Experimental-Intermedia

experimental-intermedia@mailman.thing.net

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Screen Compositions at Experimental Intermedia in NY
by Phill Niblock 27 Mar '22

27 Mar '22

>From Experimental Intermedia.org Please respond to this email to pniblock(a)compuserve.com Join us, this Monday 28 March for : SCREEN COMPOSITIONS 18 (2022) live stream, virtual only 9pm (EDT, NY time) on-line at: https://www.experimentalintermedia.org/concerts/22/MarchVirtual2022/katheri… And right after the screening, hoping some of you will drop by our Zoom EI Virtual Kitchen Hang to interact with us and some of the artists (the Zoom link will be just below the embedded stream window). SCREEN COMPOSITIONS 18 - curated by Katherine Liberovskaya Monday 28 A Video Event The 18th edition of Screen Compositions (3rd virtual), invariably brings you a collection of inspiring and inspired intersections of moving image with sonic art; a program of screen works representing dynamic two-way collaborations between video/film artists and sound/music artists specifically intended for single-channel projection with no live or performance component; featuring collaborations by: Gill Arno / Austin Larkin ; Yorgos Bougiouk / George Moraitis ; Charles-André Coderre / Thomas Bonvalet ; Matija Debeljuh / Tamara Obrovac ; Janene Higgins / Elliott Sharp ; Katherine Liberovskaya / Marcia Bassett ; Elise Passavant / Zahra Mani ; Alex Pelly / Byron Westbrook ; Els Van Riel / Rhodri Davies ; Beth Warshafsky / Portal iii | | EXPERIMENTAL INTERMEDIA The Forty-Eighth Anniversary of EI performances at 224 Centre Street, the Fifty-Third Anniversary of the Founding of Experimental Intermedia, the Fifty-Third Anniversary of the 224 Centre Street loft, and, not least, The Thirty-First Annual Festival with no fancy name, Part Two (or B) Phill Niblock, curator March 2022 SCREEN COMPOSITIONS 18 - curated by Katherine Liberovskaya Monday 28 A Video Event The 18th edition of Screen Compositions (3rd virtual), invariably brings you a collection of inspiring and inspired intersections of moving image with sonic art; a program of screen works representing dynamic two-way collaborations between video/film artists and sound/music artists specifically intended for single-channel projection with no live or performance component; featuring collaborations by: Gill Arno / Austin Larkin ; Yorgos Bougiouk / George Moraitis ; Charles-André Coderre / Thomas Bonvalet ; Matija Debeljuh / Tamara Obrovac ; Janene Higgins / Elliott Sharp ; Katherine Liberovskaya / Marcia Bassett ; Elise Passavant / Zahra Mani ; Alex Pelly / Byron Westbrook ; Els Van Riel / Rhodri Davies ; Beth Warshafsky / Portal iii Peggy Ahwesh (Brooklyn) A Video Event Tuesday 29 She will share both recent video and early film works and a video made during the isolation of the pandemic lockdown https://microscopegallery.com/peggy-ahwesh-exhibitions/ Our programs are supported by the Aaron Copland Fund for Music, the Phaedrus Foundation, and the New York State Council on the Arts with the support of Office of the Governor and the New York State Legislature 224 Centre Street at Grand, Third Floor, N Y 10013 212 431 5127, 431 6430 www.experimentalintermedia.org and www.XIrecords.org |

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Fwd: Immerse! An Online Event
by Phill Niblock 19 Mar '22

19 Mar '22

to respond to this, please use pniblock(a)compuserve.com or, best info(a)morrowsound.com -----Original Message----- From: MorrowSound <info(a)morrowsound.com> To: pniblock(a)compuserve.com Sent: Fri, Mar 18, 2022 2:46 pm Subject: Immerse! An Online Event Immerse! 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!important;}}@media only screen and (max-width:480px){#yiv8025159906 .yiv8025159906headerContainer .yiv8025159906mcnTextContent, #yiv8025159906 .yiv8025159906headerContainer .yiv8025159906mcnTextContent p{font-size:16px !important;line-height:150% !important;}}@media only screen and (max-width:480px){#yiv8025159906 .yiv8025159906bodyContainer .yiv8025159906mcnTextContent, #yiv8025159906 .yiv8025159906bodyContainer .yiv8025159906mcnTextContent p{font-size:16px !important;line-height:150% !important;}}@media only screen and (max-width:480px){#yiv8025159906 .yiv8025159906footerContainer .yiv8025159906mcnTextContent, #yiv8025159906 .yiv8025159906footerContainer .yiv8025159906mcnTextContent p{font-size:14px !important;line-height:150% !important;}} updates from our team | | | | | | | | | | | | | Charlie Morrow announces... WHAT: Immerse! an online event: celebration of vernal equinox and the work of Michael Gerzon WHEN: Sunday, March 20th, 11am-12pm EST - equinox moment 11:33am EST (see www.worldclock.com for your timezone) WHERE: Online REGISTER: Eventbrite https://www.eventbrite.com/e/immerse-a-celebration-of-the-equinox-and-the-w… SYNOPSIS: Updates and presentations from the 3D audio community, a celebration of Michael Gerzon, live musical performances. Hosted by Charlie Morrow. Event Details: International Planetarium Society (IPS) Immersive Sound Committee, in association with IMERSA, and Audio Engineering Society (AES) invite you personally to immerse! an online event Featuring: Brian Katz, Anna Green, Pat Thomas, Phil Minton, Patty Seaton, Gilad Keren, Monica Bolles, Dan Neafus, Ian McLennan, William David Fastenow, Chris Plunkett, and Timo Bitner Produced by: MorrowSound & Park Boulevard Productions with Georg Weckwerth - TONSPUR Kunstverein Wien, Vienna, Austria: Link: https://tonspur.at Mark your calendars! On March 20, 2022, we’re launching a new project. The first in a new series of streamed events--part music salon, part community platform--we’ll host presentations and performances from folks working in experimental audio, multidi- mensional sound, and extended listening. The salon follows an annual tradition of its organizers in celebrating the equinoxes and solstices,1-2 events are pegged around these dates annually. This particular event launches Charlie Morrow’s “immerse! sound light space” podcast crafted with Bart Plantenga. https://immersesoundlightspace.podbean.com/ The salon will feature a few pieces of music, including a world premiere by William David Fastenow, as well as academic updates and conversations related to immersive sound and will honor the ambisonic work of Michael Gerzon. Vernal Periphony (world premiere) - Performance Notes Several individuals and small groups throughout the world collaborate on this piece that pegs to both the ambisonic work of Michael Gerzon (particularly his incorporation of the Z/vertical axis, which he calls periphony) as well as the equinox (in which all of the inhabited world is aligned in near identical 12hr days / 12hr nights). The ensemble will play together in real time (despite disperate geography) via an online score and audio routed over the internet. A web streaming player/strategy will allow us to stream to the audience in multichannel audio, on 1-3 audience devices. The pieces will be mixed vertically, along the Z axis. The geographical latitude of each performer/small group is important to the piece, which correlates to both the vertical placement in the mix as well as how active the part is at specific times throughout the piece. | Fastenow asks the audience to stream to three personal devices if possible, placing one on the floor, one up on a high shelf, and the other on their lap or a table in front of them. | Guests and Presenters: Anna Green - producer Berlin Planetarium & IPS 2024 Brian Katz - acoustician, research director of Sorbonne Universite Acoustics Lab Chris Plunkett - Director Operations, AES Dan Neafus - cofounder Imersa Gilad Keren - cofounder Waves Ian McLennan - pioneering planetariums designer Monica Bolles - composer, sound artist, sound engineer Patty Seaton - executive secretary IPS Pat Thomas - composer, keyboardist Phil Minton - singer, composer, trumpetist Timo Bittner - founder Spatial Media Lab William David Fastenow - composer, producer, performer Charlie Morrow (1942) sound artist, composer, conceptualist, performer. Known for chanting & healing works, museum installations, large-scale festival events, radio TV broadcasts, film soundtracks, sound design & jingles, immersive sound patents. Michael Gerzon (1945 –1996), winner of AES gold medal, is probably best known for his work on Ambisonics and for his work on digital audio He also made a large number of recordings, many in the field of free improvisation in which he had a particular interest. REGISTER: Eventbrite CONTACT: info(a)morrowsound.com www.morrowsound.com immerse! sound light space podcast & book | | | | | | | | | | | | Mark Your Calendars! | | | | | | | | | | | | | | We’d love to hear how your year has been! And if you have any projects concerned with sound or listening, please get in touch with us. | | | | Find Out More | | | | Copyright © 2022 MorrowSound, All rights reserved. Want to change how you receive these emails? You can update your preferences or unsubscribe from this list. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Copyright © 2022 Charles Morrow Productions LLC, All rights reserved. You are receiving this email because one of us here at CMP has met and/or made contact with you in the recent past, been given a business card, or have otherwise been in communication. Our mailing address is: Charles Morrow Productions LLC1961 Roaring Brook RoadBarton, VT 05822 Add us to your address book Want to change how you receive these emails? You can update your preferences or unsubscribe from this list. | | | | |

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Exp Intermedia March 2022 Events
by Phill Niblock 05 Mar '22

05 Mar '22

please respond to this email to: pniblock(a)compuserve.com EXPERIMENTAL INTERMEDIA The Forty-Eighth Anniversary of EI performances at 224 Centre Street, the Fifty-Third Anniversary of the Founding of Experimental Intermedia, the Fifty-Third Anniversary of the 224 Centre Street loft, and, not least, The Thirty-First Annual Festival with no fancy name, Part Two (or B) Phill Niblock, curator March 2022 Fridman Gallery and EI in collaboration concerts At 169 Bowery, live in person and streamed on Vimeo, 7pm EDT, www.fridmangallery.com and experimentalintermedia.org Forbes Graham (New York) Tuesday 15 Forbes Graham is a composer, musician, sound artist, and visual artist whose work explores themes of simultaneity, perceptibility, transformation and collage, he performs on trumpet and laptop computer www.forbesgrahammusic.com Nicola Hein and Viola Yip (Berlin, New York, Hong Kong) Wednesday 16 Transsonic (Hein and Yip) is an experimental transmedial duo that creates immersive site-specific performances and installations bridging the vibrations of light and sound, trained as musicians, both look into the ontology of sound and how musical experience can be transformed beyond its common material—sound, for their artistic research project Transsonic, they explore light as an expanded musical material, they research and create performances, improvising between lights and sounds as equally important but dialectical musical materials, for this concert, the duo is creating a new piece for lights and electronics that incorporate our bodies as part of the circuit https://nicolahein.com/ https://www.violayip.com/ Liz Phillips (New York) Thursday 17 “Sea Gestures: Sound Swim” She will live process with Heidi Howard’s gestures as she paints, Liz picks up sounds from fish in motion and shell textures Lizphillips.net http://lizphillips.net/w/?page_id=3 https://heidihoward.net/ Virtual events at EI - www.experimentalintermedia.org, 9pm EDT Kit Fitzgerald (New York) A Video Event Monday 21 Video is my instrument and my orchestra; my images are literal, poetic, performative, expressive, the work is grounded in the tactile, my approach is along the lines of wabi-sabi, influenced by European painting and by my experience with Asian approaches - from early collaborations with Nam June Paik, residencies in Korea and Tokyo, and yoga; I like to create beauty in a chaotic world; beauty is truth, but sometimes the truth is painful www.kitfitzgerald.com Davidson Gigliotti (New York and Venice) A Video Event Tuesday 22 In the late 70s, better cameras and better cassette decks were making the move to television for single channel video art a real possibility, I was taping a lot of performance art in those days, I had a good studio, decent equipment, and some idea of how to go about it and my friend Jean Dupuy was at the heart of a distinctive style of New York performance art; the artists he championed, Joe Lewis, Tim Maul, Michael Smith, Julia Heyward, to name just a few, performed regularly in the Grommet shows staged in his Broadway loft, it was Jean’s wish that some of these performances should be recorded, it was my idea to try to put them on TV Jen Morris (Montreal, Lausanne) Wednesday 23 Sometime Lausanne-based Montrealer sound artist collaborates with west-coast analog media maker Alex MacKenzie for an apartment-sized sleight of hand, all curtains and mirrors, an uncanny amalgam of susurrus sonic somnambulism born of bespoke instruments combined with phosphenic photochemical fabulations on Super 8 and 16mm, featuring Morris’ homemade invention - the “Pivophone”, an instrument built of pine cones squirrelgirl.com/releases/sic alexmackenzie.ca Warren Burt (Australia) Thursday 24 Nine Pieces from 2020 (57 minutes) - Nine video and electronic sound pieces made with VCV Rack as real-time performances; all nine pieces use chaos mathematics in some form or another www.warrenburt.com Ulrich Krieger and Carl Stone (LA, LA and Japan) Friday 25 Ulrich Krieger (winds) and Carl Stone (computer) triangulate with EI from California and Tokyo, as they lob the musical data back and forth over the uncharted depths of the information highways, recursively and relentlessly processing each other https://www.rlsto.net/Nooz/ http://www.ulrich-krieger.com SCREEN COMPOSITIONS 18 - curated by Katherine Liberovskaya Monday 28 A Video Event The 18th edition of Screen Compositions (3rd virtual), invariably brings you a collection of inspiring and inspired intersections of moving image with sonic art; a program of screen works representing dynamic two-way collaborations between video/film artists and sound/music artists specifically intended for single-channel projection with no live or performance component; featuring collaborations by: Gill Arno / Austin Larkin ; Yorgos Bougiouk / George Moraitis ; Charles-André Coderre / Thomas Bonvalet ; Matija Debeljuh / Tamara Obrovac ; Janene Higgins / Elliott Sharp ; Katherine Liberovskaya / Marcia Bassett ; Elise Passavant / Zahra Mani ; Alex Pelly / Byron Westbrook ; Els Van Riel / Rhodri Davies ; Beth Warshafsky / Portal iii Peggy Ahwesh (Brooklyn) A Video Event Tuesday 29 She will share both recent video and early film works and a video made during the isolation of the pandemic lockdown https://microscopegallery.com/peggy-ahwesh-exhibitions/ Our programs are supported by the Aaron Copland Fund for Music, the Phaedrus Foundation, and the New York State Council on the Arts with the support of Office of the Governor and the New York State Legislature 224 Centre Street at Grand, Third Floor, N Y 10013 212 431 5127, 431 6430 www.experimentalintermedia.org and www.XIrecords.org

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Charlie Morrow Announces
by Phill Niblock 03 Mar '22

03 Mar '22

Please respond to this email, to: pniblock(a)compuserve.com Charlie Morrow announces WHAT: immerse! an online event: celebration of vernal equinox and the work of Michael Gerzon WHEN: Sunday, March 20th, 11am-12pm EST - equinox moment 11:33am EST (see www.worldclock.com for your timezone) WHERE: Online REGISTER: Eventbrite https://www.eventbrite.com/e/immerse-a-celebration-of-the-equinox-and-the-w… SYNOPSIS: Updates and presentations from the 3D audio community, a celebration of Michael Gerzon, live musical performances. Hosted by Charlie Morrow. Event Details: International Planetarium Society (IPS) Immersive Sound Committee, in association with IMERSA, and Audio Engineering Society (AES) invite you personally to immerse! an online event Featuring: Brian Katz, Anna Green, Pat Thomas, Phil Minton, Patty Seaton, Gilad Keren, Monica Bolles, Dan Neafus, Ian McLennan, William David Fastenow, Chris Plunkett, and Timo Bittner Produced by: MorrowSound & Park Boulevard Productions Mark your calendars! On March 20, 2022, we’re launching a new project. The first in a new series of streamed events--part music salon, part community platform--we’ll host presentations and performances from folks working in experimental audio, multidi- mensional sound, and extended listening. The salon follows an annual tradition of its organizers in celebrating the equinoxes and solstices,1-2 events are pegged around these dates annually. This particular event launches Charlie Morrow’s “immerse!” podcast crafted with Bart Plantenga. The salon will feature a few pieces of music, including a world premiere by William David Fastenow, as well as academic updates and conversations related to immersive sound and will honor the ambisonic work of Michael Gerzon. Vernal Periphony (world premiere) - Performance Notes Several individuals and small groups throughout the world collaborate on this piece that pegs to both the ambisonic work of Michael Gerzon (particularly his incorporation of the Z/vertical axis, which he calls periphony) as well as the equinox (in which all of the inhabited world is aligned in near identical 12hr days / 12hr nights). The ensemble will play together in real time (despite disperate geography) via an online score and audio routed over the internet. A web streaming player/strategy will allow us to stream to the audience in multichannel audio, on 1-3 audience devices. The pieces will be mixed vertically, along the Z axis. The geographical latitude of each performer/small group is important to the piece, which correlates to both the vertical placement in the mix as well as how active the part is at specific times throughout the piece. | Fastenow asks the audience to stream to three personal devices if possible, placing one on the floor, one up on a high shelf, and the other on their lap or a table in front of them. | Guests and Presenters: Anna Green - producer Berlin Planetarium & IPS 2024 Brian Katz - acoustician, research director of Sorbonne Universite Acoustics Lab Chris Plunkett - Director Operations, AES Dan Neafus - cofounder Imersa Gilad Keren - cofounder Waves Ian McLennan - pioneering planetariums designer Monica Bolles - composer, sound artist, sound engineer Patty Seaton - treasurer IPS Pat Thomas - composer, keyboardist Phil Minton - singer, composer, trumpetist Timmo Bittner - founder Spatial Media Lab William David Fastenow - composer, producer, performer Charlie Morrow (1942) sound artist, composer, conceptualist, performer. Known for chanting & healing works, museum installations, large-scale festival events, radio TV broadcasts, film soundtracks, sound design & jingles, immersive sound patents. Michael Gerzon (1945 –1996) winner of AES gold medal, is probably best known for his work on Ambisonics and for his work on digital audio He also made a large number of recordings, many in the field of free improvisation in which he had a particular interest. REGISTER: Eventbrite CONTACT: info(a)morrowsound.com www.morrowsound.com

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Meetings with XI Composers - David Behrman
by Phill Niblock 24 Feb '22

24 Feb '22

LAUNCHING: Meetings with XI Composers with Maestro Niblock & Dr. Liberovskaya - Meeting #1: David Behrman Wednesday March 2nd 2022 at 9pm ET www.experimentalintermedia.org A new series of very informal on-line video conversations + listening sessions led by Phill Niblock and Katherine Liberovskaya with XI composers to revisit their work on the XI label and their musical trajectories in general. We plan to produce one meeting every season: Winter, Spring, Summer and Fall. For our very first edition, Winter 2022, we present NY composer David Behrman who, in addition to our talk, will play files of a number of pieces old and new including selections from his two XI CDs Unforeseen Events and My Dear Siegfried. We will launch this first meeting on Wednesday March 2nd at 9pm followed by a Zoom hang allowing anyone interested to interact live with David and us. After this live streaming the recording will remain on Experimental Intermedia's website to be visited at your leisure. A presentation by XI Records and Experimental Intermedia. Please note our brand new release: Michael Winter – Counterfeiting in Colonial Connecticut / a lot of tiles (trivial scan) (XI 148) Phill Niblock - Four Full Flutes (XI 101); Lois V Vierk - Simoom (XI 102); Guy Klucevsek - Flying Vegetables Of The Apocalypse (XI 104); David Behrman - Unforeseen Events (XI 105); Tom Johnson - Music For 88 (XI 106); Mary Jane Leach - Celestial Fires (XI 107); Fast Forward - Same Same (XI 108); Ellen Fullman - Body Music (XI 109); Jackson Mac Low - Open Secrets (XI 110); Phill Niblock - Music By Phill Niblock (XI 111); Allison Cameron - Raw Sangudo (XI 112); Daniel Goode - Clarinet Songs (XI 113); Mary Ellen Childs - Kilter (XI 114); Richard Lainhart - Ten Thousand Shades Of Blue (XI 115); Peter Zummo - Experimenting With Household Chemicals (XI 116); Logos Duo - Logos Works (XI 117); Annea Lockwood/Ruth Anderson - Sinopah (XI 118); Eliane Radigue - Trilogie De La Mort (XI 119); Malcolm Goldstein - The Seasons: Vermont (XI 120); Phill Niblock - YPGPN (XI 121); Paul Panhuysen - Partitas For Long Strings (XI 122); Tom Johnson - The Chord Catalogue (XI 123); Ellen Band - 90% Post Consumer Sound (XI 124); Philip Corner - 40 Years And One (XI 125); Gen Ken Montgomery - Pondfloorsample (XI 126); Michael J. Schumacher - Room Pieces (XI 127); Alan Licht - A New York Minute (XI 128); David Behrman - My Dear Siegfried (XI 129); Warren Burt - The Animation Of Lists And The Archytan Transpositions (XI 130); Matt Rogalsky - Memory Like Water (XI 131); David Watson - Fingering An Idea (XI 132); Michael J. Schumacher - Five Sound Installations (XI 133) (Dvd-Rom); David First – Privacy Issue (XI 134); Charlie Morrow – Toot! (XI 135); Michael Vincent Waller – The South Shore (XI 136); Ulrich Krieger -/RAW:ReSpace/ (XI 137); Dan Joseph - Electroacoustic Works (XI 138); Amnon Wolman/Neil Leonard - Security Vehicles Only (XI 139) digital only release; Cecilia Lopez – Red/Machinic Fantasies (XI 140); Leslie Ross – drop by drop, suddenly (XI 141); Phill Niblock/The Dorf – Baobab / Echoes (XI 142); Dave Seidel – Involution (XI 143); Tom Chiu - The Live One (XI 144); Phill Niblock - NuDaf (XI 145/AKOH 145); Neil Leonard – Sonance for the Precession (LP) (XI 146/AKOH 146) XI releases are available for sale on our website (www.xirecords.org), as well as from Forced Exposure (USA) (www.forcedexposure.com). Titles are also available through Amazon.com, Bandcamp (https://xirecords.bandcamp.com) and Soundohm (Italy) (www.soundohm.com). All releases are also available digitally through outlets such as Spotify etc. Plesase respond to this email to: pnibock(a)compuserve.com

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Touch - Forty Years of Activity
by Phill Niblock 12 Feb '22

12 Feb '22

Touch (touch(a)touch33.net) Forty Years of Activity Touch In 2022 Touch (the UK-based imprint and publisher which has released 5 albums by Phill Niblock so far) will celebrate forty years of activity; so we thought we'd organize a few events to mark this achievement, not only to reflect on the long journey but also cast our eyes on what the future might hold for the creative arts. Since the community we share is worldwide and multi-cultural, our activities will reflect diversity in various locations throughout the world. Do check back in from time to time, since new events will be added as the year unfolds. The first event is a Touch.40 festival in Los Angeles from March 11th to 13th and you can buy tickets here: 2220arts+archives - https://dice.fm/event/gyoap-touch40-music-festival-11th-mar-2220-arts-archi… And more information can be found on the Touch.40 website here: Touch.40 - https://touch40.net And I would like to announce a new Touch release:Touch Works With two films from the Movement of People Working series - China88 and Japan89, plus four hours of my music, recent pieces from 2013 to 2016, which will be on a USB memory stick housed in a CD sized box Out soon and I will send a notice To respond to this email: pniblock(a)compuserve.com

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Michael Winter of XI Records
by Phill Niblock 30 Jan '22

30 Jan '22

The most recent release on XI Records!! Please respond to this email to: pniblock(a)compuserve.com XI RECORDS PO Box 1754, Canal Street Station, New York, NY 10013 email: xirecords(a)compuserve.com www.xirecords.org https://xirecords.bandcamp.com/ January 2022 Release Michael Winter Counterfeiting in Colonial Connecticut and a lot of tiles (trivial scan) XI 148 (2 CDs for the price of 1) (725531214824) CD1: Counterfeiting in Colonial Connecticut / CD2: a lot of tiles (trivial scan) XI Records is very pleased to announce the release of a 2 CD set of Michael Winter’s music organized by guitarist Elliot Simpson. Each CD features a single composition, demonstrating different sides of Winter’s work. The first, Counterfeiting in Colonial Connecticut, is a socially-engaged piece written for Simpson and in honor of George Floyd. The second, a lot of tiles (trivial scan), derives music from a set of mathematical tilings (often referred to as tessellations). The album art features reprints of altered and counterfeit colonial Connecticut bills as well as custom-made, hand-stamped prints of the tilings. Counterfeiting in Colonial Connecticut interleaves guitar passages with readings of excerpts from the book of the same title written by Kenneth Scott and published by the American Numismatic Society in 1957. Readings from the Scott Compendium are complemented with readings of texts written by Winter reflecting events that occurred during the composition of the piece; particularly the protests sparked by the death of George Floyd, a black man brutally murdered by police while being arrested for allegedly using a counterfeit $20 bill. Winter writes in the liner notes: “[While] I was reluctant to connect George Floyd with counterfeiting and colonialism… his murder, as well as the pandemic, clearly demonstrated that inequalities accepted in colonial times have persisted.” Winter goes on to explain that “the music of the piece was written using a coin press as a central metaphor. The underlying variables in the computer program that generates the piece vary slightly within and between each section, like variations and errors in the minting of coins.” Simpson is accompanied by Gemma Tripiana Muñoz on piccolo and the texts are read by Simpson, Winter, and animator Mandy Toderian. a lot of tiles (trivial scan) is based on a set of rectangle substitution tilings explored by Chaim Goodman-Strauss in his seminal paper “Lots of aperiodic sets of tiles”. A rectangle substitution tiling is generated by dissecting a rectangle into 4 smaller rectangles, which are then dissected into 8 even smaller rectangles, and so on. The parenthetical in the title, ‘trivial scan’, refers to the method of sonification. Sonic parameters of the music are determined by scanning and reading the tilings. The piece is quite open. As Simpson explains about Winter’s music in the notes: “Although his music covers a wide range of forms, formats, and concerns, there seems to always be a careful consideration of the adaptability of his works… They can expand and contract to accommodate diverse instrumentations, durations, spaces, and situations… There is an understanding that the myriad of possibilities defined by the scores will never be exhausted; new constellations of materials, performers, and contexts will always exist.” In the recording of a lot of tiles (trivial scan), this variability is explored through different combinations of electronic, synthesized, and acoustic sounds featuring Simpson and saxophonist Omar López, the dedicatee of the work. Michael Winter’s work often explores simple processes where dynamic systems, situations, and settings are realized in a variety of ways from performances to installations. He writes “To me, everything we experience is computable. Given this digital philosophy, I acknowledge even my most open works as algorithmic; and, while not always apparent on the surface of any given piece, the considerations of computability and epistemology are integral to my practice. I often reconcile epistemological limits with artistic practicality by considering and addressing the limits of computation from an artistic and experiential vantage point and by collaborating with other artists, mathematicians, and scientists in order to integrate objects, ideas, and texts from various domains as structural elements in my pieces.” His work has been presented at venues and festivals throughout the world such as REDCAT, in Los Angeles; the Ostrava Festival of New Music in the Czech Republic; Tsonami Arte Sonoro Festival in Valparaiso, Chile; the Huddersfield New Music Festival in the United Kingdom; and Umbral Sesiones at the Museo de Arte Contemporáneo in Oaxaca, Mexico. Recordings of Winter’s music have been released by Another Timbre, New World Records, Edition Wandelweiser, Bahn Mi Verlag, Tsonami Records, and Pogus Productions. Guitarist Elliot Simpson has given premieres of works by such iconic figures as Sofia Gubaidulina, Alvin Lucier, Michael Finnissy, Walter Zimmermann, and Larry Polansky, and has worked closely with many other prominent young composers in the creation of new pieces. He has appeared in many of the arts capitals of the world, including San Francisco, Los Angeles, New York City, Mexico City, Santiago de Chile, Buenos Aires, São Paulo, London, Amsterdam, Cologne, Berlin, Salzburg, and Shanghai, in master classes, workshops, and performances ranging from early music to free improvisation. His recordings can be found on the Microfest, Brilliant Classics, ECM, New World, Infrequent Seams, Soundset, and Hermes record labels. XI CDs are available for sale from our website (www.xirecords.org), as well as from Forced Exposure (USA) (www.forcedexposure.com). Titles are also available through Bandcamp (https://xirecords.bandcamp.com) and Soundohm (Italy) (www.soundohm.com). All releases are also available digitally through outlets such as Spotify etc.

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Niblock at Roulette, Dec 21, the Solstice, but only virtual
by Phill Niblock 20 Dec '21

20 Dec '21

Please respond to: pniblock(a)compuserve.com This concert has been Virtualized, so no audience, but it's on the Roulette.org website But we will be there at Roulette with live musicians playing, David First, David Watson, Daniel Goode (only people with first names beginning in "D"), with help from Katherine Liberovskaya, Dave Gearey But not the audience, here: Roulette Intermedium, Inc, 509 Atlantic Ave, Brooklyn, New York 11217 - Roulette.org This concert is not now scheduled to be live at Roulette, but only online Even Phill Niblock will be there!! Really! Phill Niblock: 6 Hours of Music and Film Tuesday, December 21, 2021. 6:00 pm to midnight As the longest night of the year unfolds and the journey of our planet nears the point when Winter commences in the Northern Hemisphere, Phill Niblock stages his annual Winter Solstice concert for the 11th consecutive year at Roulette. Starting at 6pm, the performance will comprise of six sublime hours of acoustic and electronic music and mixed media film and video in a live procession that charts the movement of our planet and the progress of ourselves through art and performance at its maximal best. Niblock’s minimalistic drone approach to composition and music was inspired by the musical and artistic activities of New York in the 1960s, from the art of Mark Rothko, Carl Andre, Sol LeWitt, Donald Judd, and Robert Morris to the music of John Cage and Morton Feldman. Niblock’s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations Phill Niblock is an intermedia artist using music, film, photography, video, and computers as his medium. Since the mid-1960s, he has been making music and intermedia performances which have been shown at numerous venues around the world, including The Museum of Modern Art, The Kitchen, The Institute of Contemporary Art in London, and World Music Institute at Merkin Hall. Since 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist and member since 1968. He is the producer of Music and Intermedia presentations at Experimental Intermedia since 1973 (with 1000 performances to date!) and the curator of EI’s XI Records label. Niblock’s music is available on the XI, Moikai, Mode and Touch labels. He is the recipient of the prestigious 2014 Foundation for Contemporary Arts John Cage award. Phill Niblock’s Winter Solstice is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by the ARTS Council of the Southern Fingerlakes. Article by Kurt Gottschalk There was a time when Phill Niblock’s six-hour winter solstice concerts were a key part of the Downtown winter holidays, every bit as much as Phil Kline’s Unsilent Night boombox parades from Washington Square Park to Tompkins Park or the annual New Year’s Eve sets with James Blood Ulmer at the old Knitting Factory. From 6pm until midnight every December 21, Niblock could be found at Experimental Intermedia, his home and performance space on Centre Street, playing extended, drone-based music alongside his films of people around the world doing manual labor. Those days are gone. Niblock still hosts a run of performances and screenings at the loft—which will mark its 50th year of operation in 2018— every May and December. But conflicts with the building owner have forced him to scale back and keep a close count on attendance. His solstice concerts—where people would meet up to listen, socialize in the stairwell, pop over to Chinatown for dinner and return to submerge again into the penetrating volumes of the music—proved too popular to continue at the loft . When Roulette opened its new theatre on Atlantic Avenue in 2011, the annual ritual was on the bill and a new tradition was born. Niblock presented his first solstice concert in 1976 and has been doing it ever since, some years augmented with a summer solstice concert as well. The original inspiration, however, seems at this point lost to history. “Actually, I don’t really know [how it started],” he said in August, speaking via Skype from his second home in Ghent, where he was preparing for concerts in Poland and Czechia. “I don’t have any memory of that whatsoever. It used to be eight hours long, and I don’t know what the fuck I did in eight hours because there wasn’t that much material then.” Whatever the origin, the solstice concerts in a sense epitomize much of Niblock’s work. Extended tones, extreme volume and long, filmed scenes of people working are hallmarks of his artistic output. Asked what he thought people should take away from the concerts, he said with a laugh, “It’s not my problem, it’s their problem.” But he has plenty to say about the work itself. “The volume is actually about two things,” he explained. “One is that it announces that the music is not a soundtrack for the film but is a dominant feature. The other thing, and probably the more important part, is that the music is all about this microtonal interference in the sound cloud that appears and that occurs much more at a very high volume. Sometimes the cloud of overtones that occurs is there only when it’s fairly loud and if you turn the music down, it becomes the sound of instruments rather than the sound of microtonal interferences.” While making music might be what he’s best known for today, Niblock’s first work was in photography and filmmaking. When he arrived in New York City in 1958, he found a place in the jazz world, photographing Duke Ellington sessions and filming the Sun Ra and his Solar Arkestra, among others. Before long, he had had taken to filming dance and, later, creating installation projects with dancers interspersed among multiple screens projecting his films. (Some of those early multi-media events were revived in March, 2017, at the Tate Modern in London.) At that point, he said, he began to see parallels between the motions of dance and the motions of manual labor. “I was working with a dance theater from ’65 to ’70 and I began doing this project called the ‘Environment Series’ in ’68,” he said. “There were three screens of video plus some slide pieces on a fourth screen with music and live players. I found it very difficult to do these pieces because there were five people and multiple screens and we simply couldn’t do it. I began to do a series of films that I could do with a single screen or possibly two or three when it was possible in ’73. I decided to do this series of pieces looking at the movement of people doing very ordinary work. I was looking at the movement of people working in the fields or fishing or whatever they were doing rather than live dance.” Those early films are a major part of Niblock’s solstice concerts, but this year’s concert will give him a chance to present more recent work as well. “There’s a lot of new video in the last few years, 100 minutes of finished videos, which is completely different than the people working, no people whatsoever,” he said. “We’re doing installations where there are three screens and a fourth set of pieces that are shot on video and look better on a video monitor than they do on a large screen.” Niblock has a long history with Roulette, dating well before his moving the solstice concerts across the East River. As far back as 1982, he was performing at Roulette’s original loft on West Broadway (not so far from his own space), presenting a program called “Once More For the Road” featuring his films from Shanghai and Lesotho with Roulette co-founder and artistic director Jim Staley on “mobile trombone.” That history made moving to Roulette an easy invitation to accept. While Niblock originally planned to find a new location for the solstice concerts every year, he said he is glad to have found a permanent home. “I was thinking maybe we’d switch to different places but Roulette is really a great space for us,” he said. “I’m extremely happy to work with them.” His image on the screen then jostled as he adjusted the camera on his laptop. “Let me pull this down a bit,” he said, “so you can see the hand on my heart.” The gesture was followed by a laugh that might be as evocative of the experimental composer and filmmaker, at least to those who were at those early concerts on Centre Street, as the loud and prolonged tones of his music. CONTRIBUTOR: Kurt Gottschalk Kurt Gottschalk writes about contemporary composition and improvisation for DownBeat, The New York City Jazz Record, The Wire, Time Out New York, and other publications and has produced and hosted the Miniature Minotaurs radio program on WFMU for the last ten years.

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Phill Niblock at Roulette in NY, Dec 21 2021
by Phill Niblock 18 Dec '21

18 Dec '21

To respond, please do so at: pniblock(a)compuserve.com Roulette Intermedium, Inc, 509 Atlantic Ave, at Third Avenue, Brooklyn, New York 11217 - Roulette.org This concert is still scheduled to be live at Roulette,and online Even Phill Niblock will be there!! Phill Niblock: 6 Hours of Music and Film Tuesday, December 21, 2021. 6:00 pm to midnight As the longest night of the year unfolds and the journey of our planet nears the point when Winter commences in the Northern Hemisphere, Phill Niblock stages his annual Winter Solstice concert for the 11th consecutive year at Roulette. Starting at 6pm, the performance will comprise of six sublime hours of acoustic and electronic music and mixed media film and video in a live procession that charts the movement of our planet and the progress of ourselves through art and performance at its maximal best. Niblock’s minimalistic drone approach to composition and music was inspired by the musical and artistic activities of New York in the 1960s, from the art of Mark Rothko, Carl Andre, Sol LeWitt, Donald Judd, and Robert Morris to the music of John Cage and Morton Feldman. Niblock’s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations Phill Niblock is an intermedia artist using music, film, photography, video, and computers as his medium. Since the mid-1960s, he has been making music and intermedia performances which have been shown at numerous venues around the world, including The Museum of Modern Art, The Kitchen, The Institute of Contemporary Art in London, and World Music Institute at Merkin Hall. Since 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist and member since 1968. He is the producer of Music and Intermedia presentations at Experimental Intermedia since 1973 (with 1000 performances to date!) and the curator of EI’s XI Records label. Niblock’s music is available on the XI, Moikai, Mode and Touch labels. He is the recipient of the prestigious 2014 Foundation for Contemporary Arts John Cage award. Phill Niblock’s Winter Solstice is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by the ARTS Council of the Southern Fingerlakes. Article by Kurt Gottschalk There was a time when Phill Niblock’s six-hour winter solstice concerts were a key part of the Downtown winter holidays, every bit as much as Phil Kline’s Unsilent Night boombox parades from Washington Square Park to Tompkins Park or the annual New Year’s Eve sets with James Blood Ulmer at the old Knitting Factory. From 6pm until midnight every December 21, Niblock could be found at Experimental Intermedia, his home and performance space on Centre Street, playing extended, drone-based music alongside his films of people around the world doing manual labor. Those days are gone. Niblock still hosts a run of performances and screenings at the loft—which will mark its 50th year of operation in 2018— every May and December. But conflicts with the building owner have forced him to scale back and keep a close count on attendance. His solstice concerts—where people would meet up to listen, socialize in the stairwell, pop over to Chinatown for dinner and return to submerge again into the penetrating volumes of the music—proved too popular to continue at the loft . When Roulette opened its new theatre on Atlantic Avenue in 2011, the annual ritual was on the bill and a new tradition was born. Niblock presented his first solstice concert in 1976 and has been doing it ever since, some years augmented with a summer solstice concert as well. The original inspiration, however, seems at this point lost to history. “Actually, I don’t really know [how it started],” he said in August, speaking via Skype from his second home in Ghent, where he was preparing for concerts in Poland and Czechia. “I don’t have any memory of that whatsoever. It used to be eight hours long, and I don’t know what the fuck I did in eight hours because there wasn’t that much material then.” Whatever the origin, the solstice concerts in a sense epitomize much of Niblock’s work. Extended tones, extreme volume and long, filmed scenes of people working are hallmarks of his artistic output. Asked what he thought people should take away from the concerts, he said with a laugh, “It’s not my problem, it’s their problem.” But he has plenty to say about the work itself. “The volume is actually about two things,” he explained. “One is that it announces that the music is not a soundtrack for the film but is a dominant feature. The other thing, and probably the more important part, is that the music is all about this microtonal interference in the sound cloud that appears and that occurs much more at a very high volume. Sometimes the cloud of overtones that occurs is there only when it’s fairly loud and if you turn the music down, it becomes the sound of instruments rather than the sound of microtonal interferences.” While making music might be what he’s best known for today, Niblock’s first work was in photography and filmmaking. When he arrived in New York City in 1958, he found a place in the jazz world, photographing Duke Ellington sessions and filming the Sun Ra and his Solar Arkestra, among others. Before long, he had had taken to filming dance and, later, creating installation projects with dancers interspersed among multiple screens projecting his films. (Some of those early multi-media events were revived in March, 2017, at the Tate Modern in London.) At that point, he said, he began to see parallels between the motions of dance and the motions of manual labor. “I was working with a dance theater from ’65 to ’70 and I began doing this project called the ‘Environment Series’ in ’68,” he said. “There were three screens of video plus some slide pieces on a fourth screen with music and live players. I found it very difficult to do these pieces because there were five people and multiple screens and we simply couldn’t do it. I began to do a series of films that I could do with a single screen or possibly two or three when it was possible in ’73. I decided to do this series of pieces looking at the movement of people doing very ordinary work. I was looking at the movement of people working in the fields or fishing or whatever they were doing rather than live dance.” Those early films are a major part of Niblock’s solstice concerts, but this year’s concert will give him a chance to present more recent work as well. “There’s a lot of new video in the last few years, 100 minutes of finished videos, which is completely different than the people working, no people whatsoever,” he said. “We’re doing installations where there are three screens and a fourth set of pieces that are shot on video and look better on a video monitor than they do on a large screen.” Niblock has a long history with Roulette, dating well before his moving the solstice concerts across the East River. As far back as 1982, he was performing at Roulette’s original loft on West Broadway (not so far from his own space), presenting a program called “Once More For the Road” featuring his films from Shanghai and Lesotho with Roulette co-founder and artistic director Jim Staley on “mobile trombone.” That history made moving to Roulette an easy invitation to accept. While Niblock originally planned to find a new location for the solstice concerts every year, he said he is glad to have found a permanent home. “I was thinking maybe we’d switch to different places but Roulette is really a great space for us,” he said. “I’m extremely happy to work with them.” His image on the screen then jostled as he adjusted the camera on his laptop. “Let me pull this down a bit,” he said, “so you can see the hand on my heart.” The gesture was followed by a laugh that might be as evocative of the experimental composer and filmmaker, at least to those who were at those early concerts on Centre Street, as the loud and prolonged tones of his music. CONTRIBUTOR: Kurt Gottschalk Kurt Gottschalk writes about contemporary composition and improvisation for DownBeat, The New York City Jazz Record, The Wire, Time Out New York, and other publications and has produced and hosted the Miniature Minotaurs radio program on WFMU for the last ten years.

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revision of EI Dec21 Concerts - Please note: VIRTUAL ONLY
by Phill Niblock 07 Dec '21

07 Dec '21

PLEASE NOTE: CONCERTS ARE ONLY VIRTUAL! NO CONCERTS AT 224 CENTRE ST IN PERSON THIS SERIES... | | The December EI Calendar!! All virtual, but virtuous, and streamed live to your computerson the nights indicated from the EI website -www.experimentalintermedia.orgplease do not reply to this email address, but to - pniblock(a)compuserve.com This edition of our series is once again entirely virtual. Concerts will be streamedlive from our website at 9pm sharp NYC time on the dates listed:www.experimentalintermedia.org Right after each concert we invite performers and audience to join "The EI VirtualKitchen Hang", our Zoom meeting room, to interact between each other and with us. The EI Virtual Kitchen Hang Zoom link:https://zoom.us/j/2120765064?pwd=KzhqdkJmcUkrMGdTZGw0WnV0REZWQT09Meeting ID: 212 076 5064Passcode: 869302 As well, each evening will have a dedicated recipe created by a volunteerartist-muscian-cook especially with the evening's performer(s) in mind availablefor you to look at, try out or print... | EXPERIMENTAL INTERMEDIA The Forty-Eighth Anniversary of EI performances at 224 Centre Street, The Fifty-Third Anniversary of the Founding of Experimental Intermedia, the Fifty-Third Anniversary of the 224 Centre Street loft, and, not least, The Forty--first Annual Festival with no fancy name, Part One (or A) Phill Niblock, curator December 2021 - 9pm Saturday 4 and Sunday 5 - from noon until 11pm, both daysA special virtual event - Double InfinityA series of 88 quarter-hours, during the 22 hourswith about 300 performers all togetherStreamed from our website - www.experimentalintermedia.org - now archived on the website Lars Åkerlund (Sweden) Friday 10 A piece based on sounds from prepared electric guitar, analog and digital devices that are processed live by different means; live guitar, samples, prerecorded sounds, analog synth, midi controllers www.larsakerlund.com Anastasia Clarke (New York) Sunday 12 Will present an intermedia meditation on disappearing or rapidly changing environments using custom instruments, computer, video, and voice https://anastasiaclarke.info/ Margaret Schedel (New York) Monday 13 The S.E.A.L.s are an AI-inspired electronic noise/surf band consisting of the collective efforts of Sofy Yuditskaya, Susie Green, Ria Rajan, Margaret Schedel and Sophia Sun augmented by the S.E.A.L. (Synthetic Erudition Assist Lattice), our AI counterparts that assist us in creating usable content with which to mold and shape our music and visuals; our music came about during the height of the Covid-19 lockdowns across the globe; our live performances online using various tech stacks are dependent upon the concert organizers preferences; during these performances we improvise on our respective music, audio and visual instruments; we regard telematic music technologies, not only as means by which our live online networked performances can be accessed but also, as a chance-agent providing a completely individualized temporal experience as the medium of the internet provides a multidimensional sensorium http://www.schedel.net/ George Moraitis (Athens, Greece) Wednesday 15 "Finis Terrae" - Sound performance using tape recorder, modular synths and field recordings; his new composition reflects upon the perception of the sonic environment of the Mediterranean basin, a sonorous cavity of multiple resonances, noises, history, rapid changes and memory; the basin seen as source and at the same time as effect of resonances; an echo chamber in which sound reverberates, generating multiple nuances of feedback, return, boundness and offering; like an interplay of mirrors in which every act or object is multiplied and even distorted www.georgemoraitis.gr Jacob Kirkegaard (Copenhagen, Denmark) Thursday 16 Opus Mors: Part 1: Opus Morturarium which is a part of a longer work Opus Mors in which he recorded four spaces and procedures related to death and its aftermath; Opus Morturarium is composed from recordings he made in different mortuaries in Denmark and Germany; the sound work is accompanied by video that he composed using microscopies that illustrate different causes of death provided to him by a forensic pathologist who collaborated with him on the Opus Mors project www.fonik.dk www.topos.media Neil Leonard (Boston) Friday 17 Home on the 4th - Audio/visual compositions for alto saxophone, electronic processing and video; the program features A/V recent collaboration with Pierce Warnecke, an electroacoustic duet with percussionist Michael Evans, and an A/V composition made with Cuban percussionists Román Diaz and Sandy Perez neilleonard.bandcamp.com neilleonard.com Nicolas Collins (Chicago, Berlin, West Falmouth) Sunday 19 A paleo-New Yorker presents something old, something new, something appropriated, something pneu: pieces for two generations of transformed brass instruments, Cusqueña music, woodpeckers, laptop marching band, a candle and the Electroacoustic Pollini Ensemble in Padova. http://www.NicolasCollins.com Our programs are supported by the Aaron Copland Fund for Music, the Phaedrus Foundation, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature 224 Centre Street at Grand, Third Floor, N Y 10013 212 431 5127, 431 6430 www.experimentalintermedia.org and www.XIrecords.org We are now streaming the concerts live on the Wave Farm Website: https://wavefarm.org/radio/partner-streams/schedule/e7hkxy

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