The Amacher Archives
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Maryanne Amacher (1938 – 2009)
Maryanne Amacher (1938 – 2009) 1. Overview Maryanne Amacher (pronounced “Am‐ah‐shhé”) (1938 – 2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to be called "sound art," although her thought and creative practice consistently challenges key assumptions about the capacities and limitations of this nascent genre. Often considered to be a part of a post-Cagean lineage, her work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies. As a whole, Amacher’s work and collected archive represents one of the most important artistic contributions of recent decades. Assembled shortly before her death in the summer and fall of 2009, the archive contains a wealth of knowledge and research potential that promises to be a source of interest and inspiration for generations of artists and scholars to come. Much of the material was organized by Amacher herself, including for example, a critical series of folders and small boxes containing what she felt to be the most important works and writings from various periods. She also kept her annotated drafts, project notes, performance materials, ephemera, audio versions dating to the early 60s, etc. With future archival efforts, research. and scholarship it will be possible s to trace her working processes and ways of thinking across nearly every category of media. At present, the archive consists of roughly 125 medium sized storage boxes of notebooks, scores, sketches and other papers, and an additional 40 boxes of tapes, cassettes, DATs, floppy disks, videos, and audio in other various formats. -
Sonicacts Poetics of Space.Pdf
Sonic Acts XIII The Poetics of Space Edited by Arie Altena & Sonic Acts Sonic Acts Press, Amsterdam 2010 The Poetics of Space Contents 7 22 33 149 161 169 Approaches to Right Here, Right Space and Sound The Hybrid Architectures Now, HC Gilje’s Space is Body Centred Voice Over Interview with Raviv of Iannis Xenakis Networks of Specificity Interview with Sonia Introduction Brandon LaBelle Ganchrow by Arie Altena Elizabeth Sikiaridi Mitchell Whitelaw Cillari by Annet Dekker 51 61 75 179 189 199 Soundscape Composition Techno-poetry of Extremities as Global Music: Augmented Reality and Maryanne Amacher Electroacoustic Mental and Existential Interactive Architecture Long Sounds in Conversation with Music as Soundscape Ecology Diller + Scofidio Interview with Daan Douglas Kahn Frank J. Oteri Barry Truax Juhani Pallasmaa Blur Building Roosegaarde by Arie Altena 93 99 105 207 229 237 The Poetics of Hybrid Space Changing Space is Something that Jordan Belson and Pixel Architecture is Spatial Sensibilities Arrives with the Sound the Vortex Concerts: Media Architecture and Ubiquitous Interview with Takuro Mizuta Cosmic Illusions E.A.T The Diorama Revisited Interview with Marc Maurer by Mediatization Lippit by Arie Altena Cindy Keefer Pepsi Pavilion Erkki Huhtamo Arie Altena Eric Kluitenberg 111 125 137 249 253 255 Immersive Works for Cyborg Ritual and A Spatial Language Complete Experiences Sentic Technology in of Light and Sound Interview with TeZ the Vortex Concerts Interview with Edwin van by Arie Altena Trace Reddell der Heide by Arie Altena Biographies Image Credits Colophon Introduction 6 7 Introduction Introduction This book was compiled and edited in 2009 during the development who have delved deep into our understanding of space through of the thirteenth Sonic Acts Festival. -
Innovative Outdoor Music Initiative Launches This Summer in Buffalo-Niagara
Null Point a platform for experimental arts nullpointseries.wordpress.com facebook.com/nullpointseries Colin Tucker, curator (716) 335-5308 [email protected] Innovative Outdoor Music Initiative Launches this Summer in Buffalo-Niagara Overview: Null Point, a Buffalo-based initiative for experimental music and sound art, announces the launch of In Place (https://nullpointseries.wordpress.com/projects/in-place/), an initiative for site-specific sound. The long-term initiative will produce presentations and commissions of cutting-edge sound works that take attributes of particular locations as points of departure. Building on Null Point’s ambitious past site-specific sound productions as well as past canonical site-specific sound works in Buffalo, the initiative begins this summer with a long overdue premiere of a key large-scale site-specific sound work from the 1970s by David Dunn (http://www.davidddunn.com/~david). Program Information (online at https://nullpointseries.wordpress.com/events/place/): PLACE, a Performance in Ten Parts, WORLD PREMIERE performance composed by David Dunn (1975), performed by Null Point, curated by Colin Tucker and Ethan Hayden June 17 (rain date June 18), Silo City, Buffalo, NY, 2-8:30pm, $10 (18 and under free) (Facebook event: https://www.facebook.com/events/2070870666473658/) July 16 (rain date August 13), Artpark, Lewiston, NY, 2-8:30pm, FREE (Artpark) Null Point a platform for experimental arts nullpointseries.wordpress.com facebook.com/nullpointseries Colin Tucker, curator (716) 335-5308 [email protected] This summer, Null Point presents the overdue world premiere of PLACE, an extended interactive performance created by pioneering composer David Dunn. The performance will utilize voices, instruments, electronics, bodies, and materials found on site to build a musical language in dialogue with a particular place's soundscape, ecosystem, and topography. -
Download Page (PDF)
Music 1 University Professor of Music MUSIC Jay Clinton Hoggard The Music Department is based on the belief that all of the world's musics BA, Wesleyan University; MA, Wesleyan University warrant close study and that all musicians should cultivate the ability to engage Professor of Music; Chair, Music; Professor, African American Studies with unfamiliar musical traditions. The department provides performance Ronald J. Kuivila opportunities for the entire Wesleyan community through orchestra, Chinese BA, Wesleyan University; MFA, Mills College orchestra, concert choir, the Collegium Musicum, organ, South Indian voice and Professor of Music; Director, Electronic Music and Recording Studios percussion instruction, wind ensemble, jazz orchestra, Korean drumming and creative music ensemble, laptop ensemble, Javanese gamelan, West African Paula Matthusen drumming, South Indian music, steel band, and taiko. These offerings are BM, University of Wisconsin at Madison; MA, New York University; PHD, New supplemented by an extensive private lessons program. Courses in music history, York University music as a cultural practice, music theory, and composition are offered at both Associate Professor of Music undergraduate and graduate levels. Music majors design their own programs of study in consultation with an advisor. Program proposals must demonstrate a David Paul Nelson balance between performance, historical/cultural study, and music theoretic/ BA, Kalamazoo College; MFA, California Institute of Arts; PHD, Wesleyan compositional investigation. Each proposal is reviewed by the director of University undergraduate study and ratified by the entire department. Adjunct Associate Professor of Music Nadya Potemkina DMA, The University of Memphis; MM, University Nthrn Iowa; MM, Ball State University FACULTY Adjunct Associate Professor of Music; Adjunct Associate Professor, Russian, East Jane Alden European, and Eurasian Studies BMU, Manchester University; MMU, King's College; PHD, University of North Prof. -
Press Release
Institute of Contemporary Arts PRESS RELEASE Maryanne Amacher: GLIA 30 – 31 May 2019 30 May, 6.30 – 8.30pm Bill Dietz and Amy Cimini in conversation, followed by screening of Torse by Charles Atlas 31 May, 7.00 – 8.00pm Ghost Written Scenarios & Unnamed Sensibilities: Amy Cimini & Bill Dietz on the work of Maryanne Amacher 31 May, 8.30 – 9.45pm Performance of GLIA Maryanne Amacher in Oakland, CA, 1993. Courtesy Blank Forms and Estate of Maryanne Amacher The Institute of Contemporary Arts, in collaboration with London-based experimental music series Kammer Klang and Swiss music ensemble Contrechamps, is proud to present a series of three events over two evenings devoted to the work of composer Maryanne Amacher. The programme culminates in the UK premiere of GLIA (2005) – a newly commissioned reconstruction of a rarely presented seminal work for seven instruments and electronics. The performance will be directed by a previous collaborator of Amacher’s, Bill Dietz, and executed with Contrechamps and members of Berlin-based Ensemble Zwischentöne (1988–2015). Maryanne Amacher (1938–2009) is a vital figure in late 20th-century experimental music and sound installation. In the late 1960s, she pioneered what she termed ‘long distance music’ – telematic, site-related works that would later crystallise into her renowned City-Links series (1967–1980). These works comprised long- www.ica.art The Mall London SW1Y 5AH +44 (0)20 7930 0493 duration audio transmissions of distant urban sites via dedicated telephone lines. In the 1970s, Amacher developed ‘ear tone’ music (based on sounds organically generated by the ear, technically known as ‘otoacoustic emissions’) with the help of Marvin Minsky’s Triadex Muse, a synthesiser and compositional tool which utilises principles of artificial intelligence. -
Sound Perspectives of a Pluralistic World a Dissertation
UNIVERSITY OF CALIFORNIA SAN DIEGO Resonance & Resemblance: Sound Perspectives of a Pluralistic World A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Suzanne Thorpe Committee in charge: Professor David Borgo, Chair Professor Amy Cimini Professor Tom Erbe Professor Nancy Guy Professor Victoria Petrovich Professor Kalindi Vora 2020 Copyright Suzanne Thorpe, 2020 All rights reserved. The Dissertation of Suzanne Thorpe is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California San Diego 2020 iii TABLE OF CONTENTS SIGNATURE PAGE………………………………………………………………………iii TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES ................................................................................................ vii ACKNOWLEDGEMENTS ..................................................................................... viiii VITA ......................................................................................................................... x ABSTRACT OF THE DISSERTATION .................................................................. xv Chapter One: Perceived Resemblances .................................................................. 1 Catalysts ............................................................................................................... 1 Resonance ........................................................................................................... 7 Creative -
SOUND GENERATION Edited by Alexis Bhagat & Gregory Gangemi Dummy Lfirst Page
SOUND GENERATION edited by alexis bhagat & gregory gangemi dummy lfirst page. Essentially we’re going to install hundreds of these seismic sensors into the building, so the whole building ecomes a giant microphone. All that sounds will be brought down to kind of a control matrix system where the auto mated live mix will be played into two pu blic elevator cabins. The elev ator becomes the listening chamber. Th ey’re interesting cabins beca use you enter on the street on one 11111111.000o.99998w9 contents Colloquy 6 Before Beginning: Origin 10 Before Beginning: Origin 16 Categories and Contexts 19 Cinema and Radio 28 Composition 39 What is Sound? Who is Listening? 47 Recording and Playback 57 Distribution 66 Sites of Performance 72 Bridges as Bells 77 The Soundscape 88 Rhythm/Power 98 Listening Essays 100 Just Between Us 110 The Energetics of Sound 120 On Sound Art and Other Terms 133 Bibliography about this book The pages bound here are reconstructed traces of a conversation involving some two dozen voices, a conversation that focused upon sound as shaped and deployed by two generations of artists who have seized upon developments in phonography and synthesis to bring forth new forms of sonic art. We would like to make clear that book you are holding in your hands is a map and not a history of sound art, though we had set out in search of a history. Our aim: a broad survey of contemporary sonic arts practices with focus on the role of recording technology, the relation- ship of sonic arts to traditional artistic disciplines, and the political ramifications of individual artist’s processes. -
Voices of New Music on National Public Radio: Radio Net, Radiovisions, and Maritime Rites
Voices of New Music on National Public Radio: Radio Net, RadioVisions, and Maritime Rites Louise Elizabeth Chernosky Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Louise Elizabeth Chernosky All rights reserved ABSTRACT Voices of New Music on National Public Radio: Radio Net, RadioVisions, and Maritime Rites Louise Elizabeth Chernosky This dissertation focuses on the relationship between new American music and National Public Radio (NPR) during the 1970s and 1980s. NPR directly supported American experimental music, most often billed as “new music,” through programming that both consolidated a tradition and extended it by commissioning new works. I address three exemplary broadcasts, proposing that public radio utilized existing historical narratives of musical experimentalism while simultaneously revising and strengthening those narratives. I demonstrate ways in which the shows themselves, as well as their planning phases and promotional materials, served to gather individuals and musical practices together, defining and constructing musical experimentalism in the process. Chapter 1 covers the importance of sonic experimentation in NPR’s original Statement of Purposes, claiming that author William Siemering’s attention to sound created a climate that was especially hospitable to musical and radiophonic experimentation. In Max Neuhaus’s Radio Net (1977), NPR’s very infrastructure became a musical instrument, showing the radical potential of NPR in its early days. Chapter 2 chronicles the production history of RadioVisions (1981) to establish the ways in which NPR’s imaginary listeners were essential during its planning phase: in the conception of the show, in the grant proposal to the NEA, and in the show’s content.