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Voice Phenomenon Electronic
Praised by Morton Feldman, courted by John Cage, bombarded with sound waves by Alvin Lucier: the unique voice of singer and composer Joan La Barbara has brought her adventures on American contemporary music’s wildest frontiers, while her own compositions and shamanistic ‘sound paintings’ place the soprano voice at the outer limits of human experience. By Julian Cowley. Photography by Mark Mahaney Electronic Joan La Barbara has been widely recognised as a so particularly identifiable with me, although they still peerless interpreter of music by major contemporary want to utilise my expertise. That’s OK. I’m willing to composers including Morton Feldman, John Cage, share my vocabulary, but I’m also willing to approach a Earle Brown, Alvin Lucier, Robert Ashley and her new idea and try to bring my knowledge and curiosity husband, Morton Subotnick. And she has developed to that situation, to help the composer realise herself into a genuinely distinctive composer, what she or he wants to do. In return, I’ve learnt translating rigorous explorations in the outer reaches compositional tools by apprenticing, essentially, with of the human voice into dramatic and evocative each of the composers I’ve worked with.” music. In conversation she is strikingly self-assured, Curiosity has played a consistently important role communicating something of the commitment and in La Barbara’s musical life. She was formally trained intensity of vision that have enabled her not only as a classical singer with conventional operatic roles to give definitive voice to the music of others, in view, but at the end of the 1960s her imagination but equally to establish a strong compositional was captured by unorthodox sounds emanating from identity owing no obvious debt to anyone. -
National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
VIPAW Wall Texts
3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky. -
26 in the Mid-1980'S, Noise Music Seemed to Be Everywhere Crossing
In the mid-1980’s, Noise music seemed to be everywhere crossing oceans and circulating in continents from Europe to North America to Asia (especially Japan) and Australia. Musicians of diverse background were generating their own variants of Noise performance. Groups such as Einstürzende Neubauten, SPK, and Throbbing Gristle drew larger and larger audiences to their live shows in old factories, and Psychic TV’s industrial messages were shared by fifteen thousand or so youths who joined their global ‘television network.’ Some twenty years later, the bombed-out factories of Providence, Rhode Island, the shift of New York’s ‘downtown scene’ to Brooklyn, appalling inequalities of the Detroit area, and growing social cleavages in Osaka and Tokyo, brought Noise back to the center of attention. Just the past week – it is early May, 2007 – the author of this essay saw four Noise shows in quick succession – the Locust on a Monday, Pittsburgh’s Macronympha and Fuck Telecorps (a re-formed version of Edgar Buchholtz’s Telecorps of 1992-93) on a Wednesday night; one day later, Providence pallbearers of Noise punk White Mice and Lightning Bolt who shared the same ticket, and then White Mice again. The idea that there is a coherent genre of music called ‘Noise’ was fashioned in the early 1990’s. My sense is that it became standard parlance because it is a vague enough category to encompass the often very different sonic strategies followed by a large body of musicians across the globe. I would argue that certain ways of compos- ing, performing, recording, disseminating, and consuming sound can be considered to be forms of Noise music. -
The Internet As Playground and Factory November 12–14, 2009 at the New School, New York City
FIRST IN A SERIES OF BIENNIAL CONFERENCES ABOUT THE POLITICS OF DIGITAL MEDIA THE INTERNET AS PLAYGROUND AND FACTORY NOVEMBER 12–14, 2009 AT THE NEW SCHOOL, NEW YORK CITY www.digitallabor.org The conference is sponsored by Eugene Lang College The New School for Liberal Arts and presented in cooperation with the Center for Transformative Media at Parsons The New School for Design, Yale Information Society Project, 16 Beaver Group, The New School for Social Research, The Change You Want To See, The Vera List Center for Art and Politics, New York University’s Council for Media and Culture, and n+1 Magazine. Acknowledgements General Event Support Lula Brown, Alison Campbell, Alex Cline, Conference Director Patrick Fannon, Keith Higgons, Geoff Trebor Scholz Kim, Ellen-Maria Leijonhufvud, Stephanie Lotshaw, Brie Manakul, Lindsey Medeiros, Executive Conference Production Farah Momin, Heather Potts, Katharine Trebor Scholz, Larry Jackson Relth, Jesse Ricke, Joumana Seikaly, Ndelea Simama, Andre Singleton, Lisa Conference Production Taber, Yamberlie Tavarez, Brandon Tonner- Deepthie Welaratna, Farah Momin, Connolly, Jolita Valakaite, Cynthia Wang, Julia P. Carrillo Deepthi Welaratna, Tatiana Zwerling Production of Video Series Voices from Registration Staff The Internet as Playground and Factory Alison Campbell, Alex Cline, Keith Higgons, Assal Ghawami Geoff Kim, Stephanie Lotshaw, Brie Manakul, Overture Video Lindsey Medeiros, Heather Potts, Jesse Assal Ghawami Ricke, Joumana Seikaly, Andre Singleton, Deepthi Welaratna, Tatiana Zwerling Video -
Toward an Ecology of Gaming Katie Salen Institute of Play; Parsons the New School for Design, Design and Technology
Citation: Salen, Katie. “Toward an Ecology of Gaming." The Ecology of Games: Connecting Youth, Games, and Learning.Edited by Katie Salen. The John D. and Catherine T. MacArthur Foundation Series on Digital Media and Learning. Cambridge, MA: The MIT Press, 2008. 1–20. doi: 10.1162/dmal.9780262693646.001 Copyright: c 2008 Massachusetts Institute of Technology. Published under Creative Commons Attribution-Noncommercial-No Derivative Works Unported 3.0 license. Toward an Ecology of Gaming Katie Salen Institute of Play; Parsons the New School for Design, Design and Technology A time is marked not so much by ideas that are argued about as by ideas that are taken for granted. —Jonathan Letham1 1954. West Germany gains an unexpected 3-2 victory over Hungary in the World Cup, known from then on as The Miracle of Bern. Officials announce that an American hydrogen bomb test had been conducted on Bikini Atoll in the Pacific Ocean. Marilyn Monroe weds Joe DiMaggio. The Geneva Conference partitions Vietnam into North Vietnam and South Vietnam. Mathematician Alan Turing commits suicide. “Gaming as a Technique of Analysis” is released, praising games as designed models with which to think. When viewed from this perspective, 1954 looks a lot like 2007: a year of instability and transformation on the world stage, a year shadowed by the promise and threat of competing ideologies, a year colored by fear, hope, and the advent of new technology. 1954 was also a year, like this year, when games entered the popular lexicon and man the player was seized upon as a harbinger of change. -
Blood Rituals from Art to Murder
The Sacrificial Aesthetic: Blood Rituals from Art to Murder Dawn Perlmutter Department of Fine Arts Cheyney University of Pennsylvania Cheyney PA 19319-0200 [email protected] [Ed. note 2/2017: Many of the links in this article have become invalid and been removed] The concept of the “sacrificial esthetic” introduced in Eric Gans’s Chronicle No. 184 entitled “Sacrificing Culture” describes a situation in which aesthetic forms remain sacrificial but have evolved from a necessary feature of social organization to a psychological element of the human condition. Gans concludes that art’s sacrificial esthetic is essentially exhausted as a creative force and argues that the future lies with simulations, virtual realities in which the spectator plays a partially interactive role. His most significant claim is that “This end of the ability of the esthetic to discriminate between the sacrificial and the antisacrificial is not the end of art. On the contrary, it liberates the esthetic from the ethical end of justifying sacrifice.” The consequence of the liberation of the ethical justification of sacrifice is the main concern of this essay. Throughout the history of art we have encountered images of blood, from the representations of wounded animals in the cave paintings of Lascaux through century after century of brutal Biblical images, through history paintings depicting scenes of war, up through the many films of war, horror, and violence. Blood is now off the canvas, off the screen and sometimes literally in your face. It is no coincidence that this substance has intrigued artists throughout history. Blood is fascinating; it simultaneously represents purity and impurity, the sacred and the profane, life and death. -
FOR IMMEDIATE RELEASE Wednesday, October 14, 2020
FOR IMMEDIATE RELEASE Wednesday, October 14, 2020 MOCA FORMS ENVIRONMENTAL COUNCIL A FIRST FOR A MAJOR U.S. ART MUSEUM The Aileen Getty Plaza at The Geffen Contemporary at MOCA. LOS ANGELES—The Museum of Contemporary Art (MOCA) announces the creation of an Environmental Council, the first for a major art museum in the United States. The Council is focused on climate, conservation, and environmental justice in furtherance of the museum’s mission. In development since Klaus Biesenbach became the Director of MOCA in 2018, the museum will unfold important initiatives made possible by the Council within the first year, including financial commitments and expertise to work toward institution-wide carbon negativity, carbon- free energy, environmentally-focused museum quality exhibitions, educational programming, related artist support, and reductions in emissions and consumption. MOCA plans to publicly share the Council’s efforts and progress as a platform for public dialogue and engagement on this urgent topic. MOCA Environmental Council Founders and Co-Chairs are David Johnson and Haley Mellin. Founding Council members are Njideka Akunyili Crosby, Aileen Getty, Agnes Gund, Sheikha Al Mayassa Bint Hamad bin Khalifa Al Thani and Brian Sheth. Expert advisors to the Council include Illina Frankiv, Dan Hammer, Lisa P. Jackson, Lucas Joppa, Jen Morris, Calla Rose Ostrander and Enrique Ortiz. MOCA Executive Director, Klaus Biesenbach, and MOCA Deputy Director, Advancement, Samuel Vasquez will be ex-officio members of the Council and assure continuity and communication between the Council’s priorities and the museum’s activities and operations. The Council will support artists working on critical environmental issues by financially supporting meaningful exhibition and educational programming. -
Garrett List
Garrett List Information Discographie Agenda des concerts Trombone, Compositeur, Instrument(s) Arrangeur, Chant Date de 1943 naissance Lieu de Phoenix, U.S.A naissance Contacts Email Envoyer un email Site web Site web dédié © Christian Deblanc Text also available in English Né à Phoenix (Arizona) Garrett LIST joue du trombone et chante depuis l'âge de sept ans. A dix-huit ans, lorsqu'il entre à l'Université;, il a déjà une vie professionnelle et pédagogique remplie, il joue autant de la musique classique que d'autres styles (jazz, pop, blues), tout en donnant des cours aux enfants. Il s'adonne aussi à la composition. En 1965, il part pour New York pour y suivre des études strictement classiques à la célèbre Juilliard School of Music. Il y rencontre le compositeur italien Luciano BERIO et le chef d'orchestre Dennis RUSSELL DAVIES avec qui il forme le Juillard Ensemble. Grâce à cet ensemble, il rencontre aussi les compositeurs Henri POUSSEUR et Pierre BOULEZ et se met à jouer leurs musiques. Il entreprend plusieurs tournées en Europe et enregistre. Après cette immersion totale dans la musique contemporaine et ces études intenses au conservatoire Juilliard, il ressent le besoin d'une autre vision de la création musicale. C'est l'époque du free jazz et New York est sous le choc de mai '68. Il découvre l'improvisation, pas seulement dans le cadre du jazz ou du blues, mais la considère comme une manière de vivre la création musicale de l'intérieur. Il rencontre alors John CAGE, Frederic RZEWSKI, LaMonte YOUNG, Rhys CHATHAM, Anthony BRAXTON, Steve LACY et devient membre du Musica Eletronica Viva, un des groupes les plus influents de la musique improvisée de l'époque. -
Improvising Across the Electronic Abyss
Playing into the Machine: Improvising across the Electronic Abyss David Rothenberg and Ben Neill The initial reason we play into machines is The electric guitar is the most per- for the enhancement that basic sound effects offer. The first fect musical sound to be effected, a b s t r a c t sound effect every acoustic player loves is reverb, which can because it is a pure, high-volume, make us sound as if we are playing inside any space imaginable. clear tone, crying out for effects to Two musicians who have A single tone can be quickly played and then remain endlessly shape it in myriad ways. Effects de- focused on playing acoustic ringing on in artificial space. Only a few notes are needed, with fine the personality of guitar play- wind instruments into electron- plenty of silence between them, to make a melody fill the air. In ers, and it is probably with them in ics for the purposes of enhanc- ing their original sound reflect reverb’s earliest incarnation, sounds were piped into resonat- mind that the whole industry has on how the use of such new ing chambers or blasted against springs and plates to create developed. However, wind players technologies inherently pushes the effect, but now it can be expertly synthesized with digital learn their individuality through “old technologies” toward a new precision, and actual acoustic spaces from all over the planet years of practice at personalizing aesthetics of improvisation. can be sampled with the technique known as convolution [1]. a tone, so when we confront the Here a conflict emerges: The regularity of delays adds or- machine, we have a whole different der and rhythm to melodies that otherwise might be free. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Date Production Name Venue / Production Designer / Stylist Design
Date ProductionVenue Name / Production Designer / Stylist Design Talent 2015 Opera Komachi atOpera Sekidrera America Camilla Huey Designer 3 dresses, 3 wigs 2014 Opera Concert Alice Tully Hall Opera Camilla Huey Designer 1 Gown Rebecca Ringle 2014 Opera Concert Carnegie Hall Opera Camilla Huey Designer 1 Gown Rebecca Ringle 2014 Opera Concert Carnegie Hall Opera Camilla Huey Designer 1 Gown Sara Jakubiak 2013 Opera Concert Bard University Opera Camilla Huey Designer 1 Gown Rebecca Ringle 1996 Opera Carmen Metropolitan Opera Leather Costumes 1996 Opera Midsummer'sMetropolitan Night's Dream Opera Leslie Weston / Izquierdo Human Pillar Set Piece 1997 Opera Samson & MetropolitanDelilah Opera Leslie Weston / Izquierdo Dyeing Costumes 1997 Opera Cerentola Metropolitan Opera Leslie Weston / Izquierdo Mechanical Wings 1997 Opera Madame ButterflyHouston Grand Opera Anita Yavich / Izquierdo Kimonos Hand Painted 1997 Opera Lillith Tisch Center for the Arts OperaCatherine Heraty / Izquierdo Costumes 1996 Opera Bartered BrideMetropolitan Opera Sylvia Nolan / Izquierdo Dancing Couple + Muscle Shirt 1996 Opera Four SaintsMetropolitan In Three Acts Opera Francesco Clemente/ Izquierdo FC Asssitant 1996 Opera Atilla New York City Opera Hal George / Izquierdo Refurbishment 1995 Opera Four SaintsHouston In Three Grand Acts Opera Francesco Clemente / Izquierdo FC Assistant 1994 Opera Requiem VariationsOpera Omaha Izquierdo 1994 Opera Countess MaritzaSanta Fe Opera Allison Chitty / Izquierdo 1994 Opera Street SceneHouston Grand Opera Francesca Zambello/ Izquierdo