Experimental-Intermedia

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February Events by Phill Niblock and Katherine Liberovskaya
by Phill Niblock 16 Feb '21

16 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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Exp Intermedia December concert series #2
by Phill Niblock 14 Dec '20

14 Dec '20

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Concerts will be streamed live from our website at 9pm sharp NYC timeon the dates listed: www.experimentalintermedia.org Right after each concert we invite performersand audience to join "The EI Virtual Kitchen Hang", our Zoom meetingroom, to interact between each other and with us. TheEI Virtual Kitchen Hang Zoom link:https://zoom.us/j/2120765064?pwd=KzhqdkJmcUkrMGdTZGw0WnV0REZWQT09MeetingID: 212 076 5064Passcode:869302 EarlHoward (New York) Sunday 6 TheProgram: Curtis 2019 - Kurzweill 2600 synthesizer, Live performance - 46minutes and The Cold Hard Tooth 2020 - Alto- saxophone / composer andperformer-Live Performance 25 minutes; Notes about Curtis; It is often the case that music is defined by thedevelopment of thematic elements which tell a story; the sound of the music isa part of the elaboration of a story, whether in atonal, linear or nonlinearmusic; Curtis has no themes, but there are many stories; these are notstatements in themselves - they are components of their environments; sounddoes not only sing or harmonize - it is the substance and location of place,mass, and flow - for the sound elements, representing fieldrecordings from an imaginary world earlhowardmusic.com Bob Bellerue (New York) Monday 7 "Imperfect Conditions" - macrotonal music from a clutteredlandscape, improvised resonance and feedback bobbellerue.net Julien Ottavi and Jenny Pickett (UK, Fr) Wednesday 9 Solar Return - //UniVERSE//- Audio-visual performance using modular synth, crotales and mutant guitar-bass- invented instruments in combination with live 3D animation of cosmicastrophysics geometry; the artists duo Solar Return will once more embrace thenetworkfor acyber-performance through the fiber-optics into outer-spacehttp://noiser.org http://jennypickett.art http://apo33.org Austin Larkin (Connecticut) Friday 11Experiments and Observations on DifferentTypes of Reflection"; A solo performance of violin, light projector,mirror, perspective, gesture, room www.austinlark.in Gill Arno (New York) Monday 14Gill Arno’s current work explores sound/imagerelationships through a process of animated and sonified thermography; he is presenting aseries of short studies in which composition and improvisation are variously combined;Website (not updated since 1916) - http://www.m-i-c-r-o.net/mpld/mpldinfo/info.html Ka Baird (NewYork) Tuesday 15Ictum Exercises (Polyrhythmic Studies) is anaudiovisual performance that takes a single randomized pattern through severalpermutations using electronics, flute, recorder, breath and voice overlaid with sound reactive colorfields and pulses by multimedia artist Camilla Padgitt-Coles https://www.kabaird.com http://www.ivymeadows.net Matthias Kaiser, Hans Tammen, Shoko Nagai (Cologne,NY, NY) Wednesday16Kaiser, violin; Nagai, Moog; Tammen, buchla; Human sound sources join over theinternet to freely exchange sonic explorations using acoustic, electroacousticand electronic systems; Kaiser performs from Cologne, Germany, and Nagai /Tammen from NYC kaiserandsound.com shokonagai.net tammen.org Mike Bullock (Massachusetts) Thursday 17 Hydrophonisphere is a solo performance usingthe inner- & under-sounds of the flow and fall of water, filtered byanalog, digital, and mechanical means; the second in a three-part suite ofpieces that started with October's Ultrasonisphere mikebullock.bandcamp.com earsin.space Our programsare supported by the Aaron Copland Fund for Music, the PhaedrusFoundation, Fridman Gallery, and the New York State Council on the Arts withthe support of Governor Andrew Cuomo and the New York State Legislature;this project is also made possible with funds from the NYSCA ElectronicMedia/Film in Partnership with Wave Farm: Media Arts Assistance Fund,with the support of Governor Andrew Cuomo and the New York StateLegislature224Centre Street at Grand, Third Floor, N Y 10013 212 431 5127, 4316430www.experimentalintermedia.organd www.XIrecords.org The video-audio recordings of the concerts will be posted onour website the morning after each concert and will remain there until our nextseries in March 2021

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Experimental Intermedia December 2020 concerts listing
by Phill Niblock 06 Dec '20

06 Dec '20

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(no subject)
by Phill Niblock 26 Nov '20

26 Nov '20

<!-- /* Font Definitions */@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;} /* Style Definitions */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;}span.yiv0240956791gmail-d2edcug0yiv0240956791gmail-hpfvmrgzyiv0240956791gmail-qv66sw1byiv0240956791gmail-c1et5uqlyiv0240956791gmail-oi732d6dyiv0240956791gmail-ik7dh3payiv0240956791gmail-fgxwclzuyiv0240956791gmail-a8c37x1jyiv0240956791gmail-keod5gw0y {mso-style-name:"yiv0240956791gmail-d2edcug0 yiv0240956791gmail-hpfvmrgz yiv0240956791gmail-qv66sw1b yiv0240956791gmail-c1et5uql yiv0240956791gmail-oi732d6d yiv0240956791gmail-ik7dh3pa yiv0240956791gmail-fgxwclzu yiv0240956791gmail-a8c37x1j yiv0240956791gmail-keod5gw0 y";}size:8.5in 11.0in; margin:.5in .75in .5in .75in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;}div.Section1 {page:Section1;}Here is aninteresting festival from Iklecktic in London and Klanghaus in AustriaWhich isgoing on now, as I write this noteWe are init tomorrow, and the only live performance of the festival, but from New Yorkand Barcelona, for usphillniblock, katherine liberovskaya and barbara held Nov 26 at2:30 PM EST – Nov 29 at 4 PM EST IKLECTIK [off-site] and Klanghaus Sound Art Centre present: KlangzeitFestival 20204 days of experimental improvised music and sound artKlanghaus Untergreith and IKLECTIK have joined forces to presenta multidisciplinary and miscellaneous series of concerts with the participationof international renown musicians and composers.26 – 29 November 2020 | Free IKLECTIK Youtube channel Day 1: https://youtu.be/g8JIRoZ5sKs Day 2: https://youtu.be/22RBuRLmTfc Day 3: https://youtu.be/93wa1lAlpPg Day 4: https://youtu.be/QDsEl_qVesI IKLECTIK Facebook page: https://www.facebook.com/IKLECTIK IKLECTIK Twitch channel: https://www.twitch.tv/iklectikArtists: Me, Claudius (UK) Viv Corringham (UK/USA) Rhodri Davies (UK) Matthias Forenbacher (AT) Paul Jonas Kinnunen (FI) Y/Liquid (AT) – Peta Kotzberg + Carmen Rosenkranz Phill Niblock (US) Katherine Liberovskaya (US) Barbara Held (US) Rahel Kraft (AT/ CH) Samo Kutin (SI) Tracy Lisk (USA) Zahra Mani (UK/AT) MUG Trio (SI) Arun Natarajan (IN) OWL OWL (NO) Elise Passavant (USA) Els avn Riel (BE) Yoni Silver (UK) Mia Zabelka (AT) Wolfgang Temmel (AT) Veronika Gmeindl (AT) Richard Graf (AT) Sebastian Leopold (AT) STATION ROSE (AT) Lukas MoritzWegscheider (AT) Programme:- Day 1 (Thursday 26/11) – 7.30pm (GMT) | 8.30pm (CET) phonoECHOES competition – finalists performancesDay 1 is dedicated to present the performances of thefinalist of the phonoECHOES competition The audience is kindly invited to vote for the best performance on the 26/11through the “voting poll link”: https://doodle.com/poll/5thb68bsy2qd9tua?utm_source=poll...Finalist: Veronika Gmeindl (AT) Richard Graf (AT) Sebastian Leopold (AT) Station Rose (AT) Lukas Moritz Wegscheider (AT)Jury: Mia Zabelka (Chair – no voting rights) Rupert Huber (AT) Johannes Kretz (AT) Zahra Mani (AT) - Day 2 (Friday 27/11) – 7.30pm (GMT) | 8.30pm (CET) Zahra Mani + Elise Passavant Matthias Forenbacher Rhodri Davies Wolfgang Temmel Me, Claudius - Day 3 (Saturday 28/11) – 7.30pm (GMT) | 8.30pm (CET) Viv Corringham Y/Liquid Tracy Lisk + Mia Zabelka + Els Van Riel Yoni Silver Rahel Kraft Phill Niblock + Katherine Liberovskaya + Barbara Held - Day 4 (Sunday 29/11) – 7.30pm (GMT) | 8.30pm (CET) MUG Trio OWL OWL Mia Zabelka + Arun Natarajan + Paul Jonas Kinnunen Samo Kutin phonoECHOES finalistsVeronika Gmeindl born 1988 in Herdecke, Germany. Professionally engaged in theatre pedagogy,freelancing in the cultural sector and as a musician. She is currently activein artistic director of workshops on diverse topics at schools, based onmethods of Forum- and improvised theatre. Her artistic ambitions focus onimprovisation and experimentation with music/electroacustic music and thewritten/spoken word, where she seeks to incorporate here experiences into thefield of theatre and performance.„Du“ Electroacoustic composition for two players/performers(Cello/Voice/Live-electronics) by Veronika Gmeindl. „Du“ („You“), a directedinner monologue. By accident the initial lyrics were printed twice, much like adouble exposure, hardly legible. The subjective expression of a strugglingindividual, who in turn pleads guilty of denunciation. The principle ofmultiple exposure is mimicked on several levels (structure, soundesign,melodies and improvisation with double bass and cello). All of this leads to anever repeating and ever evolving game, always open to interpretation. Richard Graf Studies in music and music education at the University of Music and PerformingArts Vienna (graduation Summa cum Laude) and the Berklee College of Music.Lecturer at the University of Southern California, Los Angeles/USA (1995).Since 2018 Dean and Head of Master Studies (faculty music education) at the„JAM MUSIC LAB University”. Founder and artistic director of the MAX BRANDEnsemble. Graf has received several national and international awards andprizes. His work has been published by: UNIVERSAL EDITION, ADVANCE MUSIC, SCHOTTMUSIC, RICH ART Records, IAJE (International Association of Jazz Educators),Austrian Broadcasting Cooperation – ORF, Musikerziehung etc. Co-Producer forECM-Records: Michael Mantler & MAX BRAND Ensemble: “Comment C’est”Matrix for three guitars and live electronics Richard GRAF – a composer, guitar player and three guitars plus electronics ininteraction to combine compositional, mathematical, tonal and technicalparameters. The “Matrix” is a nine-tone-row, which develops to horizontal andvertical musical structures, enriched by live electronics and improvisation Heuses three unique guitars which have been built by Roland Hauke: Baritonguitar, Fretless guitar, Standard electric guitar. Sebastian Leopold Sebastian Leopold is a musician, instrument maker and engineer based in Vienna.After three years of internationally working as an engineer, he settled down toset up his own workshop where he could focus on building sounding objects andinstallations. Leopolds fascination for vibrating strings, membranes, blocksand blobs shows in his workpieces, which experiment with the eigenfrequenciesof bodies and their manipulation through means of electronics.„drift“ The workpiece “drift” is a big self-resonating feedback mirror made fromstainless steel driven by an air coupled 4×10″ speaker. The sounds you hear arethe intrinsic vibrations of the metal sheet, simply generated by feeding thesignals recorded by a contact microphone back to the mirror through thespeakers. The reflections caused by the mirror’s vibrations visualise thespatial expansion of the structure-born sound and magnify the moment when thestable oscillation breaks down into chaotic noise. “Drift” explores theboundaries and intersections between control and collapse, dissipation and resonance,reflection and transmission.STATION ROSE STATION ROSE/STR was founded in Vienna, Austria, in 1988 by Gary Danner (sound)and Elisa Rose (art). As one of the first digital groups worldwide, STATIONROSE have used the potential of live audio visual media and the internet forperforming in their work. Their Gunafa Clubbings were the first AV- andonline-clubprojects worldwide (Frankfurt, 1992). STR are online since 1991 andare regarded as „Pioneers of Digital Culture (Frankfurter Allgemeine). Danner´scareer as professional musician/composer spans 4,5 decades, quite often usingreliable structures like Beat, Punk, Techno, and Minimal Music. STATION ROSEoperates at the interface of digital art, music and pop. Their artistic outputis characterized by exploring the boundaries between reality and virtuality,audio and video are organically interwoven by definition.“WEBCASTING STReaming 2020“ In Frankfurt in 1999, STR developed a new online broadcast format,„Webcasting”, which included animations, live music, live composition andimprovisation, talks and performances. It was streamed live from the STATIONROSE Studio, Elisa Rose’s image workstation and Gary Danner’s soundworkstation/DAW were broadcast over the internet. In 2020, by the circumstancesof quarantine, this unchanged contemporary STReaming format was used again anddeveloped further – from the studio in Vienna. „For a STReam, I will prepare certain samples, rhythmic parameters and musichardware minimally, compose and arrange live in real time, and treat thiscomposition with digital effects. Music is created LIVE and synaestheticallywith the visual art that is created simultaneously.“ Gary Danner Lukas Moritz Wegscheider Lukas Moritz Wegscheider is a composer for experimental music, sound- and mediaartist. In his work he currently deals with time, the ephemeral, theimperishable and what remains. Memories. He treats this subjects with liveperformances, sound- and video installations and exhibitions. Since 2016 hestudies at the university of music and performing arts in Graz. http://lukasmoritzwegscheider.com/”memoire” In the room an impression of what has happened is presented, as the firstmemory, taken up again and sent to the ether. This sonic memory then getspicked up by the radio and confronts the audience once again. A rememberedmemory. The installation addresses the fact that you cannot simply forget, thatyou cannot simply make forgotten and that even after forgetting, you willalways remember what has been forgotten. From forgotten forgotten – tomemorized memory. The theme of KLANGZEIT Festival 2020 is Human Life / GreenSounds / Artificial Emotion. ‘Green Sounds’ are not just sounds of nature, they are sounds of the naturalinteraction of humans with the environment and at the same time the design oflife (environment). Working with sound is the embodiment of a political demand:reflecting on the self-regulation of nature, listening to the importance of theculture of designing for people. The design of “Green Sounds” means, a way oflife of nature as “art (of) living”. As the overcoming of the culture of therationality of seeing, “auditory culture” means not only the transfer of thenature of hearing to culture, but the merging of nature and culture into“Converged realities” – the virtual and the real overlap, the differencebecomes null and void. About phonoECHOES In spring 2020, ÖKB (Österreichischer Komponistenbund – Austrian Composers’Association) and Klanghaus Untergreith announced for the first time‘phonoECHOES’, a competition for sound art and electronic music. The awardceremony will take place on November 26th. Klanghaus Untergreith Klanghaus Untergreith is an international centre for sound art focusing oninterdisciplinary, experimental and border-crossing projects spanning visualarts, literature, performance art, media art and music. https://klang-haus.athttp://iklectikoffsite.org/klangzeit-festival-2020/ Project supported by Österreichischer Komponistenbund - AACS - austrian cultural forum londonFlyer by Lisa McKendrik

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Live in Vienna, except those on the internet
by Phill Niblock 07 Jul '20

07 Jul '20

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The Oda.co events for June 19, 20, 21
by Phill Niblock 18 Jun '20

18 Jun '20

<!-- /* Font Definitions */@font-face {font-family:Times; panose-1:2 0 5 0 0 0 0 0 0 0; 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: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;} /* Style Definitions */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;}size:8.5in 11.0in; margin:.5in .75in .5in .75in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;}div.Section1 {page:Section1;} | Please do not respond to this email but topniblock(a)compuserve.com<!-- /* Font Definitions */@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;} /* Style Definitions */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;}size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;}div.Section1 {page:Section1;} This is an announcement about 4 online music events on June 19, 20 and 21 The letter is from Oda.co, the producer of these music events, and they feature Phill Niblock and Katherine Liberovskaya, and this is a test event of their website and eventual series of webcasts On Saturday afternoon, the event will be a virtual premier of a new music piece by Phill, finished the day before, of course, named Poom, with Stephen O'Malley playing e-bowed guitar, from sound material recorded in the Trace Elements studio of RobertPoss, 28 minutes long The event will begin with a set by Phill and Katherine Liberovskaya An improvised sound collage by Katherine Liberovskaya & Phill Niblock Phill Niblock: live mixing of field recordings Katherine Liberovskaya: live small percussion instruments and other objects and gadgets Note that the Saturday afternoon event is at 3pm NY time, and 9pm European time You can see the poster with Katherine' drawing and the on-line version of OdA's newsletter here: https://mailchi.mp/1395e1aed7e7/ka-baird-shelley-hirsch-articulation-exerci… https://www.instagram.com/p/CBgRCRLFKUh/ | Letter from Oda.co | Hi! | | | | | | Today we would like to invite you to spend the weekend with us and the artists Phill Niblock & Katherine Liberovskaya. Regardless of what you know about the work of Phill and Katherine, speaking to someone like Perry is always interesting. Perry is a sound artist and the creator of the Oda speakers, which you will hear more about later this summer. Perry says: “Phill Niblock is often labelled a minimalist. This amounts to a dismissal. I would say monumentalist, because the sound is so thoroughly consuming, and commanding of attention. As when a tree falls in a forest, if you’re not giving this music your full attention does it even exist?” Phill and Katherine have been collaborating together since the early 2000’s. In the past week, Perry has been working with them almost daily with sound-checks in advance of this weekend’s shows. “You know, Katherine Liberovskaya is well known as a video artist, often collaborating with musicians to provide a visual element with musical qualities”, Perry says. “What I think is really interesting is, on this occasion, she is a musician. In this context she performs sound with visual qualities. It is hard not to conjure an image of how each sound is created.” He ends, “I so look forward to hearing this with Oda, which engages the room it is in so differently than any other speakers!” | | | | Here is this weekend’s schedule: Friday, June 19 at 9pm ET Phill Niblock - Live Vlada BC, for viola d’amore 20 min Exploratory Ensemble Phoenix Basel 22 min Noizzze One,for the I R E Trio 23 min A Cage of Stars, for electric built harp 28 min Five More String Quartets 25 min 127 min = 2 hr 7 min Saturday, June 20 at 3pm ET An improvised sound collage by Katherine Liberovskaya & Phill Niblock - Live “POOM” by Phill Niblock - Live (World Premiere!) Saturday, June 20 at 9pm ET Phill Niblock - Live Herbal Cooled2, for cello 23 min ExploratoryTiltBrass,for brass ensemble 22min Baobab Bozzini String Quartet 23 min A Rooks Pun, for soprano saxophone 23 min Bag, for Scotish bagpipes 21 min Ronet, for tenor saxophone 21 min 135 min = 1 hour 15 min Sunday, 21 at 9pm ET Phill Niblock - Live Guitar too, for Four-Massed, for many guitars played with e-bow 30 min Exploratory Arditti String Quartet 23 min Euph, for Two Belled Euphonium 24 min FeedCorn Ear 30 min Praised Fan, for bassoon 17 min V&LSG, for voice and lap steel guitar 21 min 145 min = 1 hour 25 min To listen, please visit live.oda.co at the performance times listed above. If you leave your browser open, the broadcast will begin automatically as they start. Love, Oda | | | | ps. if you’re on social media, you can follow us on instagram and twitter. | | |

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in Solidarity, from Experimental Intermedia
by Phill Niblock 06 Jun '20

06 Jun '20

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