Experimental-Intermedia

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experimental-intermedia@mailman.thing.net,
by Phill Niblock 08 Jul '21

08 Jul '21

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OptoSonic MayDay Marathon
by Phill Niblock 30 Apr '21

30 Apr '21

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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)

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John Cage's Empty Words
by Phill Niblock 28 Apr '21

28 Apr '21

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Cologne based events
by Phill Niblock 15 Apr '21

15 Apr '21

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The EI March Calendar
by Phill Niblock 07 Mar '21

07 Mar '21

The March EI Calendar!! All virtual, but virtuous, and streamed live to your computersAnd starting at 9pm on these nights, and all noted on the EI website -www.experimentalintermedia.org please do not reply to this email address, but to - pniblock(a)compuserve.com @font-face {font-family:Helv; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-alt:Helvetica; mso-font-charset:77; mso-generic-font-family:swiss; 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;}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-hansi-font-family:Helvetica; mso-bidi-font-family:"Times New Roman";}div.Section1 {page:Section1;}EXPERIMENTAL INTERMEDIAThe Forty-Eighth Anniversary of EIperformances at 224 Centre Street, The Fifty-Third Anniversary of the Foundingof Experimental Intermedia, the Fifty-Third Anniversary of the 224 CentreStreet loft, and, not least, The Thirty-First Annual Festival with nofancy name, Part Two (or B) Phill Niblock,curator March2021 9pm Samara Lubelski (NYC,sometimes Degenfeld, Germany) Monday 15Continuation of the on the spot/improvised solo violin’suptight zipping about with the flurry fingers and the zig zag chase; out forthe tension - the soft touch’s lament - bird song buzzing, amplified humshurling about - caught in the hustle, and taking care of business; implementedwith phaser and delays, etc... Wandering into the wavelengths of heady frenzy,ensconced in the sliding of the touch ’n go - to and fro, Light into dark- dark into light, with Barry Weisblat on visual projections samaralubelski.com Andrea Pensado (SalemMA, from Argentina, studied Poland) Tuesday 16"Reflections on Uneasiness” - an amalgam of cut-upnoise / voice / plunderphonics /noise piano / real time visuals, anguish andmorewww.andreapensado.com https://cruelsymphonies.bandcamp.com/album/on-the-occasion-of-this-noble-fe… https://soundcloud.com/andrea-pensado Catherine Lamb andBryan Eubanks (Berlin) Wednesday 17Rebecca Lane plays quarter tone bass flute; Cat plays violaand voice; Bryan plays synth and voice; the piece is Prisma Interius IV byCatherine Lambhttp://www.sacredrealism.org/artists.html https://sacredrealism.org/catlamb/works/2017/prisma_4.html RichardGaret (New York) Friday 19 His approach to working with sound focuses oninteracting with the materials' sonic properties as both source and instrument;such materials are amplified EMF emissions, modified audiocassettes,dysfunctional tape players, circuit boards, sonification oflight, and computer processing among other explorations and with noparticular hierarchy; over the years his work has evolved from laptopplaying to a more active hands on type of approach by embracing tactilemalleability, and establishing durational concrete methods and lessdigital playback www.richardgaret.com https://richardgaret.bandcamp.com Video events: SCREEN COMPOSITIONS 17curated by Katherine Liberovskaya Monday 22 Once again it's time for Screen Compositions, thisyear the 17th edition (2nd virtual), bringing you as ever a collection ofalways captivating intersections of moving image with sonic art; a programof screen works representing dynamic two-way collaborationsbetween video/film artists and sound/ nusic artists specifically intended for single-channel projection withno live or performance component; featuring collaborations by: Peer Bode /Carrier Band (Andrew Deutsch, Rebekkah Palov, Don Metz, Ed Hallborg); ChristianCalon / Chantal Dumas / Mario Gauthier; Lieve D'hondt / Esther Venrooy; TinaFrank / Mari Bastashevski / Jen Morris; Pepe Gimeno / Carlos Cueto / SoniaMegias; Katherine Liberovskaya / Phill Niblock; Marie Losier / Dorit Chrysler;185668232 / Joseph Sledgianowski; Peter Shapiro / Snake Union (ChuckBettis & David Grant) + Hisham Bharoocha; Heimo Wallner / Maja Osojnik;Milana Zaric / Richard Barrat KjellBjorgeengen (Oslo Norway) Wednesday 24th He works mainly with live video performances and videoinstallations and has had a long association with The Experimental TelevisonCenter, Owego NY and has worked closely with David Jones to develop his ownunique studio and video synthesizer; he looks upon his art as an investigationof a reality which needs to be worked upon and changed in both artistic andpolitical ways Googlehim . . . Tony Martin (New York) Thursday 25The film and video work of Tony Martin - Throughout the1960's the artist created pure light and combined image projection, andrecording technique; these pioneering intermedia compositions were first seenat the San Francisco Tape Music Center and then internationally; the Howard Wise Gallery in NYC exhibited viewer-activated light sculptures andinstallations; these used custom mirrors, and various sensors built into thepieces; during subsequent decades these personal systems are fed into film andvideo pieces, along with electronic and stylus/pad manipulations www.tonymartinartist.net/intermedia Joan Logue (NewYork) Friday 26Since 1971, she has completed hundreds of video portraitsfor installation; her works have been seen in the US and abroad ininstallations that she terms ‘video portrait galleries,’ including portraits ofRichard Diebenkorn, John Baldessari, Jasper Johns, Willem DeKooning, RobertRauschenberg, John Cage, Joan Mitchell, Vija Celmins, Judy Chicago, JacquesDerrida, Rosa Parks, Cesar Chavez and Noam Chomsky among many others; since1979, she created another form of portraiture, '30 Second Portraits (Spots)’;some of the portraits that will be screened here are of composers (such as JohnCage, Pierre Boulez, Alvin Curran, Michael Nyman, Carles Santos, Liz Phillips,and Meredith Monk), other portraits shown are on dancers (contemporary andtraditional) painters, poets, performance artists, writers, philosophers, NewEngland Fishermen, 2011 Occupiers and a few from the series Before the Ghetto http://videoportrait.net Our programs are supported by The David& Sylvia Teitelbaum Fund, Inc, the Aaron Copland Fund for Music, thePhaedrus Foundation, and the New York State Council on the Arts with thesupport of Governor Andrew Cuomo and the New York State Legislature224 Centre Street at Grand, Third Floor, NY 10013 212 431 5127, 431 6430www.experimentalintermedia.org andwww.XIrecords.org We are now streaming theconcerts live on the Wave Farm Website:https://wavefarm.org/radio/partner-streams/schedule/e7hkxy

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Some events by Phill Niblock and Katherine Liberovskaya
by Phill Niblock 28 Feb '21

28 Feb '21

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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;}@font-face {font-family:hwlv; 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 {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";}p.yiv8140998264msonormal, li.yiv8140998264msonormal, div.yiv8140998264msonormal {mso-style-name:yiv8140998264msonormal; 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;}div.Section1 {page:Section1;}I sent this out a day ago, but it was not delivered by themail service, maybe too too longSo I shorten it and include only the things that still go onBut two events, one from APO33 in Nantes and Art Zoyd, of Valenciennes, France, happened today, and are archived, you can findus in the list, here - https://p-node.org/ Also, there is a hang out after the Sun Ra videos, at:https://zoom.us/j/7890593491?pwd=Yyt1cFpQOWFYTTJnWFJOdG5OaGdGUT09MeetingID: 789 059 3491Passcode: 9KZkfA Re-runre-run re-run Apersonal note (i knew you never expected that) Ihad a tooth extracted today, even a post/implant, sad to see it go, and toassuage the pain, there was not much, I drank some bourbon from kentucky (nowit's the next day, and there is no pain from the tooth and only a slighthangover from the bourbon)AndI am listening to music on youtube, very nostalgic to me, people I photographedin the early sixties, coleman hawkins, ben webster, brubeck and desmond, etc Butwe are re-running the tribute to Sun Ra, my film and Dave Soldier's Opera,which was technically aborted during a snow storm in early february Andhere are a coupla other events, beginning Feb 28 ===== onMonday, March 1, at 8 PMonFridmangallery.com Myfilm, The Magic Sun, is first Hereis the full text of Dave's explo: PREMIERE OF THE EIGHTH HOUR OF AMDUAT, AN OPERA BASED ON THEOLDEST SURVIVING MUSICAL SCORE Musicians:Rita Lucarelli, Egyptology and translation of hieroglyphs to Italian, SahokoSato Timpone, Mistress of the Boat, MezzosopranoMarshallAllen, Sun Ra, saxophone & electronic valve instrument (EVI), RebeccaCherry, Horus of Fragrance, violin, Dan Blacksberg, Wepwawet, tromboneNickMillevoi, Sia, guitar, Michael Winograd, Nehes, C clarinet, EnriqueRivera-Matos, Hu, tuba, Adam Vidiksis, Conductor, Akhmed Manedov, violinJuanaPinilla Paez, violin, Olivia Gusmano, viola, Carolina Diazgronados, cello, DaniBash, harp, Anthony di Bartolo, percussionThomasKolakowski, percussion, Dave Soldier, water bowls, electronicsChoir:Chace Simmonds-Frith, Natasha Thweatt, Sophie Laruelle, Xiaoming Tian, EugeneSirotkine, Alicia Waller, Melinda Learnard, Sahoko Sato Timpone MarshallAllen, the leader of the Sun Ra Arkestra, is featured in the part of theEgyptian god Sun Ra, in Dave Soldier’s new classical/jazz/electronic operabasedon theoldest musical score known, the 8th hour of the Book of the Amduat. In thisverison from 1425 BC, the sounds and music are clearly specified duringSun Ra’snightly travels on the underworld river to age, die, and be reborn to riseagain every morning. The ancient heiroglyphs are translated to Italian byEgyptologistRitat Lucarrelli (professor at UC Berkely) and the parts of the other gods anddemons are sung by mezzosoprano (Sahoko Sato TImpone from theMetropolitanOpera) and a choir and by additional improvisers (Dan Blacksberg, NickMillevoi, Michael Winograd, Rebecca Cherry) with a classical orchestra,. In thisvideo premiere of the opera, Soldier has animated the ancient book from 3500years ago. MarshallAllen plays the alto saxophone and EWI electronic wind instrument as Sun Ra,who doesn’t speak in the book but calls the other gods and demons,and this 96year old master musician, performing in a version of the world’s oldest musicaltext, sounds more Futuristic than anyone else ever has.  The Book of the Amduat is painted on wallsin the tombs of the Valley of the Kings and many papyri, using the version inTuthmose III's tomb, who ruled Egypt from 1485-1431 BC. He is widely thought tobe the Pharaoh of Exodus: if it wasn't him, it was a close relative. Heco-ruled at first with the female Pharaoh, Hatsepsut, and was great grandfatherto Akhenaten. He built the obelisks known as Cleopatra's Needle, one of whichis on the Thames in London, and the other is near East 81st street in Central Parkin New York City.  Each morning, Sun Ra emerges from a hole in the east andsails on a river through our sky. After he descends he continue from west toeast on the river through the underworld, the Amudat, to reemerge in themorning. Each night he dies, but is reborn in the 6th night hour when he uniteswith Osiris and defeats the serpent, Apep.   The piece takes place during the8th hour of the night, Mistress of deep night, in the city of the 8th hour,Sarcophagus of her gods. Sun Ra and his companions on the boat are being hauledby a choir on the underworld river. During the hour they are clothed andencounter other gods who live in ten caverns along the shore, along with livingknives who defeat their enemies and four sacred rams. By earliest sound score,Dave Soldier means that the specific sounds from each group of gods in eachcavern of the city are described quite literally during the trip. And a few other things, now: AudioblastFestival #9- From Friday 26 to Sunday 28 February Co-production Apo33 (Nantes, France) and Art Zoyd Studios(Valenciennes, France) Curation: Kasper T Toeplitz & Julien Ottavi - Niblock + Liberovskaya & Niblock +Ottavi and Toeplitz (Noizzze)Saturday 27 February at 22:00 in France (4pm NYC)A setalternating between parts featuring Katherine Liberovskaya performing livevisuals to Phill Niblock mixing field recordings and a section withpre-recorded composition and video by Niblock accompanied by live musicians- part 1:KatherineLiberovskaya (live visuals and live sounds) with Phill Niblock (fieldrecordings)- part 2:Music by Phill Niblock "Noizzze" (2020, 23min) [recorded samples by I R E :Kasper Toeplitz, bass; FranckVigroux, guitar; Helene Brischand, harp]joined live by Kasper Toeplitz, Julien Ottavi on modifiedbasses and Jenny Pickett on guitar- part 3:KatherineLiberovskaya (Visual Foley: live visuals via live cameras) with Phill Niblock(field recordings) ==========[Feb28] ZOOM IN: OLAP #4 With guest Kat MustateaOur collaborationwith Harvestworks continues with our forth ZOOM IN: OLAP (Online Live Art Performance) communitydiscussion forum. For this event we have invited artist Kat Mustatea totalk about EdgeCut , a monthly performance series curated by her and HeidiBoisvert that explores our complex relationship to the digitaland, since COVID, to the virtual.Date: February 28, 2021Time: 3 pm – 5 pm New York Time(EST)Location: online on Zoom. Free.https://www.harvestworks.org/feb-28-zoom-in-olap-4-with-guest-kat-must… | |

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February Events by Phill Niblock and Katherine Liberovskaya
by Phill Niblock 17 Feb '21

17 Feb '21

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A Double Sun Ra event from Phill Niblock and Dave Soldier
by Phill Niblock 02 Feb '21

02 Feb '21

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Phill Niblock at Roulette.org - tonight, Dec 21
by Phill Niblock 21 Dec '20

21 Dec '20

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Phill Niblock at Roulette.org on Dec 21
by Phill Niblock 19 Dec '20

19 Dec '20

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A novel way of presenting theimage work in this time of pandemicWitha chat screen, for text Andwith a short prelude/talk with Jim Staley and David Weinstein and me, before,probably starting at 5:40pm NY time, and the concert is from 6pm until midnight VimeoLink: https://vimeo.com/event/472779 Playlist:1UnMounted, Muted Noun2ExplTiltBrass3 BaobabBozziniStringQuartet4ExplPhoenixBasel5Herbal Cooled6 ExplArdittiStringQuartet7Noizzze One8Browner9ExplWatson10 Poom311TwoBlooms & OneLargeRoseMix12ExplMaranhaLisbon13ExplWiessenthanerMachine14BaobabDorf6.355Gbfile, 378 minutes From the Roulette.org website:As thelongest night of the year unfolds and the journey of our planet nears the pointwhen Winter commences in the Northern Hemisphere, Phill Niblock stages his annual WinterSolstice concert for the 10th consecutive year at Roulette. Starting at 6pm,the performance will comprise of six sublime hours of acoustic and electronicmusic and mixed media film and video in a live procession that charts themovement of our planet and the progress of ourselves through art andperformance at its maximal best. To mark this strange and extraordinary year, allof six hours of music on December 21 will be a Roulette premiere. Niblock’sminimalistic drone approach to composition and music was inspired by themusical and artistic activities of New York in the 1960s, from the art of MarkRothko, Carl Andre, Sol LeWitt, Donald Judd, and Robert Morris to the music ofJohn Cage and Morton Feldman. Niblock’s music is an exploration of soundtextures created by multiple tones in very dense, often atonal tunings(generally microtonal in conception) performed in long durations.6 Hours ofMusic and Film will be presented virtually and available for free on a varietyof streaming platforms. Roulette’s theater is currently closed for publicperformances as a result of the Covid-19 pandemic and the safety measures thatRoulette has put in place to keep staff, artists, and the public safe. This one isa bit long, but . . . . Phill Niblock’s Solstice Tradition by Kurt Gottschalk Roulette, 2018 There was a time whenPhill Niblock’s six-hour winter solstice concerts were a key part of theDowntown winter holidays, every bit as much as Phil Kline’s Unsilent Nightboombox parades from Washington Square Park to Tompkins Park or the annual NewYear’s Eve sets with James Blood Ulmer at the old Knitting Factory. From 6pmuntil midnight every December 21, Niblock could be found at ExperimentalIntermedia, his home and performance space on Centre Street, playing extended,drone-based music alongside his films of people around the world doing manuallabor.Those days are gone.Niblock still hosts a run of performances and screenings at the loft—which willmark its 50th year of operation in 2018— every March and December. Butconflicts with the building owner have forced him to scale back and keep aclose count on attendance. His solstice concerts—where people would meet up tolisten, socialize in the stairwell, pop over to Chinatown for dinner and returnto submerge again into the penetrating volumes of the music—proved too popularto continue at the loft . When Roulette opened its new theatre on AtlanticAvenue in 2011, the annual ritual was on the bill and a new tradition was born.Niblock presented hisfirst solstice concert in 1976 and has been doing it ever since, some yearsaugmented with a summer solstice concert as well. The original inspiration,however, seems at this point lost to history.“Actually, I don’treally know [how it started],” he said in August, speaking via Skype from hissecond home in Ghent, where he was preparing for concerts in Poland andCzechia. “I don’t have any memory of that whatsoever. It used to be eight hourslong, and I don’t know what the fuck I did in eight hours because there wasn’tthat much material then.”Whatever the origin,the solstice concerts in a sense epitomize much of Niblock’s work. Extendedtones, extreme volume and long, filmed scenes of people working are hallmarksof his artistic output. Asked what he thought people should take away from theconcerts, he said with a laugh, “It’s not my problem, it’s their problem.” Buthe has plenty to say about the work itself.“The volume isactually about two things,” he explained. “One is that it announces that themusic is not a soundtrack for the film but is a dominant feature. The otherthing, and probably the more important part, is that the music is all aboutthis microtonal interference in the sound cloud that appears and that occursmuch more at a very high volume. Sometimes the cloud of overtones that occursis there only when it’s fairly loud and if you turn the music down, it becomesthe sound of instruments rather than the sound of microtonal interferences.”While making musicmight be what he’s best known for today, Niblock’s first work was inphotography and filmmaking. When he arrived in New York City in 1958, he founda place in the jazz world, photographing Duke Ellington sessions and filmingthe Sun Ra and his Solar Arkestra, among others. Before long, he had had takento filming dance and, later, creating installation projects with dancersinterspersed among multiple screens projecting his films. (Some of those earlymulti-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 danceand the motions of manual labor.“I was working with adance 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 plussome slide pieces on a fourth screen with music and live players. I found itvery difficult to do these pieces because there were five people and multiplescreens and we simply couldn’t do it. I began to do a series of films that Icould 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 peopledoing very ordinary work. I was looking at the movement of people working inthe fields or fishing or whatever they were doing rather than live dance.”Those early films area major part of Niblock’s solstice concerts, but this year’s concert will givehim a chance to present more recent work as well.“There’s a lot of newvideo in the last few years, 100 minutes of finished videos, which iscompletely different than the people working, no people whatsoever,” he said.“We’re doing installations where there are three screens and a fourth set ofpieces that are shot on video and look better on a video monitor than they doon a large screen.”Niblock has a longhistory with Roulette, dating well before his moving the solstice concertsacross the East River. As far back as 1982, he was performing at Roulette’soriginal loft on West Broadway (not so far from his own space), presenting aprogram called “Once More For the Road” featuring his films from Shanghai andLesotho with Roulette co-founder and artistic director Jim Staley on “mobiletrombone.”That history mademoving to Roulette an easy invitation to accept. While Niblock originallyplanned to find a new location for the solstice concerts every year, he said heis glad to have found a permanent home.“I was thinking maybewe’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 thescreen then jostled as he adjusted the camera on his laptop.“Let me pull this downa bit,” he said, “so you can see the hand on my heart.” The gesture wasfollowed by a laugh that might be as evocative of the experimental composer andfilmmaker, at least to those who were at those early concerts on Centre Street,as the loud and prolonged tones of his music.CONTRIBUTOR: KurtGottschalkKurtGottschalk writes about contemporary composition and improvisation forDownBeat, The New York City Jazz Record, The Wire, Time Out New York, and otherpublications and has produced and hosted the Miniature Minotaurs radio programon WFMU for the last ten years. Phill Niblock’s Winter Solstice is made possible in part with publicfunds from the New York State Council on the Arts’ Electronic Media and FilmPresentation Funds grant program, administered by the ARTS Council of theSouthern Fingerlakes.

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