radio in concert
Transonic Arts is "an arts-presenting organization dedicated to crossing the boundaries between different subgenres of contemporary music, sound art, and any other sound-based artistic endeavor we can get our hands on." They recently got their hands on some of my work, and will be presenting two of my pieces, Vinyl and City X, on a concert this Wednesday, December 14th, at The Tank in New York City. Here's the press release:
Location: The Tank; 217 East 42nd Street between 2nd and 3rd Avenues; Subways: 4/5/6/7/S to Grand Central
Transmissions will explore works which use found sound -- recorded sound like a bird chirping, a train passing by, or speech. The program will look at how computer technology has extended the definition of the term by allowing real-time recording and alteration of musical instruments and ambient sounds. Trasmissions will feature two multimedia sound installations, by sound artist Jessica Feldman and composer Jonathan Zalben; a "composed" radio documentary and a piece of concert music by composer/radio producer Jonathan Mitchell; and two contrasting performances of Jascha Narveson's work for improvising soloist and computer processing.
Jessica Feldman's installation uses overheard conversation as its sound source, broadcasting bits of conversation back to the people who said them using devices she has built. Jessica's recent work explores the way that audiences interact with sound based on where they hear it and how they perceive how the piece works.
In his audio/visual interactive installation Organized Color Intoxication, composer Jonathan Zalben (http://www.jonathanzalben.com) has designed a piece in which the audience is the performer, and the creator is the architect. The audience is encouraged to play with a ìfenceî that affects what they hear and see around them.
Jonathan Mitchell (http://earcrack.blogspot.com/) is interested in exploring how sound elements which are often thought of as separate - speech, music, sound effects, ambiance - can all be combined in a unified, cohesive way. His radio documentary City X and his concert piece Vinyl are examples of the ways in which Jonathan doesn't separate how he deals with sound, whether writing in an informational genre, like journalism, or one more traditionally thought of as being artistic, like music.
Kaleidoscope, by Jascha Narveson (http://www.jaschanarveson.com), uses live, improvised instrumental performance as found sound. The computer functions like a delay unit (which records bits of sound and plays them back later), except with a longer memory and without any of the predictability. Sound is chopped up into phrases, stored in memory, and played back in different ways at different times. These regurgitated snippets in turn affect how the performer proceeds with her improvisation.
Transmissions will explore works which use found sound -- recorded sound like a bird chirping, a train passing by, or speech. The program will look at how computer technology has extended the definition of the term by allowing real-time recording and alteration of musical instruments and ambient sounds. Trasmissions will feature two multimedia sound installations, by sound artist Jessica Feldman and composer Jonathan Zalben; a "composed" radio documentary and a piece of concert music by composer/radio producer Jonathan Mitchell; and two contrasting performances of Jascha Narveson's work for improvising soloist and computer processing.
Jessica Feldman's installation uses overheard conversation as its sound source, broadcasting bits of conversation back to the people who said them using devices she has built. Jessica's recent work explores the way that audiences interact with sound based on where they hear it and how they perceive how the piece works.
In his audio/visual interactive installation Organized Color Intoxication, composer Jonathan Zalben (http://www.jonathanzalben.com) has designed a piece in which the audience is the performer, and the creator is the architect. The audience is encouraged to play with a ìfenceî that affects what they hear and see around them.
Jonathan Mitchell (http://earcrack.blogspot.com/) is interested in exploring how sound elements which are often thought of as separate - speech, music, sound effects, ambiance - can all be combined in a unified, cohesive way. His radio documentary City X and his concert piece Vinyl are examples of the ways in which Jonathan doesn't separate how he deals with sound, whether writing in an informational genre, like journalism, or one more traditionally thought of as being artistic, like music.
Kaleidoscope, by Jascha Narveson (http://www.jaschanarveson.com), uses live, improvised instrumental performance as found sound. The computer functions like a delay unit (which records bits of sound and plays them back later), except with a longer memory and without any of the predictability. Sound is chopped up into phrases, stored in memory, and played back in different ways at different times. These regurgitated snippets in turn affect how the performer proceeds with her improvisation.
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posted by Jonathan Mitchell at 5:19 PM
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