Grounding Aether: exterior field acivation @ deCordova Sculpture Park & Museum

 

Andy Graydon’s outdoor sculpture City Lights Orchestra (2018) is both a work of visual art and a percussive instrument on which visitors can drum. Sound designer and artist José Rivera will activate the sculpture by exploring listening, spatial thinking, aural cartography, and the role of the body.

I’ll be experimenting with GPS and spatialization of audio, investigating the relationship between sound and way-finding, and ubiquitous technologies that inform our sense of place.

 

Mobile Subjects: Mapping Sound in the Sculpture Park @ deCordova

 

June 15, 2019, 9:30 am—12 pm.

Join us for a soundwalk and a map workshop led by artist and sound designer José Rivera. As an invitation to deepen our connection to the environment through sound, the program will include a range of activities integrating sensory perception, physical action, and the art of spatial thinking.

Walk will take place rain or shine! Please dress for walking and the weather.

Sign up here.

 

Aural Cartography: A Conversation with José Rivera @ deCordova

 
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Join us for a talk by artist and sound designer José Rivera as he discusses his practice in relation to environmentalism, art in the landscape, and acoustic ecology. Trained as an architect, José explores experimental techniques of integrating sound and space to create installations, performances, maps, and compositions.

This event is FREE; register here.

 

Meditation102 installation @ The Yard (Handcock Tower) Boston MA

 
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Shots from my recent installation for Non-Event’s 2018 Showcase @ The Yard (Handcock Tower) Boston, MA

As a meditation on home, this 2 channel installation piece incorporates location recordings made from inside the house. sounds include electronmagnetic recordings from blinking basement lights, water heaters, electronics, transmitted spaces with use of the intercom system, and voice (Alyssa Irizarry)":

“Floating—the tips of my toes grazing the ground. Almost, but not quite. Grounding. Getting to know the slope of crooked floors, the rattle of steamy bones, the smell of each corner. Imprinting on each other—creating new patterns, guided by floorboard grooves.”

Running time: 21.30 minutes.

Learn more about the event and the other artists whose work was also featured here.

 

Sonic Section Perspectives (For Paul Rudolph) CVPA at UMass Dartmouth

 
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Sonic Section Perspectives (For Paul Rudolph) conceived by José Rivera & Michael Rosenstein for six participant-collaborators introduction by Chris Grimley

CVPA Mass Dartmouth
285 Old Westport Road, Dartmouth, MA 02747
Visitors can use parking lot 7.
3-5pm
FREE

Sonic Section Perspectives (For Paul Rudolph) is an environmental sound performance conceived by José Rivera and Michael Rosenstein for six participant-collaborators. The one-hour composition draws on field recordings made within architectural spaces designed by Paul Rudolph throughout the Boston region. For its premiere performance, presented by Non-Event, Sonic Section Perspectives will be performed on multiple levels of the UMassD Dartmouth College of Visual and Performing Arts central atrium, with an introduction by Chris Grimley.

This performance is part of the spring 2018 series “Playing the Campus,” during which the UMass Dartmouth College of Visual and Performing Arts (CVPA) will celebrate its brutalist residential campus with public events dedicated to Paul Rudolph and his legacy. This series will include art installations, live performances, lectures, film screenings, community forums, tours, and an exhibition in the CVPA Campus Gallery, “A Visionary Campus: Paul Rudolph and UMass Dartmouth.” All events are free and open to the public.

Performance participants:

JOSE RIVERA (aka Proxemia) is an architecturally trained multimedia artist who creates electroacoustic and experimental sound works. He explores the intersections of aural and spatial experience through multi-channel installation and performance, aural cartography, architectural design, and environmental sound recording. He studied sound and art in MIT’s program of Art, Culture, and Technology.

MICHAEL ROSENSTEIN explores the interaction of acoustic and electronic sounds in collectively improvised settings. In his music, he uses amplified surfaces, oscillators and home-made electronics, distressed field recordings, harmonics and overtones, exploiting and feeding off of the resultant unstable sonic events.

MATTHEW AZEVEDO (aka Retribution Body) is a musician, audio engineer, teacher, and acoustician currently based in Boston & Providence whose performance practice is centered on creating unique, immersive sound environments. His primary solo project Retribution Body uses analog electronics, high amplification, and a custom speaker array capable of reproducing subsonic energy to explore the mental and emotional states which arise in Zen meditation.

RACHEL DEVORAH is a Boston-based sonic artist, technologist, and social ontologist whose works for performance and installation engage the poetics of their specific context. She studied at the City University of New York (BMus), Mills College (MA), and the University of Virginia (PhD - in progress); is currently informationist at the Berklee College of Music; and will be the 2018-2019 MultiDisciplinary Fellow at the Adrian Piper Foundation, Berlin.

NICOLE L’HUILLIER is a transdisciplinary artist, musician and architect based in Boston. She is currently working as a PhD researcher at the MIT Media Lab in the Opera of The Future group. Her work explores spatial experience, perception and the relationship between sound & space.

VERONIKA STELMAKH (aka Nika) is a sonic artist. She earned her PhD in electrical engineering at MIT and is currently a postdoctoral researcher at MIT, interested in the practice of energy, nature, sound, and nanotechnology. Her octophonic works, including original music for the play Einstein’s Dreams, have been heard at MIT, Dreamscapes, and Arisia. Analog synthesizers, such as a vintage multi-panel Serge that she restored, feature prominently in many of her works.

Support for this program is sponsored in part by the UMass President’s Creative Economy Initiatives Fund, 2017-2018. Further information about this and other events in the “Playing the Campus” series can be found here.

 

Dissolve Music @ MIT March 7-9

 
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Dissolve Music @ MIT will be a two-and-a-half-day conference and sound festival, March 7-9, 2018, to bring together musicians, sound creators, and scholars of music and sound studies to discuss the diversity of music and experimental sound.  Combining art and scholarship in a spirit of dialogue and controversy, the conference aims to dissolve boundaries between different arenas of sonic engagement to identify paths towards alternative, more inclusive futures.

A night of performances on the d&b audtiotechnik soundscape surround system, co-curated by Non-Event and Jan St. Werner, featuring performances by Mouse on Mars Breaking Forms, Jake Meginsky, Asha Tamirisa & Adam Morosky, Proxemia, and Michiyoshi Sato.

[website]

[more photos]

[fb event]

 

a weave / the fragment

 
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title: a weave / the fragment

description: 8-channel, generative sound installation in an 8x8 black cube with audio-reactive LEDs and travel ephemera.Installed at MIT List Visual Arts Center, this 8’x8’ black box features 8 channels of generative audio, audio reactive LEDs, and kente scarves from Ghana. The work probes the complexities of travel as a process of becoming. Alluding to memory, desire, expectation, and the jigsaw of cosmopolitanism, the recollection diffuses an audio collage across a multichannel installation that includes spoken extracts from journal entries, literary references, location recordings, processed samples from Ghanaian musicians and sounds of travel ephemera.

location: MIT List Visual Arts Center

year: 2016

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Radio Performance / / Rare Frequency WZBC 90.3 2/2/17

textsound / / Issue 21 :: Sonic Materialities

Happy to be included in the most recent issue of textsound : 

 

Issue 21 :: Sonic Materialities
curated by Michael Nardone

"This issue of textsound assembles works that blur the distinction between performance, poetry, and the sonic arts. Dialogues, field recordings, talks, electromagnetic arrangements, installations, lyric works, remixes – “Sonic Materialities” explores the fugitive modes of embodiment, inscription, and exchange in phonopoetic practice. Noise and resonance, tuning and texture inform these compositions. So does the grain and splice of the voice. Always with recorded sound, the material contexts reverberate. This is to say that the technical and technological mediations – vibrations engineered into script – are elemental to the compositions; as are the locales of their production, the social and physical circumstances of their pulse, polyphony, dissonance, and replay. They are the substrate we apprehend in listening – the sites, acts, and echoes."

Other contributors include Syd Staiti, Amaranth Borsuk + Andy Fitch, M. NourbeSe Philip, the Unauthorized Narrative Freedom Organization (UNFO) (Dan Richert + Harold Abramowitz), Erin Moure + Lisa Robertson, Julian Hou, Holly Melgard, Stefan Christoff + Kaie Kellough, Eric Schmaltz, Laureen Burlat, Charles Bernstein, Felipe Otondo, José Rivera, Sebastiane Hegarty, Clio Montrey + Klara Du Plessis, Staalplaat Soundsystem (Geert-Jan Hobijn), Michael Hennessey, Elizabeth Cherniak, Patrick Durgin, Christof Migone, Jordan Scott + Jason V. Starnes, Jean-Philippe Antoine, Laura Ortman + Tanya LukinLinklater, Steve Evans, Gary Barwin (Moribund Facekvetch), Oana Avasilichioaei, Mayakov+sky Platform (Nikolaos Omeros Koumoundouros), and Fred Moten.

learn more

 

Sound Creations Publication

Pleased to share a publication commemorating the work created during last Spring's Sound Creations course, taught by Jan St. Werner.

framework #545: 2016.02.21

I'm fearured in this edition of framework radio:

several physical releases this week along with some online released (or unreleased) work. another lovely project by gruenrekorder, following the river rhine (a few more releases from them coming soon) and two new releases released by daniel crokaert, one on his unfathomless label, and the other on his mystery sea imprint. plus virtual offerings by tom white, proxemia, and david velez, all begun with a framework intro by regular contributor martin clarke.

speaking of which: our intro coffers are running low, folks! if you never have before (or even if you have), now is the time to go out and record a framework introduction and send it in to us! it will get aired! guidelines here, or via the intros button above.

[time/  artist/  track/  release/  label]

00:00 – 03:08/  martin clarke/ framework introduction, recorded in india
http://www.rockscottage.net

01:47 – 09:02/  thomas m. siefert & lasse-marc riek/ vorderrheinquelle (region) – rhein bei tschamut     /  rhein_strom/ gruenrekorder
http://www.lasse-marc-riek.de, http://www.gruenrekorder.de/

06:05 – 16:07/  jérémie mathes/  [extract 1]  /  fallow memory/ unfathomless
http://www.unfathomless.net

14:00 – 24:23/  frans de waard/  [extract 1]  /  courrière/ mystery sea
http://fransdewaard.com, http://www.mysterysea.net

15:47 – 33:47/  tom white/  scales/patterns/  –  /  –
https://mtjudge.bandcamp.com

17:28 – 21:08/  thomas m. siefert & lasse-marc riek/  staustufe rhinau/  rhein_strom/  gruenrekorder
http://www.lasse-marc-riek.de, http://www.gruenrekorder.de/

19:14 – 30:10/  proxemia/  buildings systems [extract 1]  /  –  /  –
http://www.proxemiasound.net

22:34 – 27:02/  marco dibeltulu/  microclima ii/  –  /  –
http://www.marcodibeltulu.it

27:40 – 38:22/  jérémie mathes / [extract 2] / fallow memory / unfathomless
http://www.unfathomless.net

30:04 – 37:16/  thomas m. siefert & lasse-marc riek/  ile de langgrund – staustufe strasbourg/  rhein_strom/  gruenrekorder
http://www.lasse-marc-riek.de, http://www.gruenrekorder.de/

34:09 – 48:12/  frans de waard/  [extract 2]  /  courrière/ mystery sea
http://fransdewaard.com, http://www.mysterysea.net

36:32 – 44:10/  david velez/  circadian rhythm disorders/  –  /  –
https://davidvelez.bandcamp.com

45:25 – 55:58/  proxemia/  buildings systems [extract 2]  /  –  /  –
http://www.proxemiasound.net

49:11 – 58:22/  jérémie mathes / [extract 3] / fallow memory / unfathomless
http://www.unfathomless.net

52:59 – 59:00/  thomas m. siefert & lasse-marc riek/  karlsruhe hafen/  rhein_strom/  gruenrekorder
http://www.lasse-marc-riek.de, http://www.gruenrekorder.de/

 

framework radio

Excited to be featured live on resonancefm as part of the #545 episode of framework radio.

 

 

Sound Creations

 

Very excited to be the TA for this course.

 

"The explicit spatialization of sound not only changes how the physical environment is perceived but also seems to put pressure on the idea of the modern subject itself."

- Joseph L. Clarke

space

"Space is the register in which sound can happen an sound can have meaning." 

(Sterne, 2010: 91) 

The question of noise

"Regardless of its constructed character, recorded sound strongly searched for the perfection of fidelity to the original event. Noises were a part of the experience to be ignored, but still made their voice heard. In today's digital model, we perceive efficient strategies defining which part of the experience must necessarily prevail. The binary encoding of signal is presented both as a matrix and as a result of listening to a sonorous universe. How is noise absorbed in this new model? Is it still perceived as oppositional? How does it present itself in increasingly sophisticated technological mediation processes?"

jose claudio siquiera castanheira

Amacher archive

I recently learned that Maryanne Amacher was a visiting fellow at the Center for Advanced Visual Studies at MIT. From '72 to 75' she developed some of te projects and ideas that would eventually lead to her ideas of, what she called, perceptual geography. Her experiments into new ways of experiencing sound serve as inspiration as I continue with my own sonic studies. 

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Acoustics, psychoacoustics and spectral music

 "Sound synthesis opens truly unheard perspectives, extending the act of composition to the sound material itself. The distinctions between note, frequency, timbre, and harmony become fuzzy, or even irrelevant, and accumulated traditional experience finds itself impotent to organize the emerging sound world."

 

Daniel Pressnitzer and Stephen McAdams 

 

 http://www.zainea.com/psymusic.htm