Since 1990 she has been making and performing new electro-acoustic music worldwide with a variety of things and places such as violin, theremin, Scottish weather, desert stretched wires, NASA scientists, melting ice in Quebec and the BBC Scottish symphony orchestra. Currently she is researching 3D composition through Hammerhead sharks in Galapagos and Atlantic salmon in Northumberland rivers. Acknowledged as a pioneer in the field of electronic improvisation and live composition, Kaffe has released 6 solo  CD’s on the label Annette Works.

Often collaborating, her present projects are with sonic furniture project ‘music for bodies’ and climate change activist fan band The Gluts with Café Carbon.

http://annetteworks.com/
http://www.kaffematthews.net/


Derek Hoffend is a visual and audio artist who creates sound-sculpture installations and electro-acoustic music. Installations examine intersections between sound, objects, body, and environment, combining electronic, acoustic, recorded, and self-generative audio processes with found and constructed objects and spaces. Live performances traverse immersive, evolving, textural soundscapes, combining composed and improvised digital and analog processes for computer, hand-made circuits, and modified electronic and acoustic instruments. Recent work has explored immersive audio, multi-channel arrangements and sculptural forms (4 to 12 speakers), tactile interfaces, viewer participation, resonant objects and spaces, and architecture and site as instrument.

http://derekhoffend.com/





WORLD LISTENING DAY CONCERT   SUNDAY   JULY 18  7 pm

NEW ENGLAND PHONOGRAPHERS UNION


On World Listening Day, Sunday, July 18th at 7pm, The New England Phonographers Union will be presenting a concert at Art@12, on 12 Farnsworth St., a venue of the Fort Point Arts Community in the Fort Point section of Boston. The concert is sponsored by Studio Soto, a space for ideas, and is being produced in collaboration with the Fort Point Arts Community and the Boston Fire Museum. Members of the New England Phonographers Union participating in this event are Rick Breault, Derek Hoffend, Ernst Karel, and Jed Speare.

The concert begins at 7pm and there is no admission charge, with a suggested donation of $10.

 

 

According to the World Listening Project, the purposes of World Listening Day are:

• to celebrate the practice of listening as it relates to the world around us, environmental awareness, and acoustic ecology;

• to raise awareness about issues related to the World Soundscape Project, World Listening Project, World Forum for Acoustic Ecology, and individual and group efforts to creatively explore phonography;

• and to design and implement educational initiatives which explore these concepts and practices.

 

World Listening Day is being organized by the World Listening Project, in partnership with the Midwest Society for Acoustic Ecology. July 18 was chosen as the date for World Listening Day because it is the birthday of the Canadian composer R. Murray Schafer, who is one of the founders of the Acoustic Ecology movement. The World Soundscape Project, which Schafer directed, is an important organization which has inspired a lot of activity in this field, and his book The Soundscape: Our Sonic Environment and the Tuning of the World helped to define many of the terms and background behind the acoustic ecology movement.

 

There are dozens of organizations and individuals participating in World Listening Day worldwide. For more information go to http://www.worldlisteningproject.org/?p=667

 

http://nephono.org/

 

http://www.silenceopensdoors.com/2010/04/21/new-england-phonographers-union-micd-3/

 





special event: from Amsterdam

MOVEMENT PERFORMANCE AND DRAMATURGY
– AN INTRODUCTORY WORKSHOP WITH ROB LIST

Saturday and Sunday, March 13th and 14th;
10 - 6pm $150
Studio Soto at Thompson Design Group
35 Channel Center St., corner

Studio Soto is pleased to host the return to Boston of the award-winning American choreographer and performer based in Holland, Rob List, following his performance here last April. He will conduct a special two-day workshop on performance, based on his unique approach to movement and the pedagogical tools he uses to develop composition and illuminate the performer's presence. For more information about his work and methods, read an article on his website here; view his videos of performance workshop "models" here; and follow his blog, Mirror to the Flower, here. For more information contact Jed Speare at jed@studiosoto.com or call 617. 426. 7686.

about the workshop:

One of the major challenges for the performing artist, no matter what form or style of dance, mime or theater, is actually ‘being in the moment’ when performing. How does one avoid getting ahead of oneself, acting only from memory, being overly self-conscious or self-analyzing when moving or acting onstage?


In this workshop we will look at some basic principles and techniques to help overcome these difficulties. We will begin each day’s work with specific drawing exercises to stimulate concentration, bringing the eye in sync with the act of drawing – without engaging memory, planning or self-judgment. We will then create a simple movement phrase to use as a model in order to successively examine different techniques for bringing the performing mind and body together. We will deal with topics like no repetition, no symmetry, no simultaneity, precarious balance, and inhalation as inspiration.


As well throughout the workshop we will continuously examine the ideologies of movement, choreography and the dramaturgies of performance, and how these can affect meaning in theater and dance. We will attempt to collapse the distance between viewer and performer, to see how interpretation and judgment can be subverted in a search for a new and unexpected way of moving and being onstage. The goal is a continuously open and fresh approach to the act of performance.


This is an open workshop for dancers, actors, directors, performance artists, architects, visual artists, composers, teachers and everyone who is interested in how the body communicates meaning in movement, gesture and posture. No previous qualifications or experience needed.


Rob List is an American choreographer based in Amsterdam, who has developed a highly unique stage language that seeks to subvert meaning and create a contemporary and individual role for dance outside the modern and post-modern tradition. For the past twenty years he has performed and taught his work in Europe, Brazil and the US. He has won numerous awards, and worked with many young dancers and performers in his company OZU. In 2007 he was movement advisor to Anna Teresa De Keersmaeker in the making of her solo ‘Keeping Still.’ In June he will be in a special month long residence at Parkers Box Gallery in New York, presenting new and old works with his international company.

More information about Rob List and his work on his website.ozu.nl

and his Studio Soto artists page


Nora Valdez                                                            Bart Uchida

October Exhibitions at Studio Soto :

r e  -  m e r g e n c e

installations by Nora Valdez and Bart Uchida
 

October 16th through 31st

Gallery hours Fri.4-7; Sat. Sun. 2-5

 

And in conjunction with the 30th Annual Fort Point Open Studios

Friday October 16th – Sunday October 18th

Fri. 4-7; Sat and Sun. 11-6

Reception Sunday October 18th 6pm


Studio Soto at Thompson Design Group

35 Channel Center St., corner

Fort Point, Boston

 

Nora Valdez and Bart Uchida have been active in Boston for many years as sculptors, installation artists and in creating community-based public art. There is a further parallel in their work as each has also evolved to longer forms and media, such as stone carving. Some of you from Fort Point may remember Bart as a member of the Mobius Artists Group, as well as the originator and coordinator of the Boston-Tainan Art, Architecture and Urban Design cultural exchange, a unique project that in the late-nineties brought together over thirty artists, architects and urban designers from Boston and Tainan, Taiwan, to collaborate together on the waterfront development issues affecting each city, with creative actions to enliven and relieve them.

 

Bringing these two artists together is a hosting of two global souls of an earlier generation, who do not work in their country of origin and who through the benefit of wisdom create fully-formed works as a sculptural environment.

 

Nora Valdez’s featureless, rudimentary figures in stone, expressly null as well as bound in a series of drawings also on display, bring to mind the unseen, unimaginable and unspeakable wanderers that globalization has edged off the planet production line. In the installation, they appear as in a labyrinth of truncated paths between the lands of the artist’s principal destinations. We cannot know the restlessness of and between those geographic points, of suitcases chronically packed, or what the gift boxes contain, the renditions and ameliorations of absence, and the empty paper bags of ephemera.

 

Valdez’s topography is a personal one, whereas Bart Uchida’s re-mergence reads actively and aerially, like weather systems, storm tracks and volcanoes. Twists, bends, fusions, the unexpected combination of materials and their weight, color, and scale reap fresh interplays of isles. Each seems a presence formed at once, with accumulated layers that of a moment embody themselves with the origins and embers of its energy still contained.   ----Jed Speare


This piece searches through a series of figurative sculptures that act as maps touching on a range of themes and issues: personal and cultural identity, loss and memory, motherhood and family, sexuality and love.

I evolve and build upon my motive art, echoing and illuminating feelings of innocence, sadness, hope, fear, desire and every day life. My surrealistic inclinations amplify the dualities of my complex yet simplistic renderings of the human form, giving way to the power of monumentality.

 

I was born in Mercedes San Luis Argentina with an Italian mother and a Spanish father. After I finished my studies, I moved to Brazil, Italy and Spain. I married an American and came in 1986 to Boston, USA, where my only daughter Stephanie was born. I feel like I’m carrying my luggage, baggage all the time. I feel I’m from here, there and nowhere.

 

I use my art to make peace with a place or myself, connecting me to the earth and see things like a whole, by responding to issues of displacement, immigration and fragmentation. ---Nora Valdez

The wonderful thing about working with new materials is that one is freed to explore new forms.
“Re-mergence”, a hybrid non-word and rife with interpretive meanings, is about that exploration. My work is the merging of former ideas & images written into another sculptural language that bears its unique poetic structure, rhythm and space.
----Bart Uchida, 10.09


Hannah Burr                                             Sharon Dunn

Bumpkin Island Art Encampment Traces, year III

October 16th through 31st

Gallery hours Fri.4-7; Sat. Sun. 2-5

 

And in conjunction with the 30th Annual Fort Point Open Studios

Friday October 16th – Sunday October 18th

Fri. 4-7; Sat and Sun. 11-6

Reception Sunday October 18th 6pm


From Thursday, July 30, 2009 to Monday, August 3, 2009, eight artist groups each took ownership of one plot of land on Bumpkin Island.

 

As "homesteaders," they:

 

    * Built some kind of "home" on the land,

    * Lived on the land for five days, and

    * Improved the land via a site-specific temporary project, performance or installation

 

Having realized its third year of the encampment this past summer, this exhibition returns traces and documents from each project. Art encampment calls to our nature in its solitude and engagement, of being “away,” with adventure, of wilderness and the sea, of a tightly formed community of purpose, the problem solving of process, and the ultimate resolution of these aspects and desires through the works.

 

Three years of the encampment have demonstrated that its appeal may be in these possibilities and challenges. It has attracted a certain kind of focused and serendipitous participation, consistent with those willing to work with and acknowledge limitations, and to utilize, collaborate with, enhance and unharm the existing environment in a creative spirit of human ecology.

 

Artists of the third encampment are: Kate Dodd, Hannah Burr, Heather Kaplow, Mark Davis and Kalmia Strong, Stephanie Cardon, Courtney Lockemer, and Marc McNulty, Sharon Dunn, David Tamés, and Alice Apley, Brendon Wood, Raymond Garrett, and William Conley, Gabriel Cira, William McKenna and James Sannino.

 

Project Fellows included documentary filmmaker Patrick Johnson, multimedia artist Ali Reid, and artist and chef Sarah King McKeon. The Bumpkin Island Art Encampment is curated by Megan Dickerson, Carolyn Lewenberg and Jed Speare.

 

Exhibition visitors will have the opportunity to buy a limited-run Bumpkin catalogue featuring artists and projects of all three years.






Q U I E T   M U S I C   II

New England Phonographer’s Union

das kleine Field Recordings Festival – in conjunction with the festival in Berlin


Rick Breault, Michael Bullock, Derek Hoffend, Ernst Karel, Jed Speare, Asher Thal-Nir 


Friday, October 9, 2009

8pm

suggested donation $5-$10


at Thompson Design Group

35 Channel Center St., corner


The New England Phonographers Union is a fluid congregation of sound artists and field recordists who work with untreated and unprocessed recordings of the rich and varied sounds around them. Through the exploration and documentation of urban and rural public spaces, sound objects and events, the Union captures auditory phenomena otherwise lost, and re-interpret the particularity of individual places as a newly idealized sonic environment. Within a focused listening environment the members present their recordings, both individually and as collaborative improvisations. The project is modeled after the Seattle Phonographers Union, which was founded in 2002 and has spawned like-minded groups in New York, Chicago, London, and Montreal. http://nephonography.wordpress.com

Tonight’s performance takes place in parallel with the das kleine Field Recordings Festival in Berlin. Its website is http://dkfrf.wordpress.com/about/




this: moment - missives from another world                                                                                     S T I L L   M O V E                                                                                  


this: moment
missives from another world
photographs 
l  Bob Raymond

S T I L L     M O V E

installation 
l  Wenxiong Lin

June 21 - July 19 , 2009
opening reception June 21, 3 - 7pm
Studio Soto at Thompson Design Group
35 Channel Center Street, corner
gallery hours Fri 4 - 7; Sat 2 - 5; Sun 2 - 5

Organizations and artists need documentation of their work for their own records, and for their own sake.  When the medium is performance and other time-based arts, documents may be the only thing that exists afterwards. Re-contextualizing documentation as a final form is a cottage industry of recomposition and reflection, generating debate. Yet if the document didn’t exist there would be a lot less to talk about, and though our memories may be rich, the field would be barren.

When Mobius Artists Group member Bob Raymond began documenting Mobius events, his primary intention was to provide a record of the organization’s work that could be drawn from to use as support materials needed for grant applications. Some of the uses and actions grew, in providing images for the artists, with other activities such as publicity stills for upcoming works. Counted alone, by photographing performances and installations in 35mm slide film (and to some extant 35mm BW negative) from the early eighties until the early 2000’s switch to a digital camera, Mobius, through Bob’s work, amassed a collection of slides estimated conservatively at over 10,000 in number. These slides and other materials have also been numbered, archived and stored by Bob, as well as over 15,000 digital images since the changeover to digital media.

This exhibition came about when Bob Raymond brought some new archival prints he’d been making to a meeting. Their quality, care, and presence carry the ghost of the event as surely as the event performed itself. And there was and is still a particular Raymond protocol, all the more impressive considering the results it yielded. His protocol gave complete respect to the performer’s focus, avoiding the possibility of breaking it, for first of all, he never used a flash inside Mobius’ black-box space and its twenty years of performances there. Secondly, he avoided all shutter clicks, especially during quiet moments, lest that too adversely affect the performer as well as the audience. Without a flash, he relied on long exposures in primarily low light conditions. There are, often, trails of movement as a result. But also as often, there is the stillness needed to register the image in focus, and something delicately in between as well. Raymond’s knack for capturing moments, some in high tension and in process is clear here.

Bob Raymond also took his documenting a creative step further than most. To me, one of the distinguishing features of the work is how he works in detail as well. An image that probably would not convey the scope or general appearance may on the other hand reveal an important feature, or be framed in such a vital way that it gives its subject broader amplification inside its forms, yielding a new one. That insight is among the artist’s gifts he has brought to this collection and to the Mobius archive.

Mobius’ archive, which contains Bob’s work and also documentation from others in the Mobius community, is on the move, too. One local university, building a new digital archives laboratory, has proposed using the Mobius archive as its project for graduate student interns. Another university is now considering housing the entire Mobius archives, including paper, film, video and sound documents, with Bob Raymond’s images the centerpiece of it.

I wouldn’t know, but I would like to guess, that in our time there is no other photographer with the record of commitment and continuity Bob Raymond has through his 28 years of documenting Mobius. I think it’s high time the body of work of this artist and photographer be seen, noticed, and acknowledged. And I hope this exhibition advances that inevitability sooner.

Jed Speare, 6/09

Bob Raymond is a long-time member of the Mobius Artists Group.  He is an intermedia artist who has worked in many forms of electronic visual and aural media.   In the past, he has engaged in performance,
installation, sound environment composition, video, and photography. He has been documenting (photographically and at times using video) the work of Mobius members and other experimental artists who might cross paths with Mobius since the early 1980's.  He also maintains the photographic archives of Mobius, Inc.   Until recently, he had worked for over 20 years as an engineering manager in the televisionindustry.  He is now weighing his future options on a precise scale,
one by one.  The floor of his workshop is littered with them.


Installation components of S T I L L   M O V E
text by the artist

LEGEND (video)The inspiration of this short film could be retrospect to a popular monster story among students when I was in my early years. After more than twenty years, I composed this film with the assistance of my friends.
 
When time is involved, different experiences and thoughts might come from the same story. If, we say, a beautiful person’s back view and the curiosity of that person’s other side were the center of attention over 20 years ago, we might consider the figure in the pictures as scenery today.
 
“My shoes” series started in 2007, which includes my old shoes and sculptures and installations after the models of my old shoes. It seems to be a gaze or survey of myself and the outer world from me in another space.
 
My shoes (installation) One group is composed of shoes sculptures and salt. It seems the objects have lost gravity by the force of mind. It’s suspending and floating in the air. Or it’s moving but just couldn’t be seen by eyes. Still or moving becomes a kind of relativity here. Another group is composed of cloth and shoes. The length and shape are changeable according to the space.  
 

My shoes (slide show) A series of pictures captured different moments. The pictures were taken outdoors in natural settings. Flowers, grass, trees, light and wind are all parts of the show. I tried my best to preserve all those pictures, for none of them are more important than the others. They just existed at a different moment. It’s a silent poem composed of paused or continuous pictures. It’s a fanciful flight after revival, a journey of spirit. The image projected on the wall seems like continuance and shift of time.  

For this exhibition, I pay my respects to the people who stand facing hardship.

Born in Fujian, China
1989-1993  Attached School of Central Academy of Fine Art , Beijing China
1993-1998  Central Academy of Fine Art, Beijing China   
2004           Moved to San Francisco Bay Area.  Lived in Oakland.
2007           Moved to Boston



_____________________________________________________







R o b    L i s t   (Amsterdam)

2   s o l o s :  N a t u r a   M o r t a   a n d   F o l l y

Wednesday, April 29th 8:30 pm
Studio Soto at Thompson Design Group
35 Channel Center St., corner
suggested donation $10

Studio Soto is honored to host the first solo performances in Boston of renowned American/Dutch choreographer, Rob List. List has developed a unique personal style of movement related to ideas of minimalism, abstraction, and architecture. He performs with less of an intent to show his face in order to reduce the viewer's reading of emotion, while instead suggesting anonymity and an everyman sense of the figure in space, in the moment with the audience.

The performance is in conjunction with his recently completed exhibition at Studio Soto the past month, Rob List: Drawings About Movement, part of a series featuring multidisciplinary artists working across media. For more information about Rob List, visit http://www.studiosoto.org/artists/rob-list null   and Rob List's website at www.ozu.nl 

Natura Morta [1996]

This solo performance is the first in a series of movement pieces exploring underlying themes in the genre of painting known as 'still-life', in which objects such as flowers, food, instruments or ornaments are displayed on a table. These objects, while unmoving, can be filled with vitality, a living presence with a quality of immanence. The paradoxes in 'still life' are inherent in the term itself, as well as in its equivalent Latinate term 'natura morta'. 'Life/death, still/moving, natural/unnatural' are the themes of this movement performance - in which an anonymous figure stands behind a table with a vase of flowers and begins a journey which crosses all of these paradoxical boundaries. Performed in Amsterdam, Marseille, New York, Zurich, Tilburg, and Prague. Winner of the 1997 Netherlands VSCD Mime Prize.

Folly [2000]

This solo performance is the first in a series of "follies". Folly is an English word meaning "foolish action, undertaking or belief". It also refers to a form of landscape architecture, Follies were structures made by 18th century English and French gentry to enliven and demarcate their gardens - towers, obelisks, grottos, rustic monuments or other buildings - reflecting not only the obsessions of their creators but also their fascination with nature as something picturesque, frightening, or sublime.
This movement performance explores the double meaning of folly: an absurd and vain act as well as a structure erected in a world of "howling wilderness". 

In September a select few had a rare treat as the American expatriate Rob List performed one of his "Follies" at the Sideshow Gallery in Williamsburg, Brooklyn, in conjunction with the American Abstract Artists exhibition "Material Matter." With his tall, thin frame clad in a black suit, Mr. List sang a song, then had a haunting choreographic conversation with time, narrative and the gallery's smooth white walls. It passed too quickly. Like all these dances, it's a conversation that needs to resume, and soon.

- Claudia La Rocco, dance critic New York Times, December 23, 2007

This is a performance which calls up emotionally colored memories one cannot quite place. The act of performance itself might have begun like this - with just the body in space. Since then there has been so much added that it is extraordinary when a performer begins there again.'

- de groene amsterdammer

Rob List recently performed a piece from his Figure Series in an atelier with large windows outside town. The performance occured just at twilight, challenging the audience's perceptual capacities in following the minimal actions of the performer.The result was an hallucinatory experience with the audience becoming conscious of every movement in the space. Sometime the space itself seemed to change. The final result was a performance of great strength and beauty.'

- de neskrant






Yucef Merhi

an installation in conjunction with the Boston Cyberarts Festival

Sunday, April 26 through Sunday May 10

opening reception Sunday April 26 from 4 - 7 pm

gallery hours Fri. 4 - 7; Sat. and Sun. 12 - 5


Join Studio Soto for a special exhibition of Yucef's Merhi's programmed poetry in two of his works, the Poetic Clock and Super Atari Poetry. Merhi is from Venezuela and views poetry as subversive by nature. Former projects include hacking into the email account of President Hugo Chavez; obtaining and reprogramming the source code of the first 3D computer game ever made; appropriating the user’s database of a large telecommunication company owned by Verizon, Inc; or getting and using the credit card of the old British Artist, Damien Hirst.
Locally, he was featured in Aspect Magazine's Volume 11:
ARTE DE LAS AMÉRICAS


Super Atari Poetry (2005) is a multiplayer game installation consisting of 3 Atari 2600 consoles, joysticks,  self-manufactured cartridges, and TV monitors. Each cartridge contains a database of verses that were written by Merhi. (For this exhibition, there is one console and player.) Players can move forward and backward the sentences or freeze/swap their  shifting colors.  The reading of the 3 verses printed on the screens produces an interactive and coherent poem that is always changing its meaning and chromatic structure. With Super Atari Poetry, participants can make about 1000 different poems. Here, programming language plays a major role in the construction and exhibition of poetry. Both, programming and natural language take part of the same experience. In order to build the game cartridges, sentences had to be translated from English to Assembler, also known as Machine Language. In contrast, the Atari interprets the code and displays an image that becomes language that people can understand and, once again, interpret.
Super Atari Poetry is an invitation to feel and celebrate the linkage between the history of media and the history of art; the nexus between programming language and natural language, technology and literature, videogame and poetry.


----

The Poetic Clock (2000-08) is a digital clock that transforms time into poetry. It is comprised by 4 rows of text, wrote in Spanish and programmed in ActionScript, projected on a wall using a computer-connected video beam.  Every time an hour changes a new sentence is printed on the first line. When a minute changes a sentence pops on the second line. The change of seconds is represented by the change of sentences on the third line. Finally, the fourth line shows the hour as HH:MM:SS .

The reading of the three verses produces an articulated and coherent poem; a poem that mutates each second, minute and hour; a poem that is continuously becoming another of itself, displaying through language the movement of time. As a result, the Poetic Clock generates 86.400 different poems every day.

----

Statement

My work explores the connections between technology and semantics, delving into the boundless fluxes among natural and programming language. The comprehension of this duet led me to develop methods and machines in the form of software-based installations, Internet projects and video games; addressing social, political and philosophical issues.

In every project I produce the machine becomes an extension of the poem, expanding the potential of words and extending the limits of language; while poetry becomes a prolongation of the employed technology, providing an emotive and meaningful presence.  This translation of poetry (natural language) into Java, C++, Flash ActionScript or Assembler (programming languages), turned out to be not only a challenge, but also a procedure to deal with the core of digital technology. The relation computer-poem that I outline attempts to redefine the role of the poet/coder and our experience of written poetry in our present.

Yucef Merhi
http://www.cibernetic.com


                                                                                    









Julie Andrée T. - Landscape for the ones who get lost

an installation
March 13th to April 12th
Opening reception Friday March 13th, 5 – 8 pm
with performance by the artist; 
closing performance Sunday, April 12th at 5pm

Rob List – Drawings About Movement, 1980 – 2000

March 13th – April 29
Closing reception Wednesday, April 29
with performance by artist, time tba

location: 35 Channel Center St., corner
Studio Soto at Thompson Design Group

gallery hours: Friday, 4 - 7 pm; Sat. and Sun. 12 - 5 pm

Studio Soto is pleased to present two concurrent exhibitions with internationally renowned artists Julie Andrée T., from Quebec City, Quebec Canada, and Rob List from the Netherlands.

Julie Andrée T. will present a new installation, “Landscape for the ones who get lost,” in a 3.500 sq. ft. space where Studio  Soto is in-residence at Thompson Design Group. Rob List’s “Drawings About Movement, 1980-2000” will be in a smaller brick project space with a selection of his work on video there as well.

Both artists are widely known in other genres: Andrée T. in performance art and List in choreography and movement. Though Andrée T. has had numerous commissions for installations, most of her work has taken place in an international performance realm that has taken her to several continents. List is known primarily in New York and abroad, where he worked prior to moving to Amsterdam in 1985. His solo performances along with his Company Ozu have had an enormous impact creatively and pedagogically in the Netherlands and beyond. Not only a Dutch phenomenon, in late 2007, New York Times dance critic Claudia La Rocco cited List’s performance of “Folly” in New York that year as one of the year’s five best.

Both artists will be performing during the exhibitions. Julie Andrée T. at the opening reception on March 13th and closing of her exhibition on April 12th. Rob List will perform on Wednesday, April 29th.

Studio Soto is very honored to present these artists and grateful to Thompson Design Group for our residency. Julie Andrée T.'s exhibition and performance's are supported in part by the Délégation du Quebec, Boston.


more information on Julie Andrée T. here
more information on Rob List here








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