Eyebeam Fellow Taeyoon Choi, in collaboration with The Public School New York and various artists, presents a multi-week class exploring sound art and electronic music. This week Eyebeam staffer Roddy Schrock will lead an introduction to the open source sound software SuperCollider.
Each week has been led by a different artist, and the class will culminate in a performance and interactive presentation. Participating artists - Mike Clemow, Jamie Allen, Travis Houldcroft, Roddy Schrock, Taeyoon Choi, and Jackson Moore - are workshoping topics in field recording, circuit bending, diy instrument building, sound walks, performance and composition. Software explored will include Audacity, Max, Pd, SuperCollider, and more.
Eyebeam Fellow Taeyoon Choi, in collaboration with The Public School New York and various artists, presents a multi-week class exploring sound art and electronic music.
2/5 from 1PM-5PM @ Eyebeam Introduction to Sound Art #1 with Mike Clemow Discussion will focus on the basics of sound, acoustics, field recording, and musique concrète. Demonstrations will use Audacity to present a wide repertoire of sound sources in composing a piece.
May: Electronic Music Production with Eyebeam Resident Jace Clayton Musician and writer Jace Clayton (aka DJ/rupture) will introduce students to electronic music production and sound design using a variety of open source and inexpensive audio software. Students will learn the basics of sampling, synthesis, beat programming, and FX processing as they develop a composition of their own.Download May's Drop-in Flier
December: Electronic Sound using Pd (aka Pure Data) with Hans Christoph-Steiner Students will learn the basics of using Pure Data (Pd), a digital program anyone can use to design live sound environments. There will be a related workshop on Saturday Dec 5, for all ages and this drop-in day will be the perfect primer for that workshop.
Silent Project used multiple audio transmission technologies to broadcast music to individuals rather than to a group. Each participant heard a simultaneous broadcast of music, similar to what he or she would experience as a concert-goer, but this experience was internalized and isolated through entirely private audio devices. As a result, visitors who are not participating in the technology experienced the performance only as audience members.
Both a concert performance and a film, this atmospheric new piece from electronic composer and sound artist Ryoji Ikeda approaches an aesthetic of pure data. C4I is a meticulous composition derived from global systems in mathematics, economics, biology and the natural world.
Cynthia and Paul conversed about the joys and pains of collaboration between a visual artist and a composer in a work that required a complex meshing of skills and concepts.
Cynthia Beth Rubin and Bob Gluck discussed their conception and construction of Layered Histories. They also described their respective previous works incorporating themes of Jewish cultural heritage, and explored how their ideas about the underpinnings of culture informed this collaboration, as well as the 1998 animation Inherited Memories, by Rubin, with music by Gluck (to be shown at the upcoming LA Jewish Film Festival).
This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.
Wireless Imagination addresses perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio art. Composed of both original essays and several newly translated documents, this book provides a close audition to some of the most telling and soundful moments in the "deaf century," conceived and performed by such artists as Raymond Roussel, Antonin Artaud, Marcel Duchamp, Andre Breton, John Cage, Hugo Ball, Kurt Weill, and William Burroughs.