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


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.

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.


Random Sequence, Collaboration with visual artist, Erin O'Malley

This is our first piece working together. The sound is a combination of my cat licking a yogurt wrapper and a drone loop of highway noise recorded on a reel-to-reel. I also added some experiments with max to get the texture and fluid qualities that change throughout the piece.

From erin_omalley:

This piece began with footage of water splashing around, filmed from a video magnifier. The frames were extracted from their video format and shuffled into a random order, then turned back into a video. I like the erratic yet almost structured way it turned out, a bit of natural chaos melding with computerized randomness. 

Without Fear of Wind or Vertigo_Video Barf 2015

Submission for a local film festival, Video Barf, held on January 30, 2015 at The Fuzz Factory in St. Petersburg, Florida.

The film is an edited reel showing samples from Internet Archive's 35mm Stock Footage collection.

Scenes from the original film real were chosen and written on tiny pieces of paper. The sequence of scenes were determined by chance operations which included drawing these scene names from a bowl.  Glitch edits and montage techniques (Janet Williams) were done first so I would have no knowledge of how the sound would interact before hand. Following the completion of the film, I contributed original sound design to be reflective of the visual effects. The final product came out rather immersive and went over really well at the Festival. We even won an award.

For more on the original film reel including the Creative Commons: Attribution 3.0 license, head over to


saturnian giraffe [disquiet0154-grooveunlocked]

disquiet junto project 0154: groove unlocked
the assignment: create a track from two locked grooves.

Davedorgan – 0092-disquiet0153-groovelock
Rpcollier – Alchmin1-disquiet0153-groovelock

i liked how the ambient characteristics were present in these two loops, although they are quiet different.  the interplay of the two locked grooves in composition created nice 'holes' that were filled with a pad which was processed with a combination of filters, giving it a more grainy feeling. convolution reverb techniques and various filters were applied.  rpcollier's groove was processed with a static grind, the percentage of dry/wet static fluctuating as the track progresses.

More on this 154th Disquiet Junto project — “Create a track from two locked grooves” — at:…54-grooveunlocked/

More on the Disquiet Junto at:

Join the Disquiet Junto at:

Disquiet Junto general discussion takes place at:

Image associated with this project by Risa: