Experimental-Intermedia

experimental-intermedia@mailman.thing.net

101 discussions

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.

1 0

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.

1 0

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.

1 0

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

1 0

Experimental Intermedia December 2021 concert list
by Phill Niblock 07 Dec '21

07 Dec '21

It's the EI December series!! please respond to this email at - 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 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 days A special virtual event - Double Infinity A series of 88 quarter-hours, during the 22 hours with about 300 performers all together Streamed 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 Anastasia Clarke (New York) 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

1 0

EI Double Infinity - 88 events
by Phill Niblock 02 Dec '21

02 Dec '21

Double Infinity: A Celebration of Phill Niblock's 88th Birthday in 88 Quarter-hourswww.experimentalintermedia.org December 4th and 5th 2021 A 22 hour on-line streaming event in two 11 hour parts, Saturday December 4th and Sunday December 5th, 2021, curated by Katherine Liberovskaya with Phill Niblock and streaming engineered by Bob Bellerue and Daniel Neumann. Featuring interventions by:Esther Ferrer, Tom Johnson, Gilles Paté, Boris Nieslony, Pierre Berthet, Arnold Dreiblatt, Joerg Hiller, Nicola Hein, Matthias Kaiser, Viola Yip, Neil Leonard, Amnon Wolman, Guy De Bièvre, Sofia Bustorff, Alexandra Dementieva,, Anna Clementi, Laurie Schwartz, Janos Sugar, Tibor Szemzo, Hans W Koch, Karin Lingnau, Markus Schmickler Moniek Darge, Godfried Willem Raes, Kathryn Bauer, Arthur Stidfole, Bryan Eubanks, Andrew Lafkas, Cat Lamb, Byron Westbrook, Jens Brand, Dan Farkas, Ben Manley, Shelley Hirsch, Katherine Liberovskaya, Ursula Scherrer, Keiko Uenishi, Deborah Walker, Yvan Etienne, Marie Verry, The Nelly Boyd Ensemble, Julien Ottavi, Jenny Pickett, Kasper Toplitz, George Cremaschi, Matt Ostrowski, Andrea Parkins, Rie Nakajima, Marie Roux, Margarida Garcia, Andre Goncalves, David Maranha, Manuel Mota, Adriana Sa, Thomas Ankersmit, Mario de Vega, Robert Poss, Susan Stenger, Carlos Casas, Klaus Filip, Noid, Ryoko Akama, Tim Shaw, Caroline Demeyer, Patries Wichers, Malcolm Goldstein, Don Ritter, Ikue Mori, Jim Staley, Marco Scarassatti, Livio Tragtenberg, David Behrman, Nic Collins, Al Margolis, Leslie Ross, Walter Wright, David First, David Watson, Bruce Andrews, Michael Schumacher, Sally Silvers, Gill Arno, Richard Garet, Gustavo Matamoros, Shelly Silver, David Soldier, Sam Ashley, Tom Buckner, Ellen Fullman, Theresa Wong, Oren Ambarchi, Loren Connors, Alan Licht, Ulrich Krieger, Lawrence English, Carmen Keiso, Nao Nishihara, Barbara Held, Anne Wellmer, Alexey Borisov, Antonio Della Marina, Alessandra Zucchi, Maria Blondeel, Lieve D'hont, Esther Venrooy, Tony Buck, Mazen Kerbaj, Magda Mayas, Sharif Sehnaoui, Hedya Klein, Heimo Wallner, Gaby Zrost, Martin Zrost, Jozef Czeres, Michael Delia, Morgan O'Hara, Milos Vojtechovsky, Kjell Bjorgeengen, Lasse Marhaug, Marek Choloniewski, Thomas Köner, Francisco Janes, Jurate Jarulyte, Michel Collet, Ethan Oliver Fowke, Sarah Hannah, Eric Letourneau, Valentine Verhaeghe, Christian Kobi, Alvin Curran, Renate Hoffmann Korth, Janneke Van Der Putten, Zahra Mani, Mia Zabelka, Didier Aschour, Luca Coclite, Donato Epiro, Laura Perrone, Leif Elgren, Karl Michael Von Hauswolf, Frederic Acquaviva, Lore Lixenberg,Charlie Morrow, Juho Laitinen, Valerian Maly, Klara Schilliger, Jan Klare, Achim Zepezauer, Angelica Castello, Dieb 13, Billy Roiz, Burkhard Stangl, Astrid Klein, A. Groznykh, A. Grachev, S.Komarov, A. Scheglov, D. Shishov, A. Strokov, Luciano Chessa, Irina Danilova, Hiram Levy, Peer Bode, Andrew Deutch, Rebekkah Palov, Peter Kotik, Marcia Bassett, Barry Weisblat, Conrad Harris, Pauline Kim, John King, Seth Cluett, George Lewis, Miya Masaoka, Tom Chiu, Dan Joseph, Miah Artola, Chika, Yoshiko Chuma, John Driscoll, Phil Edelstein, Matt Rogalski, Peter Shapiro, Joseph Sledgianowski, Bob Bellerue, Daniel Neumann, Kurt Gottschalk, Adam Hogan, Monika Weiss, Brandon Lopez, Cecilia Lopez, Mayada Ibrahim, Austin Larkin, Jordan Paul, Bradley Eros, Lele Dai, Lary 7, Robert Mizaki, Ravish Momin, Cristián Alvear, Michael Winter, John Bischoff, James Fei, Laetitia Sonami, Richard Barrett, Incredible Bob, Milana Zarić, Hampus Lindwall, George Moraitis, Gerd Stern... and a few othersFind the live stream at www.experimentalintermedia.org- Saturday December 4th 2021 from noon to 23:00 (NY time, EST)- Sunday December 5th 2021 from noon to 23:00 (NY time, EST) After December 5th the archives of the recordings of all 22 hours will be accessible through the Experimental Intermedia website (www.experimentalintermedia.org)

1 0

Vienna / New York Event
by Phill Niblock 30 Sep '21

30 Sep '21

HOT OFF THE PRESS Happening S/a/t/u/rday October 1 ah, friday In NY and Vienna, simultaneously. with Mia live in Vienna and Katherine live in NYAnd Phill shily pre-recorded PhonoFemme 2021on-site, on air, onlinehttps://esel.at/termin/110664/phonofemme-2021 1.10.2021, 19.00h: Phonofemme Vienna and Experimental Intermedia New York - Online Event - with Phill Niblock, Katherine Liberovskaya, Daniel Neumann, Mia Zabelka October 1st 19:00 (Vienna) / 13:00 (NYC)in cooperation with The Austrian Cultural Forum NYClive stream link:https://acfny.org/event/virtual-performance-phonofemme-2021/ Set one:Katherine Liberovskaya (Live Visual Foley) & Mia Zabelka (Violin and Electronics) set two:Phill Niblock (Music and Film)Music:- Browner (2020, 20:00) : Arne Deforce, cello; Deborah Walker, cello; Erik Drescher, flute; Dafne Vicent Sandoval, bassoonA world premiere !- First Out (2015, 22:14) : David First, guitar- V&LSG (2015, 21:20) : Lore Lixenberg, voice and Guy De Bievre, lap steel guitarVideo:- Meudrone1 (2013)- Agosto (2014)- DH Sand-Boat (2015) Streaming engineer: Daniel Neumann >From the Austrian Cultural Forum' email:October 1 | PhonoFemme2021 PhonoFemme sees itself as a platform for experimental music and sound art by women in Vienna. As a series of performances from October 1-3, 2021, the aim is to network the diverse international scene of female artists and to bring them into a communicative and aesthetic exchange. In cooperation with Experimental Intermedia New York, join us on October 1 at 1 PM EST / 7 PM CET for virtual streaming of Phonofemme Vienna and Experimental Intermedia New York with musicians Mia Zabelka, Phill Niblock, Katherine Liberovskaya and Daniel Neumann. Austrian Cultural Forum New York If you respond, please to - pniblock(a)compuserve.com

1 0

Viennna / New York Event
by Phill Niblock 30 Sep '21

30 Sep '21

HOT OFF THE PRESS Happening Saturday October 1 In NY and Vienna, simultaneously. with Mia live in Vienna and Katherine live in NYAnd Phill shily pre-recorded PhonoFemme 2021on-site, on air, onlinehttps://esel.at/termin/110664/phonofemme-2021 1.10.2021, 19.00h: Phonofemme Vienna and Experimental Intermedia New York - Online Event - with Phill Niblock, Katherine Liberovskaya, Daniel Neumann, Mia Zabelka October 1st 19:00 (Vienna) / 13:00 (NYC)in cooperation with The Austrian Cultural Forum NYClive stream link:https://acfny.org/event/virtual-performance-phonofemme-2021/ Set one:Katherine Liberovskaya (Live Visual Foley) & Mia Zabelka (Violin and Electronics) set two:Phill Niblock (Music and Film)Music:- Browner (2020, 20:00) : Arne Deforce, cello; Deborah Walker, cello; Erik Drescher, flute; Dafne Vicent Sandoval, bassoonA world premiere !- First Out (2015, 22:14) : David First, guitar- V&LSG (2015, 21:20) : Lore Lixenberg, voice and Guy De Bievre, lap steel guitarVideo:- Meudrone1 (2013)- Agosto (2014)- DH Sand-Boat (2015) Streaming engineer: Daniel Neumann >From the Austrian Cultural Forum' email:October 1 | PhonoFemme2021 PhonoFemme sees itself as a platform for experimental music and sound art by women in Vienna. As a series of performances from October 1-3, 2021, the aim is to network the diverse international scene of female artists and to bring them into a communicative and aesthetic exchange. In cooperation with Experimental Intermedia New York, join us on October 1 at 1 PM EST / 7 PM CET for virtual streaming of Phonofemme Vienna and Experimental Intermedia New York with musicians Mia Zabelka, Phill Niblock, Katherine Liberovskaya and Daniel Neumann. Austrian Cultural Forum New York If you respond, please to - pniblock(a)compuserve.com

1 0

experimental-intermedia@mailman.thing.net,
by Phill Niblock 07 Jul '21

07 Jul '21

1 0

OptoSonic MayDay Marathon
by Phill Niblock 29 Apr '21

29 Apr '21

@font-face {font-family:Arial; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-alt:Arial; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;}@font-face {font-family:Times; panose-1:2 0 5 0 0 0 0 0 0 0; mso-font-alt:"Times Roman"; mso-font-charset:77; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;}@font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-alt:"Times New Roman"; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;}@font-face {font-family:New; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-alt:Helvetica; mso-font-charset:77; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:auto; mso-font-signature:3 0 0 0 1 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Helvetica; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Helvetica; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}a:link, span.MsoHyperlink {color:blue; text-decoration:underline; text-underline:single;}a:visited, span.MsoHyperlinkFollowed {mso-style-noshow:yes; color:purple; text-decoration:underline; text-underline:single;}p.yiv1200367815msonormal, li.yiv1200367815msonormal, div.yiv1200367815msonormal {mso-style-name:yiv1200367815msonormal; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Times; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Times; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}span.addressdispform {mso-style-name:addressdispform;}span.addresswsitemitemselected {mso-style-name:"address wsitem itemselected";}div.Section1 {page:Section1;}An Event andnot all night, all right (well, except in Europe) Again, torespond to this, use pniblock(a)compuserve.com, or to katlib7(a)gmail.com From: Katherine Liberovskaya (katlib7(a)gmail.com) OptoSonic MayDay Marathon Saturday May 1st 2021 noon-11pm NYC time / 18:00-5:00 Europe We are back with a second marathon online OptoSonic Tea event, almost exactly ayear after the first one. In this 11 hour long event artists from differentparts of the world will perform together (mostly U.S., Europe and LatinAmerica), taking advantage of the unplace of the web in combination with thetechnology of being able to be connected always with everywhere even as manyare still in lockdowns or isolation.Thisinternational community oriented exploration of live performance with visuals, movementand sound will form a wild virtual collage of rhythms, colors,gestures and light.Curated byKatherine Liberovskaya and Ursula Scherrer. Once again in partnership with NowNet Arts NYC, this year we arealso collaborating with Experimental Intermedia NYC, XFest (Lowell,MA) and Kunsthaus Langenthal (Switzerland) and have opted for this time toinvite different organizations and groups to take over the different hours ofthe day. These include: NowNet Lab Ensemble (NYC), OptoSonic Tea (NYC and Langenthal, Switzerland), PataLab(Berlin, Bogotá, Cologne), APO33 (Nantes, France), Harvestworks (NYC), XFest(Lowell, MA), Sonic Gatherings (NYC), Grace Exhibition Space(NYC), Vampÿrates & Clockface Orange @ Synesthesia (NYC). The entire OptoSonic MayDay Marathon will be viewable viathe NowNet Arts virtual venue:https://nownetarts.org/venue (Times in EST (NY) and CET (Europe) ) 12 pm | 18 h NowNet Arts Lab Ensemble (NYC)set 1: XimenaAlarcon (voice, electronics), Viv Corringham (voice, electronics), CássiaCarrascoza Bomfim (flute), Biggi Vinkeloe (alto saxophone), Angelo Branford(guitar), Tom Zlabinger (bass), Diane Roblin (piano, electric keyboards), JaneWang (multi-instrumentalist), Gloria Damijan (percussion, electronics), ScottMiller (electronics), Kit Fitzgerald (video), Sarah Weaver (conductor,composer); set 2: Viv Corringham (voice, electronics), Gloria Damijan (concept,video, toy piano, percussion, objects), Jane Wang (toy piano, piano, cello,objects); set 3: Viv Corringham (voice, electronics), Kit Fitzgerald (video),Biggi Vinkeloe (alto saxophone), Tom Zlabinger (bass) 1:30 pm | 19.30 h PataLab (Berlin, Bogotá, Cologne)Ricardo Arias(balloon, electronics), Nicola L. Hein (guitar, electronics), Luis Negrónvan Grieken (video / performance), Juan Oroszco (video / performance),Claudia Schmitz (live moving image, live drawing) 2:00 pm | 20 h APO33 (Nantes, France)APO33CollectiveAnonymousartists (secret bodies, visuals, sounds and encrypted informations) 3:00 pm | 21 h OptoSonic Tea(Langenthal, Switzerland)Michael Egger(analog audiovisuals), Asi Föcker (live visuals), Simon Grab (no-input feedbackelectronics), Flo Kaufmann (analog audiovisuals), Laurent Novac /studio z1(live audio and visuals), Ursula Scherrer (live visuals) 4:00 pm | 22 h Harvestworks (NYC)set 1: TomokoHojo (Video and Live visual + sound processing), Sergey Kasich (sound and liveelectronics); set 2: Dafna Naphtali (sound processing), Andrew Neumann (LiveVideo Switching) 5:00 pm | 23 h XFest MA (Lowell, MA)set 1: Pied Nu(France): Olivier Labbe (sound), Emmanuel Lalande (sound), Gregory Kowlaski(visuals); set 2: ensemble inedit?!: Joe Burgio (sound), Kristiana Hubley(movement), Ian Kovac (sound), John Voigt (sound), Charlotte Wagner (movement),Andrea West (movement), Walter Wright (sound), Joe Burgio (artistic director);set 3: Callie Chapman(movement, video), Al Margolis (various instruments, contact mics, objects), idm theftable (voice, contact mics, objects), Dei Xhrist (voice, electronics) 6:00 pm | 24 h Sonic Gatherings (NYC) Jorge Chikiar (sound), BrandonCollwes (movement), Eleanor Hullihan (movement), John King (sound), Connor Voss(movement), Christina Wheeler (sound) 7:00 pm | 1 h Grace Exhibition Space (NYC)set 1:Veronica Peña (performance); set 2: Hector Canonge (performance) 8:00 pm | 2 h Vampÿrates & Clockface Orange @Synesthesia (NYC)Vampÿrates(sound: samples, rhythms, effects; visuals: film, video, slides) Richard Sylvarnes& Bradley Eros; @ & with Synesthesia (visuals: smoke, reflections,lights, digital mapping), Mio Nakai & Andrew Norris; A Clockface Orange(visuals: liquid light projections, animation), Rachael Guma & Genevieve HK 9:00 pm | 3 h OptoSonic Tea (NYC)set 1: ShelleyHirsch (voice), Keiko Uenishi (electronics), Phill Niblock (field recordings),Yoshiko Chuma (movement), Sofy Yuditskaya (live video), Katherine Liberovskaya(live visuals); set 2: Marie-Helene Parant (live video), Peter Shapiro (live video),Micheal Delia (live instruments), Hans Tammen (live electronics) 10:00 pm | 4 h NowNet Arts Lab Ensemble (NYC)AngeloBranford (guitar), Kit Fitzgerald (video), Colin James Gibson (guitar),Katherine Liberovskaya (live visuals), Jim Mansfield (drums), Anna Pasztor(movement), Christian Pincock (trombone), Diane Roblin (piano, electrickeyboards), Prawit Siriwat (guitar, electronics), Lisa Sokolov (voice, piano),Beth Warshafsky (video), Sarah Weaver (conductor), Tom Zlabinger (bass)

1 0

← Newer
1
2
3
4
5
6
7
8
...
11
Older →

2026

2025

2024

2023

2022

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

Experimental-Intermedia