[June 16] INHERENT UNCERTAINTY an online Performance HARVESTWORKS - Digital Media Arts Center 2026-09-30 | [June 16] INHERENT UNCERTAINTY an online Performance
UnStumm – conversation of moving image and sound featuring Seth Cluett HARVESTWORKS - Digital Media Arts Center 2023-12-06 | UnStumm (unstumm.com) is a project for real-time film and music (Echtzeitfilm) for cross-disciplinary and cross cultural collaboration between visual artists and musicians from Germany and other countries. It aims to create an environment of cultural and creative exchange, where a common complex artistic language is invented and used to communicate narratives, and textures, colliding, combining, and attracting worlds of sight and sound. Since 2016 UnStumm has performed in 12 countries worldwide. Collaborations have taken place with more than 65 live visual artists, musicians, and dancers. In their audiovisual live performance, they will use live electronics and moving image for an immersive experience. Over the past years, UnStumm has collaborated with Seth Cluett on several telematic augmented reality performances. This performance will be the first in-situ collaboration between UnStumm and Seth Cluett.After the performance, UnStumm will present their augmented-reality app and platform UnStumm – Augmented Voyage (unstumm.com/augmented-voyage/). This app enables real-time telematic augmented reality performances with video, movement, and sound.Location: Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors IslandDate/Time: Saturday September 9, 2023 @ 3:30 pmNICOLA L. HEIN is a sound artist, guitarist, composer, researcher in the field of music aesthetics and cybernetics. He professor for digital creation and artistic director of the studio for electronic music at the University of Music Lübeck. His work is determined by the interaction of sound, space, light, movement and the emergent dynamics of aesthetic systems. In his artistic work he uses physical and electronic extensions of synthesizers and electric guitar, sound installations with motors/video projections/light, cybernetic human-machine interaction with interactive A.I. music systems, augmented reality, telematic real-time art, ambisonic sound projection, instrument making, conceptual compositions. Intermedia works with video art, dance, literature and other art forms. CLAUDIA SCHMITZArtist’s Statement “My work starts where the media intersect. I am not interested in the modernity of technology as such but in its capacities for creating new imaginary dimensions. My arrangements constantly assume temporary states, reject and re-invent themselves, exploring the space-time continuum, rendering visible and questioning its borders. They investigate the limitations of media arrangements and modes of participation.“ As an international media artist, AIDUALC ZTIMHCS explores boundaries: Limits of perception, real and imagined barriers, liquid processes, body discourses.She explores paradigms of media translation – as a solo artist and in collaborative transmedia projects (dance | performing arts | music | visual art | philosophy). She uses sculpture and projections, multidimensional drawing, (live) moving image, AI and food – in real space, virtual and augmented reality to explore new forms of sound, space and experience. Using LiveMovingImage in real time on moving sculptures, she opens up the traditional video projection to an unfolded multi-dimensional spatial projection.SETH CLUETT is an artist and composer whose work ranges from photography and drawing to video, sound installation, concert music, and critical writing. His “subtle…seductive, immersive” (Artforum) work has been characterized as “rigorously focused and full of detail” (e/i) and “dramatic, powerful, and at one with nature” (The Wire). Exploring the territory between the senses, Cluett’s works are marked by a detailed attention to perception and to the role of sound in the creation of a sense of place, the workings of memory, and the experience of time. His research interests and critical writings investigate embodied cognition, sound in virtual and augmented reality, the media history of the loudspeaker, the history and documentation of sound in art practice, and architectural acoustics.
Karkinos: Resonance by Marta Grasso and Kevin Ramsay HARVESTWORKS - Digital Media Arts Center 2023-12-06 | Karkinos: Resonance a Sound Performance by Marta Grasso and Kevin RamsayWith Kevin Ramsay, Lucie Vítková and Sam YulsmanCLOSING PERFORMANCE OCTOBER 29TH @ 5:30 PMKarkinos, is a sound installation that encompasses eleven terracotta sculptures, six exciters, and six solenoids. In this immersive project, the sculptures are brought to life by the exciters and solenoids are employed to produce rhythmic tapping sounds reminiscent of an MRI machine. Karkinos aims to confront our fears head-on and catalyze emotional release, blurring the boundaries between art, technology, and scientific inquiry..Location: Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors IslandOpen October 20 through October 29 2023, @ 11:00 – 5:00 pmDerived from the ancient Greek word for cancer, Karkinos symbolizes the early understanding and perception of this formidable disease. The sculptures, meticulously crafted in terracotta, embody the physical manifestation of cancer cells. Their intricate details and organic forms aim to evoke a simultaneous sense of fascination and unease within viewers.The sculptures are brought to life through the integration of exciters, which emit subtle and haunting sounds. These sounds, carefully designed and curated, represent the inner turmoil and hidden fears associated with cancer. As viewers explore the space, the auditory elements heighten their engagement, evoking a visceral response that mirrors the unsettling emotions tied to the subject matter.To further immerse visitors into the realm of cancer investigation, solenoids are employed to produce rhythmic tapping sounds, reminiscent of an MRI machine. This auditory layer serves as a metaphorical representation of the search for hope and healing, acting as a tool for exploration and discovery. The repetitive tapping resonates throughout the space, creating an atmospheric soundscape that invites introspection and contemplation.Through this unique amalgamation of sculpture and sound, Karkinos transcends traditional artistic boundaries, bridging the gap between art and science. It serves as a poignant reminder of the resilience of the human spirit and the transformative potential of knowledge, enabling us to face our fears and reclaim our agency in the face of adversity.BIOSMarta Grasso and Kevin Ramsay are multidisciplinary artist based in Brooklyn. Marta Grasso’s approach, both anthropological and analytical, investigates, documents and catalogues the personal and collective identities of specific territories and artifacts. Her work creates new spaces of dialogue through communal reflection that becomes the birthplace of new shared imaginaries. The artist’s practice encompasses personal autobiographical experiences and collective shared narratives; ranging between collage, performance, sculpture, photography and video.Kevin Ramsay work is focuses primarily on theoretical, practical aspects of sound recording/reproduction with unpredictable pairings of acoustic and electronic instruments. Kevin’s current works explore new ways to capture, mix, and process immersive audio for playback, on multichannel sound systems.Lucie’s teachers and collaborators include George Lewis, Suzanne Cusick, Ellie Hisama, Miya Masaoka, Petr Kotík, Hitomi Nakamura, Teerapat Parnmongkol, Jolana Havelková, Muyassar Kurdi, Haruhiko Okabe, Jaroslav Šťastný, Teodora Stepančić, James Ilgenfritz, Mae May, and Graham Haynes.
Peter d’Agostino: World-Wide-Walks @ 50 (1973-2023) climate and nuclear related video installations. HARVESTWORKS - Digital Media Arts Center 2023-12-05 | Harvestworks Digital Arts Center presents a selection of Peter d’Agostino’s climate and nuclear related video installations to coincide with COP 28, the UN Climate Change Conference. Within this realm of broad global concerns, the Doomsday Clock has been set annually since 1947 by the Bulletin of the Atomic Scientists, based upon threats posed by nuclear weapons, climate change, and prevailing wars. The 2023 Clock was moved forward to “90 seconds to midnight the closest to global catastrophe it has ever been."The virtual program starts at 7 pm Dec 4 and continuing to Dec 10, 2023.THE PROGRAM features excerpts from d’Agostino’s video installations: 1) World-Wide Walks/ between earth & water / ICE (2014 / 2022). Walks along the edge of glaciers at the top and bottom of the globe in Iceland, Alaska and Argentina to witness signs of global warming.2) World-Wide Walks/ between earth & water / VENICE (2019-20). Walks performed in Venice prior to the November 2019 annual ‘aqua alta’ flooding that engulfed the city with the greatest force in 50 years.3) World-Wide Walks/ between earth & water / BEACH (2021). Walking along Mendocino’s Big River Beach while the town was running out of water – a result of California’s decades long drought.4) World-Wide Walks/ between earth & water / DESERTS (2015 / 2022) Chihuahuan Desert walks among soaptree yucca plants, testaments to natural survival in the desert ecosystem; fields of petroglyphs dating back to the Ancestral Pueblo period; the location of the first Atomic Bomb detonated in 1945 preceding Hiroshima and Nagasaki.5) World-Wide-Walks / between earth & sky / AUS ( 2003 / 2022).Walks in the Australian outback and at a city march protesting nuclear proliferation are juxtaposed with scenes from the 1959 film, On the Beach. Additional Support: CSArts ( Climate, Sustainability and the Arts) Temple University, Philadelphia. Thanks to: Danielle Hope Abrom, 3D models; Alex Manescu, video editing; Reese Williams, sound.World-Wide-Walks were Initiated as video 'documentation/performances' in 1973, evolving into video-web projects during the 1990s, and mobile-locative media installations focusing on climate change during the 2000s. Performed on six continents, the Walks installations are produced in limited editions for exhibitions. His videos, including World-Wide-Walks @ 40 (Selected Works,1973-2012) are distributed by Electronic Arts Intermix, NY [ eai.org/artists/peter-d-agostino/titles] World-Wide-Walks @ 50 ( Selected Works, 1973-2023) will be available from EAI in 2024.Peter d'Agostino's pioneering video, photography, and new media projects have been exhibited internationally for over five decades. His work was in the biennial exhibitions of Sao Paulo, Brazil; Gwangju, South Korea; Whitney Museum of American Art; collections of The Museum of Modern Art, New York; Getty Museum, Los Angeles; Berkeley Art Museum / Pacific Film Archive; Oakland Museum of California; National Gallery of Canada; Palais des Beaux-Arts, Charleroi, Belgium; LaCaixaForum, Barcelona, among others. D'Agostino’s fellowships and grants include: National Endowment for the Arts, Pew Trusts, Japan Foundation, Onassis Foundation, Leonardo Art & Climate Change and Fulbright awards to Australia, Brazil and Italy. He was an artist-in-residence at the TV Laboratory at WNET, New York; Rockefeller Foundation's Bellagio Center, Italy; Banff Centre for the Arts, Canada; a visiting artist fellow at the Center for Advanced Visual Studies, MIT: American Academy in Rome, National Center for SuperComputing Applications, University of Illinois, and ArtSci Center, UCLA. Surveys of the World-Wide-Walks have been exhibited at: University of Paris I Pantheon Art Gallery; Laboratorio Arte Alameda, Instituto Nacional de Bellas Artes, Mexico City; Bizkaia Aretoa, UPV/EHU Art Gallery, Bilbao, Spain. World-Wide-Walks / Peter d’Agostino: Crossing Natural-Cultural-Virtual Frontiers is published by: Intellect, UK and University of Chicago Press. Visit the website [ peterdagostino.org/world-wide-walks]
Women’s Labor: Rheostat Rotary Rack (English[CC]) HARVESTWORKS - Digital Media Arts Center 2023-11-15 | Rheostat Rotary Rack is the second instrument of Women’s Labor, a feminist-activist project that repurposes domestic tools to become new musical instruments, to interrogate gender inequality in housework division. Itis based on a mid-20th century umbrella-style rotary dryer embedded with a rotary encoder and potentiometers, performed by hanging clothing on its strings, rotating it by hand or by wind.Date and time: Saturday August 19, 2023 1-4pmLocation: Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors Island (OUTDOORS)Women’s Labor is a feminist-activist project that repurposes domestic tools to become new musical instruments, integrating the massive but invisible gender inequality in housework division in the home. Using embedded technologies, these household-devices-turned instruments are explored in interactive installations, commissioned compositions by women, workshops, and performances.While policies have made progress in tackling gender inequality in the workplace, such inequality stubbornly remain in the household: women globally spend disproportionately more time doing unpaid housework than men. According to the UN, the feminization of care and domestic work is a pressing worldwide social, cultural, and economic challenge that not only compromises women’s employment opportunities and ability to build assets for themselves; it also significantly impacts women’s health and education, and increases vulnerability to violence and exploitation. Traditionally relegated to the private sphere, Women’s Labor interrogates domesticity through public engagement and performative spectacle with these gendered tools that are visible — and now audible — symbols of domestic labor gender inequality.The first instrument that won the 2021 International Alliance of Women in Music Ruth Anderson Prize is the Embedded Iron, based on an early-20th century wooden ironing board and antique iron. Rheostat Rotary Rack, the second instrument,is based on the Australian “Hills Hoist” dryer, an outdoor steel rotary clothes line that can spin in the wind, designed to maximize wind drying. Embedded with a rotary encoder and potentiometers, it is performed by hanging clothing on its strings, rotating it by hand or by wind.The audience is invited to participate by hanging their own clothing on the Rack, listening to the sounds of housework in a collective gender-equal houseworking performance. Rheostat Rotary Rack is both a human and post-human instrument, making for equal collaboration between humans and non-human agents in the Anthropocene.BIOSMargaret SchedelWith an interdisciplinary career blending classical training in cello and composition, sound/audio data research, and innovative computational arts education, Margaret Anne Schedel transcends the boundaries of disparate fields to produce integrated work at the nexus of computation and the arts. Her diverse creative output spans the interactive multimedia operas, virtual reality experiences, sound art, video game scores, and compositions for a wide variety of classical instruments or custom controllers with interactive audio and video processing. A Professor in the Department of Music, at Stony Brook University she currently serves as the Chair of the Art Department and teaches computer music at Peabody Conservatory. Bryan JacobsComposer, performer, and sound artist, Bryan Jacobs’ work focuses on interactions between live performers, mechanical instruments and computers. His pieces are often theatrical in nature, pitting blabber-mouthed fanciful showoffs against timid reluctants. The sounds are playfully organized and many times mimic patterns found in human dialogue. Hand-build electromechanical instruments controlled by microcontrollers bridge acoustic and electroacoustic sound worlds. These instruments live dual lives as time-based concert works and non-time-based gallery works.
LocaleS3 with NOUS Sonic HARVESTWORKS - Digital Media Arts Center 2023-10-18 | LocaleS3 is sound as kinetic plastic sculptural material to be formed with the dynamic properties of location, size, direction, motion, movement. In a dark room, the artists animate & orchestrate interactive virtual sound objects with vocalizations & sound compositions, distributed in space. Visitors become involved accomplices playing the room as an instrument, using smartphones & position tracking headphonesOpening September 1, 2023 Closing October 29, 2023Friday, Saturday and Sunday 11 – 5 pmConversation with the Artists on Saturday October 21, 2023 at 2:30 pm.Location: Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors Island
All That is Seen and Unseen by AutomaticRelease HARVESTWORKS - Digital Media Arts Center 2023-10-11 | All That Is Seen and Unseen is an interdisciplinary, installation opera which investigates the multifarious effects of technology on our collective human consciousness. The work confronts the dangerous erosion of truth and trust in our society, which is rapidly intensifying due to advancing A.I., computational propaganda, deepfakes, and other tools that manipulate and obscure reality. Through video, music, custom programming, and performance, the artists explore machine learning by creating a performative neural network in real time, imagining a quasi-supernatural invasion of malfunctioning and overreaching intelligent machines, where nothing is as it appears and no one is safe.DATES AND TIMES: June 30 – August 27, 2023Open to the public Friday, Saturday and Sunday 11 – 5 pmArtist Day: July 8, 2023LOCATION: Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors Island.ARTIST BIO:SHAUN IRONS and LAUREN PETTY (AutomaticRelease) are Brooklyn based, interdisciplinary artists who make multimedia performances, installations, films and interactive video scores for live performance. Recent projects include, All Over Everywhere, a multidisciplinary requiem for an imperiled planet (MITU580, 2021), Why Why Always, a live-cine performance inspired by Jean-Luc Godard’s Alphaville (Abrons, 2017) and Keep Your Electric Eye On Me, a multimedia live performance and interactive media lab exploring transformation, dual realities and hysteria (commissioned by HERE Theater, 2015). Film projects include Standing By: Gatz Backstage, a feature-length, behind-the-scenes documentary focusing on ERS’s epic theater production Gatz and the in-progress experimental feature Lessons In Lost Time.Shaun and Lauren’s projects have been seen in NYC, nationally, and internationally at venues such as BAM, The Brooklyn Museum, Abrons Arts Center, The Chocolate Factory, Anthology Film Archives, Tokyo Wonder Site, and the Venice Biennale. They have received numerous awards including grants, fellowships and residencies from the NEA, NYSCA, NYFA, LMCC, Jerome Foundation, Harvestworks, Asian Cultural Council, Signal Culture, Yaddo, MacDowell, Camargo Foundation and the Bogliasco Foundation. www.automaticrelease.orgZach Layton is a composer, multi-instrumentalist, improviser, curator, and educator working collaboratively across genres and disciplines. His work has explored musical approaches to biofeedback and brainwave signal, transcriptions of insect rhythms for string orchestra, sonification of internet data, multichannel sound installations, and photographic representation of sonic vibration.He has composed orchestral music for the Cleveland Chamber Symphony and the String Orchestra of Brooklyn and has performed and exhibited at the Guggenheim Museum, the Kitchen, MoMa/PS1, ISSUE Project Room, Roulette, EMPAC, Eyebeam, International Computer Music Festival, Experimental Intermedia, Performa, Transmediale Berlin, Audio Art Festival Krakow, and many other venues in New York and worldwide. He has collaborated with a diverse range of artists and musicians (including Vito Acconci, Pauline Oliveros and Tony Conrad) and is the director of the celebrated NYC Darmstadt New Music series (with Nick Hallett). He has received awards from the Foundation for Contemporary Arts, the Macdowell Fellowship, Fulbright/NAF, and the Jerome Foundation and is currently assistant professor of music production at Ramapo College of New Jersey. www.zachlaytonindustries.com
Prismatic Xtychs: Meditations on Chance, Choice, and Action by Christina Wheeler HARVESTWORKS - Digital Media Arts Center 2023-07-31 | Prismatic Xtychs: Meditations on Chance, Choice, and Action is the second in a series of structured improvisation performances works meditating on chance and choice through gestural and sonic action. The audience hears an invocation/incantation to which they can choose to respond by a series of chance gestures that determine the structure of this premiering sonic performance work. The instrumentation is voice, Array mbira, autoharp, QChord, Theremini, virtual synthesizers, and electronics.christinawheeler.comchristinawheeler.bandcamp.cominstagram.com/thechristinawheelerfacebook.com/ChristinaWheelerMusic
SAWT OUT – Experimental improvised music from Berlin HARVESTWORKS - Digital Media Arts Center 2023-07-31 | Burkhard Beins (D) – PercussionMazen Kerbage (LB) – TrumpetMichael Vorfeld. (D) – Percussion Since its foundation in 2015 the Berlin-based trio Sawt Out has shaped and refined its profile as a prominent improvisational unit. With their unusual acoustic instrumentation of trumpet and two sets of percussion these three gentlemen create bewildering sound worlds rich in detail and of tight musical interaction. Sawt Out has played numerous concerts throughout Europe, Asia and beyond. This current tour is their first live appearance in the US.WEBSITE:mazenkerbaj.com/sawtout
June 2023 Performances: Anaïs Maviel, Rashaan Carter & Mimi A. HARVESTWORKS - Digital Media Arts Center 2023-07-27 | In the context of their joint research in the healing properties of music in electro-acoustic music performance, Rashaan Carter, Anaïs Maviel & Mimi A. invite you to join their work-in-progress immersive sound bath and binaural beats bouquet. At sunset, they invite you to experience meditative, minimalist and texturally rich music made of electric & acoustic bass, modular synthesizers, harmonium, percussion, singing bowls and voice in Nolan Park at Governors Island. Open to all ages, bring blankets. Saturday June 17, 2023 @ 7 pmLocation: Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors IslandBiosAnaïs Maviel’s work as a vocalist and composer focuses on the function of art to address Relation. With sound, she intends to lay common grounds for utopian futures, connecting intimacy and subconscious narratives with collective and large scale principles. She navigates song, choral, instrumental music and staging with a strong connection to cosmologies of sound and speech rooted in oral traditions such as mantra and ring shout. Her works hold space for transformation. With traditional and experimental approaches, Anaïs investigate the power of sound to shape reality. She has collaborated with William Parker, Meshell Ndegeocello, Pauline Kim Harris, Alarm Will Sound, Okwui Okpokwasili and Stefani Jemison, among many. Mimi is a sound artist whose practice lies at the intersection of experimental/improvised music and audio art. Interested in deconstructing and remodeling sonic material, she assembles mixed sources [synthesis, voice, field recording] into new immersive weavings. Her creative process involves chance/random layering as well as methodical/algorithmic processes, aiming to promote the interplay between logic and ambiguity.Rashaan Carter worked and gained experience in the local scene in Washington D.C. and after high school, moved to New York City to attend the New School University. Rashaan studied with Buster Williams and Reggie Workman. Since moving to New York Rashaan has become entrenched in the jazz scene and has worked with Benny Golson, Curtis Fuller and Louis Hayes, Wallace Roney, Marc Cary, Cindy Blackman, Doug and Jean Carn, Antoine Roney, Sonny Simmons, and many more. He’s also studied with one of his prime influences, Ron Carter. Rashaan regularly performs with a myriad of artists in and outside of New York and can be found on various recordings as well
Eternities performance with Bob Bellerue and Katie Porter HARVESTWORKS - Digital Media Arts Center 2023-07-25 | Eternities is a collaboration between bass clarinetist Katie Porter (Utah) and sound artist Bob Bellerue (NYC). Their work is inspired by deep presence, resonant feedback, melodic drone, and overtone magic, in the fluid realm between intention and indeterminacy. harmonicoozerecords.bandcamp.com/album/realnessThis Eternities performance takes place within Oroboros, a multichannel sound installation written in the Supercollider programming language by Bob Bellerue. An ever-changing sequence of vocal recordings are spatialized through a traditional speaker array of any size, with additional sound objects made out speaker drivers and resonant metal. The system operates via an algorithmic process which never repeats, and visitors can record their own vocal clips to add to the library. It can additionally be used in performance to capture instrumental and electronic sounds. Eternities Performance on June 9, 2023 at the Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors IslandBios:Bob Bellerue is a sound artist, experimental musician, sound/video curator, and creative technician based in Ridgewood NY. Over the last 30+ years he has been involved in creating and presenting a wide range of sonic activities – noise, sound art, experimental music, junk metal percussion, Balinese gamelan, soundtracks for dance/ theater/ video/ performance art, and sound / video installations. Bob’s sound work is focused on multidimensional feedback systems, using amplified instruments, objects, recordings, and spaces, in combination with electronics and software written in the Supercollider audio synthesis programming language. Bob’s work has been presented by The Kitchen, Issue Project Room, Roulette Intermedium, MOMA/PS1, Pioneer Works, Experimental Intermedia, Cafe Oto, Fylkingen, EMS, High Zero Festival, the Yogyakarta Gamelan Festival, Centre de Cultura Contemporanea de Barcelona, LUFF Festival, Akouphene Festival, Sonic Circuits Festival, CEAIT Festival, Cave12, Diapason Sound Gallery, Boulder Museum of Contemporary Art, Oberlin College, the Art Institute of Chicago, Stanford University, NYU, UCSD, and UCLA. Bob’s discography includes dozens of releases on Elevator Bath Records, iDeal Recordings, Banned Productions, Fabrica, P-Tapes, RRR Records, Love Earth Music, Prison Tatt Records, Los Discos Enfantasmes, Zelphabet, Peyote Tapes, No Rent Records, and his own Anarchymoon Recordings and Sleepy Hollow Editions. He curates and produces the annual Ende Tymes Festival, and is the Technical Director for Pioneer Works and the Cultural Services of the French Embassy. bobbellerue.netKatie Porter is a clarinetist and curator specializing in experimental music. Passionate about fostering musical communities, she co-founded Listen/Space in Brooklyn, the Listen/Space Commissions in the mountains of Utah, and the biennial VU Symposium for experimental, electronic and improvised music. Devoted to collaboration, Katie’s current projects include, Red Desert Ensemble with percussionist/composer Devin Maxwell, Quartet or Two Duos with James Ilgenfritz, Lucie Vítková, and Teerapat Parnmonkol in NYC, Phase to Phase a bass clarinet duo with Lucio Capece in Berlin, Malosma a bass clarinet and bass flute duo with Christine Tavolacci in LA, and Eternities with the noise artist Bob Bellerue in NYC. She has premiered works by Sarah Hennies, Teodora Stepančić, Andre Cormier, Daniel Goode, John Luther Adams, Yvette Janine Jackson, Manuela Meier, Michael Pisaro, Jurg Frey, Laura Cetilia, Brian Harnetty, Phill Niblock, Carolyn Chen, Patricia Alessandrini, Nomi Epstein, Quentin Tolimieri and Christian Wolff, among many others. She can be heard on the labels Another Timbre (UK), Gravity Wave / Erstwhile (US), Edition Wandelweiser (DE), FTARRI (Japan), Infrequent Seams (US), Karl Records (DE), and Editions Verde (US). Katie is working to record a giant multi-year project for solo clarinet in Nancy Holt’s land artwork, Sun Tunnels, in the remote Utah desert. www.fromkp.com
The Ear Hut + LIsten Ahead - Miya Masaoka HARVESTWORKS - Digital Media Arts Center 2023-03-14 | The Ear Hut + Listen Ahead, is a listening station created by Miya Masaoka. An outdoor contemplative space that directs the attention of the viewer towards an awareness of their sense of listening over their sense of sight, and how this shift in emphasis might be experienced in an impactful way. There are Ear-Dows rather than windows that line the walls, and these ear-level openings encourage a listening experience of the mixing of sounds of the interior and exterior, allowing sounds from the outside soundscape to mix with the embedded sounds emanating from hidden loud speakers in the bench. The focus on active listening gently alters the experience for the listener, and encourages a perception and way of being in the world. The public is invited to sit, watch and listen to the active soundscape of the Governors Island waterfront and the embedded compositions coming through the Ear-Dows. The Ear Hut will include several composers and sound artists, and will begin with renowned artist Stephen Vitiello. The Ear Hut was originally commissioned by Sonic Innovations, a program of the Caramoor Center for Art and Music in Katonah, New York, for composer and sound artist Miya Masaoka and was exhibited there in 2019-2021.May 28th – October 30, 2022. Location: Waterfront at Building 12 Governors IslandOpen to the public every day during public hours.Stephen Vitiello's composition "One string left and a head for the sea" was made with an Edsel Martin Dulcimer and a multi-loop device, recorded in real-time.From Vitiello: The dulcimer was one of a very few things I wanted to save after we cleared out my mother’s house. The instrument had been banging around a shelf or two for most of my childhood. I’d never played it and I’m not sure any of us had but it was a bit of an iconic object in the house, with the notable figurehead carved into the top. As the title notes, only one of four strings remained on the instrument. I did bring it in to a luthier for some more care and attention soon after.BiosMiya Masaoka is a composer and artist based in New York City. Classically trained, her work operates at the intersection of spatialized sound, frequency and perception, performance, social and historical references. Whether recording physical objects, plants or the human body, within architecturally resonant spaces or outdoor resonant canyons, she creates incongruencies that reflect current realities. Masaoka is Assistant Professor of Practice at Columbia and the Director of Sound Art MFA, and previously taught at the Milton Avery School of the Arts at Bard College. She was a Park Avenue Armory Studio Artist in 2019. Stephen Vitiello is an electronic musician and media artist. CD, LP and digital releases have been published by New Albion, Sub Rosa, 12k, and Room 40. His sound installations and multi-channel works are in the permanent collections of the Museum of Modern Art, the Whitney Museum and the Museum of Contemporary Art, Lyon. Over the last 30 years, Vitiello has collaborated with such artists and musicians as Pauline Oliveros, Ryuichi Sakamoto, Taylor Deupree, Joan Jonas, Tony Oursler, Steve Roden and Scanner. Vitiello has been awarded a Guggenheim Fellowship for “Fine Arts,” a Creative Capital grant for “Emerging Fields” and an Alpert/Ucross Award for Music. Originally from New York, Vitiello is now based in Richmond, VA where he is a professor of Kinetic Imaging at Virginia Commonwealth University. "00:19-00:40 video by Artist in New York City youtu.be/b4_RIN5QvTY
Fluid: An Art and Tech Exhibition (2022) HARVESTWORKS - Digital Media Arts Center 2023-01-16 | Fluid – an art and tech exhibition features major new works created by New York State Council on the Arts – New Technology awardees Kristin Lucas and Eva Davidova with Harvestworks Artists in Residence Viv Corringham, Su Hyun Nam and Allison Berkoy.Through tech focused artworks Fluid brings together artists working in a variety of media from 3D sound, web-VR and audience participatory image installations. Bringing attention to the complex relationships between human, animal, machines and their environments, each work explores local and global issues through the lens of an artist. Curator and director Carol Parkinson and the Harvestworks arts committee selected these artists because of their compelling use of immersive technology, multichannel video and audio. The Harvestworks Art and Technology Program on Governors IslandBuilding 10a, Nolan Park, Governors IslandAugust 27 – October 30, 2022 – Open to the public on weekends 11 am – 5 pmInfo and links about the artworks.Kristin Lucas: Marine MamMLs is an interactive WebXR project that visually sonifies whale communication and cargo ship noise in the NY Bight. The work demonstrates how close in range their sound frequency is, and how ship noise interference with whale communication can increase the risk of whale injury and casualty.-harvestworks.org/aug-27-oct-30-marine-mammls-by-kristin-lucasViv Corringham: Nostalgia for the Here and Now is an archaeology of sounds and found objects from the here and now – a collection of relics from our present and a record of how we lived and what we cared about. The artist asked two questions of everyday people: “what object do you most value?” and “what environmental sound would you miss if it disappeared tomorrow?” These sounds were recorded, mixed, and distributed in a 3D sound environment.-harvestworks.org/aug-27-oct-30-nostalgia-for-the-here-and-now-by-vivienne-corringhamEva Davidova: Garden for Drowning Descendant is an interactive mixed reality work that uses the subconscious to workshop ideas. The work exists simultaneously as a 360 VR environment and an immersive project installation that consists of four interactive absurdist scenes of ecological peril.. The rules of engagement are left intentionally unsaid; participants need to experiment in order to understand the possibilities for interaction.-harvestworks.org/aug-27-oct-31garden-for-drowning-descendant-by-eva-davidovaAllison Berkoy: START is a collection of new works exploring sensory and perceptual processing following acute stress to the brain. Mixing electronic traditional media, the exhibition features interactive video sculptures and electronic sculptural reliefs. Participants enter the space and find themselves surrounded by spot-lit sculptural reliefs and videos, low hums of noise oscillating with silence. -harvestworks.org/aug-27-oct-30-start-by-allison-berkoySu Huyn Nam: Synthetic Cognisphere is an immersive audiovisual environment. Embodying a speculated cognitive system, in which fragments of human memories are entangled with cognitive activities of nonhumans, the artist feeds daily images into neural networks to repurpose them and envision how a machine would process its own memories of her experience.-harvestworks.org/august-27-october-30-synthetic-cognisphere-by-su-hyun-nam
Performance of Nostalgia by Viv Corringham and Paul Geluso HARVESTWORKS - Digital Media Arts Center 2022-11-29 | A performance with live vocals by Viv Corringham, manipulated and distributed by Paul Geluso within Corringham's installation “Nostalgia for the Here and Now”. Viv will sing responses written by exhibition visitors to her questions “What sound would you most miss if it disappeared tomorrow” and “What object do you most value?”. Her singing will blend with field recordings in a 3D sound environment.October 29th, 2022 @3pm.LOCATION: Harvestworks Art and Technology Building 10a, Nolan Park, Governors Island. INDOORNostalgia for the Here and NowNostalgia for the Here and Now is pervasive: a feeling that what we have is unsustainable and disappearing.The audio/visual installation is an archaeology of sounds and objects from this present time. It combines field-recordings of sounds from here and now with everyday found objects: a collective of relics from our present. As if someone from the future gathered together memories of how our soundscape used to be, along with our quotidian objects, both valued and discarded, as a record of how we lived and what we cared about.My perspective in this work is to examine the small things that make up our lives, those everyday details that are important to us and through which we can glimpse the huge and overwhelming challenges that face us. I interviewed a diverse selection of the public and asked them two questions.The first was: “What sound in your environment would you miss most if it disappeared tomorrow?”Sound is omnipresent and represents the ecological mesh we exist in but don’t always take into account. Asking this simple question of people (including visitors to the installation) allows us to ask ourselves what are the “soundmarks” in our life and to become aware of our own part in the acoustic environment. I then recorded the environmental sounds that people names, as exactly as possible.The second question I asked was: “What object do you most care about – something you can’t imaging living without?”We are intimately connected to our possessions and we feel great stress when they are lost to flood, fire, migration and other familiar crises. I would like – in a small way – to provoke a reconsideration of whether we need them or not. I also collected some of the detritus of our lives – objects dropped or forgotten in the street – as traces of our existence and what was once valued but is now waste.BIOSVIV CORRINGHAM is a New York based British vocalist, composer and sound artist, active since the late 1970s. Her work includes concerts, soundwalks, workshops and installations, exploring people’s sense of place and the link with personal history and memory. She has received international recognition and her work has been presented in twenty six countries on five continents.Awards: She is a 2012 and 2006 McKnight Composer Fellow. Other grants and awards have come from the English and Irish Arts and Councils, Jerome Foundation, Harvestworks NY, Jazz Services UK, Millennium Funding UK, London Arts Board, Chisenhale Awards, Creative Partnerships, Awards for All and Meet the Composer.Articles about her work have appeared in many publications, including In the Field (UK), Leonardo Music Journal (US), Walking with Scores (Belgium), Art of Immersive Soundscapes (Canada), Organised Sound (UK), Musicworks (Canada), Catskill Made (US), Playing With Words (UK) and For Those Who Have Ears (Ireland).Recordings are available on Innova, Otoroku, Flaming Pines, Zeromoon, Farpoint, Linear Obsessional, FMR, Slowfoot, NoMansLand, ARC Music, MASH, Slam, Rhiannon, Jungle Records, Emanem, Move, Artship and Third Force.PAUL GELUSO: Paul’s work focuses on the theoretical, practical, and artistic aspects of sound recording and reproduction. He has been credited as producer, recording engineer, mastering engineer, and/or musician on hundreds of commercially released recordings, including Grammy nominated and Latin Grammy nominated titles and award winning films. His research focusses on new ways to capture, mix, and process immersive audio for playback on multi-channel sound systems, recently co-editing “Immersive Sound: The Art And Science of Binaural and Multi-channel Audio” published by Focal Press-Routledge. He has taught classes in music production and technology at Bard College and the Peabody Institute, in addition to serving as the chief sound engineer at Harvestworks Digital Media Arts for more than 2 decades. Working with artists who use sound as a creative medium, his collaborative sound works have been exhibited at The New Museum, Art in General, Storefront for Art and Architecture, Gale Gates Et Al, Cooper-Hewitt School of Design, London’s SPACE gallery, Harvestworks Digital Media Arts, the DUMBO Arts Festival, White Box Art Gallery, New York Electronic Arts Festival, ISSUE Project Room, and NIME. He has received individual artist grants from the New York State Council on the Arts and Meet the Composer.
Immersive Technologies and Participation - A WORKSHOP HARVESTWORKS - Digital Media Arts Center 2022-11-16 | Immersive Technologies and Participation – A Workshop by Eva Davidova and Sidney San MartinOctober 22, 2022 @1-3pm - Harvestworks Art and Technology Program Building 10a, Nolan Park, Governors IslandEva Davidova and creative technologist Sidney San Martin gave a demo and a brief introduction of the interactive installation Garden For Drowning Descendants, exhibited at Harvestworks. Discussion on the process and collaborative aspect of the piece lead into the conceptual issues around the technologies employed. Sidney San Martin talked about the custom code and innovative solutions he developed for the piece. In a very brief history of virtual, mixed and invisible realities, Eva talked about the origin and transformation of immersive technologies.In the second part of the workshop they had a hands on exercise with applications and software with free access (either free or open source), in which the participants were able to create their own assets to use in Unity or Mozilla Hubs. They explored terminologies, possibility for collaboration and a simple framework for the creation of potential artworks.The intention of this workshop was to promote, support and facilitate the participation of everyone in the creation of virtual worlds, evermore entangled with the physical.Please note: No previous knowledge is required, but it is recommended to bring a laptop.About the ArtistEVA DAVIDOVA explores behavior, ecological disaster, and the political implications of technology through performative works rooted in the absurd. Challenging a singular narrative, she combines ancient mythology with the current technological moment to address the looming ecological catastrophe. Davidova has exhibited at the Bronx Museum, the Everson Museum, the Albright Knox Museum, MACBA Barcelona, CAAC Sevilla, La Regenta, ISSUE Project Room, and Instituto Cervantes among others. Recently she was a fellow of Harvestworks’ TIP program, Residency Unlimited, Alfred IEA, and a member of NEW INC, the New Museum incubator at the intersection of art, design and technology.About the Creative TechnologistSidney San Martín (a.k.a. s4y) is a computer programmer and performer based in Brooklyn, NY.He has worked on tools for performance, live music visuals, immersive art installations, 3D virtual spaces, systems programming, electronics, and almost everything else that involves a computer. He is always looking for creative collaboration and (some) contract work. In the past, he has done full time software engineering at OkCupid, Keybase, and on Chrome for Mac at Google.This project is made possible with funds from the NYSCA in Partnership with Wave Farm: Immersive Art & Technology Initiative, with the support of the Office of the Governor and the New York State Legislature.This project is made possible with funds from the NYSCA in Partnership with Wave Farm: Immersive Art & Technology Initiative, with the support of the Office of the Governor and the New York State Legislature.
NYU IRCAM Performance by Hanae Azuma (excerpts) HARVESTWORKS - Digital Media Arts Center 2022-10-19 | Harvestworks is pleased to participate in the 2022 IRCAM-NYU Forum. The Fall 2022 IRCAM Forum was held at New York University, and hosted by the NYU Music Technology and Music Theory & Composition programs from September 30 to October 3, 2022. This event shows new compositions created during the Harvestworks Workspace Residency program by Hanae Azuma. The works are for Taiko (a Japanese drum) and computer with four channel speakers. Featuring Yoko Nakahashi. Harvestworks Art and Technology Building 10a, Nolan Park, Governor's Island. ARTIST STATEMENTThis performance features a brand new work for two Japanese drums, - Taiko and Shime-daiko - and computer with four channel speakers. The work contains sounds that I recorded during my residency program in NYC. During the performance, I also improvise on the Taiko, which was an experimental experience for myself! As the concert is outdoors, it's a great opportunity to consider how the sounds from the multichannel speakers affect people, and how the sounds of the environment affect the perception of the work. I also present two other works: "Watercolor Painting" and "Where Am I in the Universe", which were originally written for 16 channel speakers, but re-worked to four for this event. HANAE AZUMA is a composer from Tokyo, Japan, and completed both her BM and MM at Tokyo University of the Arts, Department of Musical Creativity and the Environment. During her studies in Japan, she mainly concentrated on the relationship between music and other visual/performing arts, such as dance and film, and has been collaborating with contemporary dancers on a variety of projects as a composer. She also completed her MM in music technology at New York University in 2014. Hanae's recent interest is spacial sound, and she has been busy creating works for multichannel surround sound. Her works have been presented at music festivals and concerts in the United States, Japan, Korea and Taiwan. She is currently an academic fellow at Acoustic Lab, Tokyo University of the Arts. YOKO NAKAHASHI (Taiko: Japanese drum) Known by her buddhist name, Laiko, Yoko Nakahashi is an ASCAP award winning contemporary composer; taiko artist and certified Osuwa Daiko instructor. She has composed and performed at a variety of events and occasions, and performs and teaches internationally as a taiko drummer. Yoko has featured on WPIX, NY1 News, and Fox5, among others, and has performed at venues such as The Shed, UN, Bowery Ballroom and The Little Island. Yoko was a workshop leader at the 2017 and 2019 North American Taiko Conference, and at the 2020 East Coast Taiko Conference. She builds taikos to support collegiate and emerging taiko groups in the need of drums and necessary equipment. ABOUT THE IRCAM-NYU WORKSPACE RESIDENCIES The IRCAM-NYU artist residency program at Harvestworks is a one month opportunity during which, up to four artists, will finish their proposed work in September 2022. The artworks fall within the scope of "interaction and sound design" focusing on one or more of the following topics: composer/performer/computer interaction, improvisation and collaboration; sonification and generative sound exploration; soundscape [re]sonification, interaction, sensing and sensor networks; and educational tools in interaction and sound design. Artists are given a workspace residency table at Harvestworks for the one-month duration of the residency. Edited by Eleanor Ridley. October 1, 2022.
EMKVLT Performance (excerpts) HARVESTWORKS - Digital Media Arts Center 2022-10-19 | Using a spatialized four channel system, the performers invoke the electromagnetic spirits which dwell on the island. Feedback and electrical coils build a sonic space for all. EMKVLT is a band led by three women who use the physical properties of the electromagnetic spectrum to create installations, performances and recordings. Using electronic feedback, audio speakers, various kinds of microphones/pickups, and resonant objects of all shapes and kinds, they summon the feminine spirit of electromagnetism, aka the Goddess of the Electronic Medium. They have a flexible membership inclusive to all people who are willing to open themselves up to this spirit. In terms of current trends in audio technology, they invoke a feminist response to the masculinization of the music industry, audio engineering, and to the artistic spaces of sound arts in general. In this performance, EMKVLT present a structured improvisation for the summoning of the Goddess of the Electromagnetic Spectrum. Like a mandala the piece begins in chaos, representing the unordered world of chaotic thoughts. Following that, symmetry is slowly introduced as they travel through the stages of structured feedback eventually taking us to the Goddess of the Electromagnetic Spectrum in the center of the mandala. BIOSMARGARET SCHEDEL transcends the boundaries of disparate fields to produce integrated work at the nexus of computation and the arts. With an interdisciplinary career blending classical training in cello and composition, digital audio research, and computation arts education, she is internationally recognized for the creation and performance of ferociously interactive media. Her research in the sonification of gesture and data takes form in interactive opera, VR, and video games. Schedel is professor and co-director of computer music at Stony Brook University and also teaches at the Peabody Conservatory of Johns Hopkins University. JESS ROWLAND is a sound artist, musician, and composer, and a 2018-2020 Princeton Arts Fellow. Much of her work explores the relationship between technologies and popular culture, continually aiming to reconcile the world of art and the world of science. At UC Berkeley, she developed technique for embedded sound and flexible speaker arrays. Her research includes music perception, auditory neurosciences, and music technologies. In addition to an active art practice, she has taught Sound Art at The School of Visual Arts in New York and continues to present her work internationally. Recent installations and performances include the New York Electronic Arts Festival, Simons Center for Geometry and Physics, Berkeley Art Museum, and Spectrum NYC. SOFY YUDITSKAYA is a site-specific media artist and educator working with sound, video, interactivity, projections, code, paper, and salvaged material. Her work focuses on techno-occult rituals, street performance, code, paper, and salvaged material. Her work focuses on techno-occult rituals, street performance, and participatory art. Sofy's performances enact and reframe hegemonies. She works with materials that exemplify our deep entanglement with petro-culture and technology's affect on consciousness. She has worked on projects at Eyebeam, 3LD, the Netherlands Institute voor Media Kunst, Steim, ARS electronica, Games for Learning Institute, The Guggenheim (NYC), The National Mall and has taught at GAFFTA, MoMA, NYU, Srishti, and the Rubin Museum. She is a PhD Candidate in Audio-Visual Composition at NYU GSAS. Edited by Eleanor Ridley. Harvestworks Art and Technology Building 10a, Nolan Park, Governor's Island. October 8th, 2022.
Plastics - a performance by Matthew D. Gantt (excerpts) HARVESTWORKS - Digital Media Arts Center 2022-10-19 | Following his workshop on Unreal Engine for Musicians, Matthew D. Gantt presents 'Plastics', a live performance of sound and virtual environments building on the infinite mutability of digital sound and objects. Drawing on material from previous releases with Orange Milk and Oxtail Recordings, the performance will combine generative approaches, tape composition and projected 3D environments made with the Unity game engine.MATTHEW D. GANTT is an artist, composer, and educator focused on sound in virtual spaces, generative systems facilitated by idiosyncratic technology, and digital production presets as sonic readymades. He worked as a studio assistant to electronic music pioneer Morton Subotnick, and has been an active participant in the international creative community, presenting or performing at spaces such as Pioneer Works, Issue Project Room, Roulette, Babycastles, SVA Visible Futures Lab, Panoply Performance Laboratory, EMPAC, the Wrong Biennale, and countless DIY venues across North America. Gantt releases music with Orange Milk and Oxtail Recordings, and teaches experimental music and media at both institutional and grassroots spaces, including Harvestworks, CUNY Brooklyn, Bard College, Sarah Lawrence, and a variety of community workshops aimed at creating equitable access to developing technologies. Gantt's work has been featured in The Wire magazine, Pop Matters, Exclaim!, Tiny Mix Tapes, Bandcamp New and Notable, the Brooklyn Rail and similar. This project is made possible with funds from the NYSCA in Partnership with Wave Farm: Immersive Art & Technology Initiative, with the support of the Office of the Governor and the New York State Legislature.Edited by Eleanor Ridley.
ELECTROPIXEL 12 - BEN OWEN (Excerpts) HARVESTWORKS - Digital Media Arts Center 2022-09-29 | For Governor's Island, Electropixel 12 provided an evening of sound art and live cinema centered around the idea of Nature and cities with performances that included the sounds of nature (water, insects, stratosphere, trees...) a listening in different cities around that globe. Live outdoor performances!Saturday August 6th, 2022. BEN OWEN works with sound with various approaches, improvised, recording, listening and scored pieces. His instruments are simple electronics; played, mixed, open to their own trajectory of small sound, broken and accidental. His interest is in the sustained, immersive, minimal soundscape which interacts within a space as well as part of an outside environment. Over the past few (pre-pandemic) years he's found more interest in presenting works, performing and recording in outdoor spaces. "Ben Owen is an investigator, explorer and illustrator of the physical properties of the world we inhabit. His work across multiple media, including sound, video and, importantly, stone litho printmaking, is motivated by a desire to more deeply understand the inner life and character of the materials he works with, rather than an impulse to control or implement them. While Ben doesn't shy away from the use of the computer, he is much more interested in the rich dynamism of the structures and forces he investigates - electricity, light, ink, spatial acoustics, field recordings - than in the power and precision of software-driven techniques." - Morgan Packardhttp://benowen.infoA Festival of emerging digital cultures and free electronic practices, Electropixel is part of an international network of electronic arts festivals. The festival opens a singular space allowing the meeting of artists (audioviual, musicians, visual artists, intermedia, performers, etc.), theorists, programmers, tinkerers, and inventors of all kinds and of the factories of the everyday. For this new edition of the Electropixel festival, we plan to deepen the relationship to the collective and to shared creation through a network of international exchanges. The festival continues to imagine and think about the new modalities of artistic creation during the pandemic and in particular the disintegration of the idea of commonality and sharing. We need to find links in creation, new ways to explore new writing together rather than being isolated, confined, separated. How to build creations that represent multiple and delocalized collectives.
ZOOM IN: OLAP #11 with KaonCPT Collective HARVESTWORKS - Digital Media Arts Center 2022-09-22 | Our collaboration with Experimental Intermedia continues with our eleventh ZOOM IN: OLAP (Online Live Art Performance) community discussion forum. For this event we have invited Michal Seta (concept/charge conjugation) and Nicolas Bouillot (concept/time reversal) from The Kaon'CPTs, a collective dedicated to flip along several time realities. Sunday March 13th, 2022. 3-5pm, EST. The discussion forum will be led by media artist and curator Katherine Liberovskaya of Experimental Intermedia and Harvestworks Director Carol Parkinson. When In Real Life (IRL) musicking stopped being main stream, we created the Kaon'CPTs collective and moved to online 3D performance space with conducted live comprovisation through interactive scores. Indeed, the COVID-19 pandemic provided a unique context in which we would perhaps not even think about joining forces in a project unless there was an opportunity to be together physically. However, the pandemic has paralyzed many of us and shifted focus towards online activities. Suddenly the Internet became the only way to express oneself and to interact with other people. Perripplayer, the first Kaon'CPTs comprovisation, is a result of this context and brought together individuals that may not have collaborated together otherwise. Ever. MICHAL SETA is a sound artist, improviser and coder (in any order) flirting with various media. He co-founded No One Receiving band as well as UniSecs, a duet of spoken word and electroactoustic music. As a coder, he fueled works by other artists (and his own) and currently he works as a researcher/developer at SAT's Metalab. He has ventured into interactive art installations with [IR]rationnel, commissioned by the Montreal Science Center and award-winning Re-Collect, shown in North America, Europe and the Middle-East. His short film [*]nScape was selected for the first Drone Cinema Film Festival and was followed by several music releases in fairly rapid succession, mainly on Silent Records label. NICOLAS BOUILLOT is research co-director at the Society for Arts and Technology (SAT). After obtaining a Ph.D. from the Conservatoire National des Arts et Métiers de Paris (CNAM-CEDRIC) in 2006, he became postdoctoral researcher at McGill University in the Shared Reality Lab (SRL), along with being a postdoctoral member of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT). He is the main developer of switcher (a multichannel streaming engine) and shmdata (a library for sharing data streams among applications), and initiated SATIE (a 3D audio rendering engine for heterogeneous speaker configurations). He likes distributed music performances, programming, team-based working, reviewing others' research papers, audio signal processing, writing research papers, networks and distributed systems, composing and improvising music, data streaming, writing third person bio, and playing multiple musical instruments (but not necessarily simultaneously). ABOUT KAON'CPT The Kaon'CPTs is a collective dedicated to flip along several time realities. Undecided, their action oscillates, alternates from physical to virtual, hesitates between now, before and later. Previous activities include synchronized network music, implementing timecode-based behaviors and listening to buffer underflows in interactive cyberworlds. Actually, nothing periodically unusual can affect Kaon'CPTs are inviting friends for musicking sessions. The energy is bound from below. Kaon'CPT members, (GMT-4) are Michal Seta (concept/charge conjugation), Nicolas Bouillot (concept/time reversal), Bennett Smith (dispersion), Emmanuel Durand (graphical memory), Nina Ripoll (action) and Zack Settel (entropy). Other friends have been determined in a near future, including Stuart McLeod (GMT-7), Hiroya Miura (GMT-9), D. Andrew Stewart (GMT-7), Dirk Stromberg (GMT+8) and Michael Edwards (GMT+1)ABOUT ZOOM IN: OLAP ZOOM IN: OLAP, a collaborative initiative by Harvestworks and Experimental Intermedia, was conceived by Katherine Liberovskaya and Carol Parkinson in the winter of 2021 in response to all the proliferating online artistic initiatives brought on by the pandemic. It's objective continues to be to reflect on the aesthetic and technical dimensions of live streaming and to share knowledge among the participants. The meetings feature guest practitioners from different artistic fields (music, live visuals, performance, dance, theater) who speak about their approaches and experiments with online performance (sound, video, conferencing, streaming software, aesthetic and organizational approaches), followed by a Q&A. The forum is also open to hearing about new ideas and projects that are in development as well as technical and/or conceptual concerns from the participants. Moderated by Katherine Liberovskaya of Experimental Intermedia and Harvestworks Director Carol Parkinson. Edited by Eleanor Ridley
ZOOM IN: OLAP #10 with UnStumm HARVESTWORKS - Digital Media Arts Center 2022-09-22 | Our collaboration with Experimental Intermedia continues with our tenth ZOOM IN: OLAP (Online Live Art Performance) community discussion forum. For this event we have invited time based media artist Claudia Schmitz and sound artist Nicola L. Hein to talk about their work UnStumm | Augmented Voyage, one of their projects as UnStumm. Sunday February 27th, 2022. 3-5pm, EST. The discussion forum will be led by media artist and curator Katherine Liberovskaya of Experimental Intermedia and Harvestworks Director Carol Parkinson. UnStumm | Augmented Voyage is the UnStumm telematic Augmented Reality platform and a smartphone app. It aims to develop a new vision of a real time collaborative use of AR/VR technologies in telematic performances. It creates a new approach to VR technology, which is not yet used for telematic live performances with video and sound art. UnStumm is now increasingly focusing on productions in VR and AR space. This enables an international project development and performance without physical travel. Claudia Schmitz and Nicola L. Hein will invite different artists to form audio-visual groups to perform in telematic virtual reality settings. In collaboration with programmer and media artist Sven Hahne, UnStumm is developing a platform for telematic augmented reality performances, which enables the projection of video and sound into a virtual space and thus opens up a virtual space for telematic communication between musicians and video artists from all over the world. The audience can access and move through and around these telematic augmented reality performances via a webbased app on their own smartphone. The download of UnStumm's smartphone app enables the audience to participate in 3-dimensional live performances as well as the retrospective visit of past performances. Our Augmented Reality project transfers the stage space into the virtual space and integrates the real space in which the audience or the concrete user of the app is present at that moment, here using their own smartphones as 3D glasses. In the last two years, UnStumm has realized several international performance series in augmented reality (inviting more than 30 different artists to participate), the extension of their project including dance in augmented reality (UnStumm - Augmented Movements) and augmented reality performance with artificial intelligence artists (UnStumm - Artificial Liveness). More information: unstumm.comNICOLA L. HEIN is a sound artist, guitarist, creative technologist, composer and researcher in music and aesthetics. His work is driven by the interaction of sound and space, light, movement, thought and the becoming of embodied and intermedial intelligence in aesthetic systems, community and technology. In his artistic work he uses physical and electronic extension of the electric guitar, sound installations, cybernetic human-machine interaction with A.I. interactive music systems, Augmented Reality, telematic real-time art, ambisonic sound projection, instrument building, conceptual compositions. Inter-media works with video art, dance, literature and other art forms constitute another focus of his practice. With the support of the Goethe Institute and many other institutions, his artworks have been realized in more than 30 countries worldwide. He worked with many of the world's most established artists in the field of sound art and improvised music. CLAUDIA SCHMITZ, as an international timebased media artist, explores boundaries: Limits of perception, real and imagined barriers, liquid processes, body discourses. She explore paradigms of media translation - as a solo artist and in collaborative projects. She uses sculpture, multidimensional drawing, moving image, gestural transcription and food - in real space, virtual and augmented reality to explore new forms of sound, space and experience. Exploring socio-urban fabrics, challenging hegemonial perception, sustainability, synaesthesia, identity in virtual and real space, re-vs. interactivity, inter- and transmediality, machine learning, artificial intelligence are main topics of her current artistic research. By passing through temporary stages, by discarding and re-inventing themselves, her pieces explore oscillating stages of being and non-being, of existence inside and outside the image. Relying on the spectators to trigger them, many of her pieces discuss the extent and possibilities of participation. ______UnStumm GbR is a contemporary cultural institution without a permanent space - led by Nicola L. Hein and Claudia Schmitz. The institution UnStumm GbR organizes and curates intermedia projects worldwide. The diverse location of the institution reflects both its internationality and interdisciplinarity as well as the project-immanent conception of barrier-free art mediation. Edited by Eleanor Ridley.
ZOOM IN: OLAP #9 with Perry Brandston HARVESTWORKS - Digital Media Arts Center 2022-09-22 | Our collaboration with Experimental Intermedia continues with our ninth ZOOM IN: OLAP (Online Live Art Performance) community discussion forum. For this event we have invited sound artist Perry Brandston to talk about Oda. Sunday, February 13th 2022. 3-5pm, EST.Following the presentation and a Q&A, the forum will be open to anyone attending who would like to discuss any online live art performance ideas of projects as well as any technical or conceptual concerts. The discussion forum will be led by media artist and curator Katherine Liberovskaya of Experimental Intermedia and Harvestworks Director Carol Parkinson. ODA is a set of home speakers that create an unconventional live music experience in your home. With seasonal programming from more thatn 20 artists per season, Oda was made with the goal of creating a sustainable economy for performing artists and musicians. Members experience original commissions, collaborations and experiments by some of the world's most compelling creatives and storytellers. Oda performances are a one-time unique live event, accessible only through the speakers, and challenge what a performance can be. Oda was built to help rectify some of the disparities in the existing touring framework, and though it was conceived of prior to the onset of COVID-19, the company has only become more relevant given the impact of the pandemic. Oda was founded in 2016 by Nick Dangerfield (Planeta, helped adapt the David Bowie Is mobile app experience that recreates the museum exhibit devoted to the icon) and sound artist Perry Brandston of Sound Concern, a social and sound company situated at the intersection of art, science, and party culture. Though they've been working on their speakers for the past four years, the core component of the company is actually the programming, and the freedom it gives artists to play something live for fans, from the comfort of their own home. Utilizing pre-existing home recording setups, and stepping in when equipment is needed, Oda also helps empower elder musicians, who might not be drawn to learning the tech required to pull off a livestream. Oda came about when a performer had to stop touring. Nick Dangerfield, as a fan and music technologist, proposed a bunch of network connected speakers, sort of a baby monitor for a musician, to let the artist reach their audience. Nick asked Perry Brandston for help with the speaker portion of the project. The speaker was meant to present the live performance in the most palpable possible way. Eventually Oda was born as a sort of virtual venue. Artists are booked and paid as in reputable brick and mortar venue. Audience members have the system to listen to live performance, ambient sound from various locations, or as a conventional Bluetooth speaker. Access to the performances is by subscription. PERRY BRANDSTON grew up in New York institutions like CBCG and Carnegie Hall. He has been making speakers for most of his life. In the 1970s Perry Brandston started 3 apprenticeships in 4 years; with a clockmaker, then with a cabinetmaker and then with one of the people who built and operated the sound system at the Fillmore East. This led to work operating a sound system in venues from small bars to art galleries to concert halls. This led to touring with artists, and occasionally to recording, even to performing on a couple of occasions. Then there was the musical theatre. And sound system design and installation. Also a stint as an 'Ambient' DJ. Currently Perry is working with sound systems as art objects. Perry is building something right now. ABOUT ZOOM IN: OLAP ZOOM IN: OLAP, a collaborative initiative by Harvestworks and Experimental Intermedia, was conceived by Katherine Liberovskaya and Carol Parkinson in the winter of 2021 in response to all the proliferating online artistic initiatives brought on by the pandemic. It's objective continues to be to reflect on the aesthetic and technical dimensions of live streaming and to share knowledge among the participants. The meetings feature guest practitioners from different artistic fields (music, live visuals, performance, dance, theater) who speak about their approaches and experiments with online performance (sound, video, conferencing, streaming software, aesthetic and organizational approaches), followed by Q&A. The forum is also open to hearing about new ideas and projects that are in development as well as technical and/or conceptual concerns from the participants. Moderated by Katherine Liberovskaya of Experimental Intermedia and Harvestworks Director Carol Parkinson. Edited by Eleanor Ridley.
Sonic Environments and Worldbuilding Workshop - with Matthew Gantt (excerpts) HARVESTWORKS - Digital Media Arts Center 2022-09-21 | Harvestworks is pleased to be able to offer a robust program of workshops and experiences in our Art and Technology Program on Governors Island. Sonic Environments and Worldbuilding w/WebVR Workshop will focus on creative use of the free and open source Mozilla Hubs platform. No prior experience or coding required. Participants will learn how to create their own online, 3D virtual worlds from scratch using WebVR. The workshop will cover the basics of working in immersive reality contexts, and connect this skill-building to the history of experimental music, spatial sound and media art. MATTHEW D. GANTT is an artist, composer and educator based in Troy, NY. His practice focuses on sound in virtual spaces, generative systems facilitated by idiosyncratic technology, and digital production presets as sonic readymades. He worked as a studio assistant to electronics pioneer Morton Subotnick from 2016-2019, and has been an active participant in the NYC creative community, presenting or performing at spaces such as Pioneer Works, Issue Project Room, Roulette, Babycastles, Silent Barn and similar, as well as abroad (IRCAM Academy, Paris, Koma Elektronic, Synthesis Gallery, Berlin). Gantt has taught electronic and experimental composition across institutional and grassroots contexts, including Harvestworks, CUNY Brooklyn, Bard College, Sarah Lawrence, and community workshops aimed at creating equitable access to developing technologies. In Fall '19, he joined the Games and Simulations, Art and Sciences PhD program at Rensselaer Polytechnic Institute/EMPAC, researching spatial sound, virtual reality and the experimental arts practice as a frame to refigure new possibilities for immersive media features. This project is made possible with funds from the NYSCA in Partnership with Wave Farm: Immersive Art & Technology Initiative, with the support of the Office of the Governor and the New York State Legislature. Edited by Eleanor Ridley.
Bergsonist: As If Reality? (excerpts) HARVESTWORKS - Digital Media Arts Center 2022-09-20 | A Live Outdoor Performance of Electronics by 2022 ISSUE Artist-In-Residence Selwa Abd. Harvestworks Art and Technology Program in Building 10a, Nolan Park, Governors Island. Saturday June 11, 2022. "This presentation is a work-in-progress that reference David Chalmers book "Reality+: Virtual Worlds and the Problems of Philosophy," and follow a creative approach based on intuition & fragment-based systems. According to Chalmers, as the physical world degrades, virtual worlds will provide us with new landscapes and new possibilities. Selwa's new works are interested in building worlds (sonic & visual) as simulations set up for extending creative research and speculations on the future that awaits us. Selwa has noted that "I've always been working in fragment, whether in design or music," and her work often delves into a prolific archive of hours of sonic and visual exploration. Often working with micro-drafts that become essential toward assembling later works, Selwa focuses on a conceptual use of fragments and intuition as ways of altering scales of perception and further understanding sonic and visual mediums. These fragments are explorations scaled within the tensions between the actual/virtual that have become a signature of the "Bergsonist" project." - Issue Project Room Selwa Abd's residency at ISSUE is supported by Harvestworks' Technology Immersion Program for artists (TIP) and is part of an ongoing program collaboration between ISSUE and Harvestworks, two organizations that are committed to supporting the creation and presentation of experimental performance practices while sharing resources. SELWA ABD: Selwa Abd is a multi-disciplinary artist, musician & designer living in NYC (originally from Morocco). Under the guise of Bergsonist, she uses a variety of media to investigate social resonance through divergent conceptual aesthetics (minimalism and musique concréte to name a few). Through her work, she explores notions of identity, memory, and social politics. She is the founder of the community resource Pick Up The Flow. She hosts a monthly music show on NTS Radio and a podcast featuring inspiring creative from the PUTF community and beyond. www.selwaabd.netPRESS QUOTES "When I make music, I find myself thrilled only when the act unfolds both organically and instantly in the moment" BOMB MAGAZINE "Abd said that she tries "to not overthink when I compose" because "music is meant to be shared, not fetishized or made to be seen as complicated" THE WASHINGTON POST "Abd invites the listener to join in on her intuitive, improvisational approach and allow an element of chance to guide their experience" BANDCAMP DAILY WEBSITE AND SOCIAL MEDIA LINKSselwaabd.netBandcamp: bergsonist.bandcamp.com@bergsonist (Twitter & Instagram)INTERVIEWS AND PRESS COVERAGEwashingtonpost.com/entertainment/music/bergsonist-techno-2020-tracks-stimulus-quarantine-racism/2020/12/23/c3f4b814-4534-11eb-975c-d17b8815a66d_story.htmldaily.bandcamp.com/lists/bergsonist-discography-listra.co/features/3610Produced by Harvestworks, The Art and Technology Program on Governors Island is centered on art works created at the intersection of art and technology. It includes artists’ open studios, experimental music performances, exhibitions of digital media art, public workshops and our educational research library. Our goal is to provide exhibition opportunities to electronic media artists and also to educate the public about new technology and how artists use it for artistic expression.Founded in 2003, ISSUE Project Room is a pioneering nonprofit performance center, presenting projects by interdisciplinary artists that expand the boundaries of artistic practice and stimulate critical dialogue in the broader community. ISSUE serves as a leading cultural incubator, facilitating the commission and premiere of innovative new works.Harvestworks, in partnership with Issue Project Room. Edited by Eleanor Ridley.
Silver Fleece - William Hooker (excerpts) HARVESTWORKS - Digital Media Arts Center 2022-09-20 | Excerpts of Silver Fleece by William Hooker - September 3rd, 2022. A suite for the "indoors/outdoors" - composed of six parts which features original composition and improvisation. Building 10b, Nolan Park, Governors Island. The Ensemble: William Hooker - drums/composerMelanie Dyer - violinSarah Bernstein - violinTheo Woodward - electronicsHans Tammen - guitarJochem Van Dijk - bassMarcus Cummins - saxophone WILLIAM HOOKER: "William Hooker's body of uninterrupted work beginning in the mid-seventies defines him as one of the most important composers and players in jazz. As a bandleader, Hooker has fielded ensembles in an incredibly diverse array of configurations. Each collaboration has brought a serious investigation of his compositional agenda and the science of the modern drum kit".MELANIE DYER: Melanie performs and composes in creative, improvised and through-composed music spheres. She trained with William Lincer (Principal Violist, New York Philharmonic), Lee Yeingst (Principal Violist, Colorado Symphony Orchestra); and studied viola performance at LaMont School of Music/University of Denver. SARAH BERNSTEIN: Sarah is a New York-based violinist/composer whose work blurs the lines between innovative jazz, new chamber music, experimental pop and noise music. Over the course of ten albums as a leader, and countless collaborations, she has garnered international acclaim for her multi-disciplinary performances and distinctive recordings. THEO WOODWARD: Theo works as a freelance sound engineer, AC technician and video editor, as well as a digital artist creating music videos, album covers, and promotional videos for musicians and brands. Additionally, Theo releases his own music and animations. Over the years, Theo has toured multiple times around the east coast with Florry, an Indie rock band, and has had the opportunity to play at SXSW in 2019 with their label, Sister Polygon. HANS TAMMEN: Hans Tammen likes to set sounds in motion, and then sit back to watch the movements unfold. Using textures, timbres and dynamics as primary elements, his music is continuously shifting, with different layers floating into the foreground while others disappear. JOCHEM VAN DIJK: NYC-based composer and improvising bass guitarist Jochem van Dijk got his start in music by playing a homemade tea-chest bass with the high-school Dixieland band in his native town Apeldoorn, a suburban community in the east of The Netherlands. Jochem currently performs around New York, as is presently working on several recording projects. MARCUS CUMMINS: British saxophonist Marcus Cummins has been associated with the UK free and improvised music scene since the early 90's. He has worked extensively as a solo artist, in duo's and larger bands, but is perhaps best known internationally for his involvement in Trevor Watts' 'Celebration Band'. Cummins studied music formally at Leeds City College of Music and Dartington College of Arts. Press Quotes: "As bandleader, Hooker has fielded ensembles in an incredibly diverse array of configurations. Each collaboration has brought a serious investigation of his compositional agenda and the science of the modern drum kit." "His work is frequently grounded in a narrative context. Whether set against a silent film or anchored by a poetic theme, Hooker brings dramatic tension and human warmth to avant-garde jazz" "His ability to find fertile ground for moving music in a variety of settings that obliterate genre distinctions offers a much-needed statement of social optimism in the arts" - Thomas Stanley. Camera: Sunil Prabhu Audio Recording: Mike ArcidiaconoEditing: Eleanor Ridley COMMISSIONED BY HARVESTWORKS WITH FUNDS FROM THE NEW YORK STATE COUNCIL ON THE ARTS.
Listening & Seeing 2022 (excerpts) HARVESTWORKS - Digital Media Arts Center 2022-09-08 | Harvestworks Art and Technology Program, Governors Island 2022Listening & Seeing, an art and tech exhibition is an exhibition of artworks, workshops and performances that focus on how technology can expand and impact the ear and the eye. Curator and director Carol Parkinson and the Harvestworks arts committee selected these artists because of their compelling use of multichannel video and audio. Surabhi Saraf: Awoke & Awokened: Alaap, is an installation of experimental music, video, and sculpture by Surabhi Saraf. Weaving together the alchemical materiality of modern-day tech alongside the ancient technologies of earth, atmosphere, heat, and pressure, Saraf presents a speculative mythology of AI. The work unfolds as a series of encounters with Awoke — a mythical artificial emotional intelligence — and its believers. Edin Velez: Stand Clear, a four channel video installation, is a poetic homage to the New York City subway as a rare place of shared humanity, chaos, and stillness. Drawing on four years of footage shot within the confines of the transit system, the installation works as a piece of tender observational cinema and a love letter to the diversity and strangeness of human experience.Joe Diebes: District 33 – The Duel is an algorithmic music video installation that centers on the gentrification of the Greenpoint, Brooklyn waterfront and the role of art and artists in that process. The work’s ever-changing narrative follows Xenia (played by Christina Campanella), an artist-turned-detective with a forensic ear for sonic clues.Ivana Dama: Command and Control explores the idea of playing a musical instrument with your eyes — using custom pupil-tracking software to move motors that would make an acoustic sound. By exploring the potential of using digital data to effect change in the physical world, Command and Control challenges the traditional idea of the performers as masters of the instrument.Miya Masaoka: The New York-based composer and sound artist presents two new works:Untitled 2022 – When you were a child, did you ever listen to the roar of the ocean in a sea shell and marvel at its paradoxical size, grandeur, simplicity? In this piece, resonant frequencies meet parabolic surfaces made from clay of the earth, animals of the sea, and the activity of human toil.Conicals of Sound: Things to Hide, Things to Tell 2022 – Hyper Directional speakers and multiple conicals create a listening encounter specific to this location, investigating silence, locality and the inner workings of our human psyche.About the Harvestworks Art and Technology Program on Governors Island. The Art and Technology Program on Governors Island is centered on art works created at the intersection of art and technology and is a component of our Creative Residency and Sponsored Projects programs. It includes artists open studios, exhibitions of digital media art, public workshops and performances in our educational research facility in Nolan Park. Our goal is to provide exhibition opportunities to electronic media artists and also to educate the public about how artists use new and emerging technology for artistic expression.About Harvestworks (www.harvestworks.org)Founded as a not-for-profit organization by artists in 1977, Harvestworks’ mission is to support the creation and presentation of art works achieved through the use of new and evolving technologies. We create an environment where artists can make work inspired and achieved by electronic media; provide a public context for the appreciation of new art; and bring together innovative practitioners from all branches of the arts collaborating in the use of electronic media. We assist with commissions and residencies, production services, education and information programs, and the presentation and distribution of their work. Listening & Seeing was made possible with funds from the New York City Department of Cultural Affairs, mediaThefoundation Inc. and The New York State Council on the Arts in Partnership with Wave Farm: Immersive Art & Technology Initiative, with the support of the Office of the Governor and the New York State Legislature. Production Team:Regina TohKaestin HisaoAlex M. ModlinAlex Levinson Edited by Eleanor Ridley
The Art and Technology Program on Governors Island HARVESTWORKS - Digital Media Arts Center 2022-07-12 | The Harvestworks Art and Technology Program on Governors Island is open to the public between May and October and is a 6-month program of exhibitions, workshops and presentations is centered on art works created at the intersection of art and technology. Our goal is to provide exhibition opportunities to experimental electronic media artists and to educate the public about how artists use new and emerging technology for artistic expression. This video is documentation from our Spring 2022 art and tech exhibition called listening & seeing. Presented by Carol Parkinson, it includes interviews with the artists and excerpts from their works. The artists include: Edin Velez - "Stand Clear"Edin Velez, one of the pioneers in video art, has consistently expanded the paradigms of the genre. Velez’s work in video and photography has always relocated the fabric and rhythms of a culture in the gestures and rituals of everyday life. Eschewing a conventional narrative voice, he orchestrates a confluence of associative elements to evoke, rather than analyze, the textures of a specific culture. Born and raised in Puerto Rico, he studied painting at the University of Puerto Rico and the School of Fine Arts of the Institute of Puerto Rican Culture.Stand Clear, a four channel video installation, is a poetic homage to the New York City subway as a rare place of shared humanity, chaos, and stillness. Drawing on four years of footage shot within the confines of the transit system, the installation works as a piece of tender observational cinema and a love letter to the diversity and strangeness of human experience.Surabhi Saraf - "Alaap"Surabhi Saraf is a media artist, composer and founder of Centre for Emotional Materiality. Her practice explores our complex relationship with technology using embodiment as a tool and the body as a site for transformation.Alaap, is an installation of experimental music, video, and sculpture by Surabhi Saraf. Weaving together the alchemical materiality of modern-day tech alongside the ancient technologies of earth, atmosphere, heat, and pressure, Saraf presents a speculative mythology of AI. The work unfolds as a series of encounters with Awoke — a mythical artificial emotional intelligence — and its believers. Ivana Dama - Command and ControlIvana is a sound artist and researcher currently working and living in Los Angeles. She graduated from UCLA’s School of Arts and Architecture in the Design Media Arts and Digital Humanities department. Her art practice includes audio-video installations, robotics, web projects, as well as music performances. Command and Control is a project that explores the idea of playing a musical instrument with your eyes— using custom pupil-tracking software to move motors that would make an acoustic sound.The project reflects on the power of eye movement that we often take for granted. It focuses on involuntary blinking and demonstrates the limits of our control- there is only so long that we can go without blinking. By establishing a set of rules, the audience would be able to make precise decisions, such as trigger multiple motors simultaneously or trigger a combination of movements. Sensory understanding of the world has grown in an increasingly digital age, and many of the current technologies are focused on bringing sensory experiences into the digital world. This project explores the potential of using digital data to effect change in the physical world, challenging the traditional idea of the performers as masters of the instrument. Miya Masaoka - Untitled: For Conch shell, Ceramic speaker and secondary reflective sound, 2022Resonant frequencies meet parabolic surfaces made from clay of the earth, animals of the sea, and met with the activity of human toil. When you were a child, did you ever listen to the roar of the ocean in a sea shell and marvel at its paradoxical size, grandeur, simplicity? A hollowed-out space makes way for sprials of sound, but was made originally for the sea animal to live.Miya Masaoka - Conicals of Sound: Things to Hide, Things to Tell 2022Hyper Directional speakers and multiple conicals create a listening encounter specific to this location, investigating silence, locality and the inner workings of our human psyche.Miya Masaoka is a composer and artist based in New York City. Classically trained, herwork operates at the intersection of spatialized sound, frequency and perception,performance, social and historical references. Whether recording physical objects, plantsor the human body, within architecturally resonant spaces or outdoor resonant canyons,she creates incongruencies that reflect current realities.Produced, directed and edited by Regina Toh.
Excerpts from the Harvestworks Technology Immersion Program HARVESTWORKS - Digital Media Arts Center 2022-07-12 | The Harvestworks Technology Immersion Program (TIPS) is a professional development program offering new media artists and independent media producers from underserved communities a comprehensive experience in the creation of artworks that employ emerging technologies. These works can include data sonification or visualization systems, Virtual and Augmented Reality, biosensors, camera and eye tracking, geo-locative and new methods to engage with social media and communities. It offers up to a $2000 artist stipend in addition to education, workspace, technical programmers, access to equipment, networking events and public presentation opportunities. The video shows excerpts from the master classes that happened in the Technology Immersion Program online in 2021 and 2022. The first excerpt features Melody Loveless with her TIP artist Sabina Rosas followed by an excerpt of Sabina’s evaluation of the program. The next excerpt is with composer Michael Shumacher as he conducted his master class on multi-channel sound. It is followed by a discussion excerpt by TIP artist Amina Ross during that same session. In the three years that we have offered the program, recipients have included Amina Ross, Selwa Abd, Shanthal Caba Mojica, Ahmed El-Shaer, Eva Davidova, Alexandra Strada, C. Lavendar Suarez, Alliah George, Anais Maviel, Devin Kenny and Sabina Rosas.
Peter d’Agostino and Tania Fraga: New Virtual Installations HARVESTWORKS - Digital Media Arts Center 2022-04-04 | CSArts ( Climate, Sustainability and the Arts) Temple University + Harvestworks NY present new virtual installations by Peter d’Agostino and Tania Fraga. Onsite at the Charles Library, Temple University, and online at Harvestworks. Date: April 4 – 8, 2022.Time: 7 PM EDTWorld-Wide-Walks / between earth & sky / DONEGAL (2022) Peter d’AgostinoThis video-web-sculptural installation was originally commissioned by Leonardo / Olats for Lovely Weather: Art & Climate Change, an exhibition at County Donegal’s Regional Cultural Centre, Letterkenny, Ireland in 2010. Video walks were performed near and beyond the Centre at significant natural and cultural sites in Ireland. NASA satellite weather maps and climate data from the World Meteorological Organization (WMO) augmented the views from the ground.The installation is composed of a green tent-like enclosure, a framed window, and a web portal. The enclosure contains a nine-channel video projection of the walks. They include: Arranmore Island, Doon Fort, Mt. Errigal, Inishkeel Island, Kilclooney Dolmen, Grianan of Aileach, Maghera Cave, Beltany Stone Circle, and Newgrange. The window with a transparent image of a wind turbine looks out at the urban landscape. Nearby is another flat screen with a solar powered light. An interactive website, located at the center of the space, displays live weather maps, climate data and quotations from scientific, technological, and poetical sources.Produced by Peter d’Agostino, Deirdre Dowdakin and David I. Tafler.Virtual model: Danielle Hope AbromCRACT (Reference Center for Art, Science, and Technology) (2022) Tania FragaThe Center ( in-progress ) will focus on promoting sustainability through the examination of behaviors and attitudes toward consumption practices and consideration of their consequences and impacts. Proposed interdisciplinary research and exhibitions in the arts, science and technology will range from aesthetic and poetic forms to new semiotic and sensory modes of communication. CRACT will emphasize the concept of Extended Durability to encourage the creation of long- lasting products with minimal environmental impact.The building will have a self-supporting industrial roof, an underground area for capturing and treating rainwater, a workshop space, a ground floor with indoor and outdoor spaces for exhibitions, workshops, and services, and a floor with areas for housing accommodations. The sewage will follow the Brazilian Company for Environment Preservation model for building septic tanks that recycle sewage through planting flowers and fruit trees.Photovoltaic solar panels, similar to those used for water heating, will provide electricity. Virtual model: Tania Fraga.Support for the virtual installations: Climate, Sustainability and the Arts (CSArts), Film & Media Arts Sustainability Fund, Temple University, and Harvestworks Digital Arts Center.BIOSPeter d’Agostino’s pioneering video, photography, and new media projects have been exhibited internationally for over five decades. His work was in the biennial exhibitions of Sao Paulo, Brazil; Gwangju, South Korea; Whitney Museum of American Art, New York; and is in the collections of the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Getty Museum, Los Angeles; Berkeley Art Museum/Pacific Film Archive; Oakland Museum of California among others. D’Agostino’s grants and fellowships include: the NEA, Pew Trusts, Onassis Foundation, Japan Foundation, and the Center for Advanced Visual Studies, MIT. Surveys of his World-Wide-Walks projects were exhibited at University of Paris I Pantheon-Sorbonne Art Gallery, Bizkaia Art Gallery, Bilbao, Spain; and Laboratorio Arte Alemeda, Mexico City. The book, World-Wide-Walks / Peter d’Agostino: Crossing Natural-Cultural-Virtual Frontiers (2019), was published by Intellect Press, UK and the University of Chicago Press, USA. Tania Fraga is a Brazilian architect and artist. She holds a Ph.D. in the Communication and Semiotics Program, Catholic University of Sao Paulo. She has been a member of the Zero Gravity Arts Consortium, USA, and the Advisory Research Committee of the Banff New Media Centre, Canada; a Visiting Scholar at the Computer Science Department at The George Washington University, Washington DC, and an Artist-in-Residence at The Bemis Foundation, USA, with a grant from the Fulbright Commission. Her research is related to virtual reality and the creation of artworks looking for the integration of affection among humans, virtual and physical objects through computer technology. Recent research deals with the integration of computer based artworks with neural technologies. Such artworks weave knowledge and artistic processes with computational technologies aiming creative results at integrating art, science and technology; results with poetic, aesthetic and functional qualities; results exploring emergency and agency for their construction, design and set up.
Synthesis Series: Contemporary Chamber Works by Sarah Weaver HARVESTWORKS - Digital Media Arts Center 2022-03-30 | Originally scheduled for outdoors on Governors Island but because of the weather, the performance took place remotely on the NowNetArts Performance Venue on vimeo. A watch party convened indoors at the Harvestworks Art and Technology House in Building 10a, Nolan Park, Governors Island.Performers: Yoon Sun Choi (voice), Robert Dick (flute), Jane Ira Bloom (soprano saxophone), Marty Ehrlich (saxophone), Jen Baker (trombone), David Taylor(bass trombone), Sarah Weaver (electronics)“Synthesis Series” is a collection of solo, chamber, and large ensemble pieces on contemplative concepts of networked synchrony across realities, transformation of distance, and synthesis activation for healing and transcendence. This concert will feature works from the series titled “Sound in Peace”, “Interpolation Space”, and “Isomorphic Now”.Supported by the City Artist Corps Grants program, presented by The New York Foundation for the Arts (NYFA) and the New York City Department of Cultural Affairs (DCLA), with support from the Mayor’s Office of Media and Entertainment (MOME) as well as Queens Theatre.Date: October 16, 2021. Time: 3:30 pm @ The Workings of Media [art and artists]Location: Outdoor/Indoor at the Harvestworks Art and Technology Building 10a, Nolan Park, Governors IslandSynthesis Series 10-16-21BIOSSarah Weaver, Ph.D. is a New York-based contemporary composer, conductor, technologist, educator, and researcher working internationally as a specialist in large ensemble and network arts. Her work innovates contemplative concepts on network, synchrony, synthesis, and interconnection for artistic and social purpose. Weaver has composed solo, chamber, and large ensemble works for groundbreaking musicians for twenty-five years, integrating influences of classical, jazz, world, contemplative, electronic music, and individual music languages of performers. She is an innovator in network arts advancing live performance via the internet by musicians and artists in different geographic locations. Weaver is the Director of NowNet Arts and Sarah Weaver Ensemble, Executive Director of JackTrip Foundation, Editor of the Journal of Network Music and Arts (JONMA), and Faculty of The New School College of Performing Arts. Website: www.sarahweaver.orgSarah Weaver Ensemble the primary performing group for her solo, chamber, and large ensemble works. The work incorporates a spectrum of notation (staff, graphics, text), structures for improvisation, a hybrid approach of gesture with Soundpainting and original gestures, and materials written for the individual languages of the musicians. The ensemble has performed at contemporary venues across New York including The Stone, Experimental Intermedia, Roulette, The Cell Theatre, Symphony Space, Iridium Jazz Club, Austrian Cultural Forum, and others. The ensemble recently released a compilation double album “Synchrony: Music of Sarah Weaver and Collaborations (2011-2019)” on the SyncSource Label. Website: sarahweaver.org/#/ensemblesvimeo.com/562905530 WEBSITE AND SOCIAL MEDIA LINKSsarahweaver.orgfacebook.com/sarahweavermusicPerformers: Yoon Sun Choi (voice), Robert Dick (flute), Jane Ira Bloom (soprano saxophone), Marty Ehrlich (saxophone), Jen Baker (trombone), David Taylor (bass trombone), Sarah Weaver (electronics). INTERVIEWS AND PRESS COVERAGEtouchingextremes.wordpress.com/2020/02/08/sarah-weaver-synchrony-series-music-of-sarah-weaver-and-collaborationsSARAH WEAVER performed by GERRY HEMINGWAY – Reality Axis: touchingextremes.wordpress.com/2019/01/02/sarah-weaver-performed-by-gerry-hemingway-reality-axis
Luciferins by LadyK HARVESTWORKS - Digital Media Arts Center 2022-03-10 | Influenced by the cultural shifts that technology creates, this series of fiber installations—The Masquerades of the Soft Machines— imagines a future dystopia warped by technology. The surreptitious collection of personal data has led to humanity controlled by the machine. Luciferins is one project in this series.Luciferins is inspired by bioluminescent marine organisms & the plethora of invisible network traffic that surrounds us. As viewers walk through the hanging fiber structures, graphical animations appear. Graphical portals open showing invisible network communications. Field recordings interlaced with shortwave radio recordings play in the 7-channel sound system.Luciferins makes our networks perceptible when they are imperceptible. The infrastructure that facilitates communication remains hidden (until it is broken). Body movement makes Luciferins’ perceptible; enabling one to see invisible activity that surrounds them—just as a swimmer makes a dwelling of sea sparkle appear by swimming through it.Produced in part through the Harvestworks Artist in Residence Program.BIOSAs a new media, fiber, and installation artist, LadyK’s practice encompasses interactive and responsive systems exploring how our collective digital experiences are shaping our future. She merges ancient fiber traditions with programming and physical computing to create nervous systems for her handcrafted soft fiber structures. In her piece Memory Capsules, she felted cocoons, embedding custom electronics and mini-displays, to depict memories. A viewer’s soft breath activates the cocoons, triggering the memories. Yet this system, which was entrusted to protect memories, instead warps, degrades, and erases them. Liminal spaces brought forth by digital technologies fascinate her, as LadyK explores the cultural transformations that result. Her latest environments investigate how communication technologies are shaping our identity, pushing a tighter integration with the machine.LadyK is the recipient of numerous state and national grants, including the NYSCA, Ohio Arts Council and Puffin Foundation, among others. She has exhibited nationally and internationally, including at Ars Electronica, ISEA, ZKM, Maryland Art Place, Indianapolis Art Center, Collar Works, The University of the Arts, the Contemporary Arts Center of Cincinnati, among others. Selected residencies include Harvestworks, Jentel, Weir Farm and Vermont Studio Center (full grant). Her work also appears in the Spring 2019 and 2020 issues of Fiber Arts Now. She teaches human-computer interaction design, programming, and physical computing at New York University’s Tandon School of Engineering.• LINKSLuciferins documentationvimeo.com/485183280• WEBSITE AND SOCIAL MEDIA LINKSwww.katherinebennett.netwww.katherinebennett.net/processTwitter – LadyKStudiosInstagram – LadyKStudiosGithub – LadyK
Foreign Correspondence 005 HARVESTWORKS - Digital Media Arts Center 2022-02-28 | Foreign Correspondence is an audio/visual series focused on international contemporary video art, including film, video synthesis and expanded cinema. Episodes premiere on Manhattan public access Channel 4 and via Harvestworks’ livestream, where each episode is archived and available for later viewing. LIVE BROADCAST: Sunday, February 27th 11PM Simultaneous New York area broadcast on public access Channel 4, Spectrum 67, FIOS 36, RCN 85About the artists:Dylan A. Marcheschi is a New York based multidisciplinary artist working across a range of audio/visual arts, including psychoacoustics and expanded cinema. His video work is focused on audio-reactive generative feedback systems of just intonation and microtonal harmonic drones. He studied history and art at Columbia University and completed his MFA at Hunter College. He teaches Film and New Media at the City University of New York, and currently hosts the long-running Afternoon New Music show on WKCR. His work is supported by the Brooklyn Arts Council and the New York City Department of Cultural Affairs, and has been presented by the American Composers Forum and New Music USA.Jenn Grossman is a sound/experiential media artist based in Brooklyn. Her work is concerned with the psycho-spatial potentials of sensory media, exploring displaced realities, staged synchronicity, cyclical time, memory, disorientation, embodiment, and perceptual affect, giving voice to an organic presence within the technical. Her work has taken the form of sound sculpture, audiovisual installation/performance, video collage/installation, light events, public interventions, and spatial audio compositions. Dark Forest//Invincible Summer is a video/sound collage and audiovisual meditation that explores the act of sensing as being, through the deconstruction and re-assemblance of sensory media artifacts in a digital/liminal space, weaving between natural and internal worlds, the conscious and subconscious.Benton C Bainbridge NNeng-M: Sleep or Sweat, 1999 Sleep or Sweat is a live video performance by NNeng-M (Benton C Bainbridge, Molly Kittle, Brian Moran, Nancy Meli Walker) at Experimental Television Center in Summer, 1999. Multiple black and white cameras were tinted and layered with the Jones Colorizer. LFOs control the compositing and music. Remastered in 2021 from Standard Definition .dv to UHD © 1999/2021 Benton C Bainbridge, Molly Kittle, Brian Moran, Nancy Meli Walker http://nneng.com.Niko Tiainen is a multidisciplinary artist from Finland focused on new media, conceptual art, projection mapping, sound and video art installations. Memory Of Us is a non-linear generative piece which tries to represent artistically how people who suffer from memory disease and depression remember sounds and images from their past. For creating this piece Tiainen extracted audio from old home videos and used it for the dataset for AI training with Tensorflow, PureData to generate the sounds, and Touchdesigner to create a data visualizer and interaction system for the sounds and video. The video reacts with the sound and the sound reacts with the images captured from the video.Jim Tuite has performed live visuals for various musical acts in the NY, NJ, Philadelphia, and the DC vicinity with an emphasis on metaphor and creative association. As a live visualist he has supplemented various musical performances including those by: Acid Mothers Temple, Urban Shaman Attack, David First, Rhys Chatham, Martin Bisi, Pas Musique, JOHN 3:16, Rasplyn, Ami Yamasaki, Searmanas, Thomas Watkins, Elska, Plan 23, Richard Lainhart, Bloater, The Jazzfakers, Oneida, Okestura, rootless, Bonnie Kane and Mario-Enrique Paoli among others. Jim Tuite holds an MFA degree from School of Visual Arts and BFA degree from Tyler School of Art. Figure It Out is a track from the album Can You Hear Me available on Alrealon Musique. Music by Dan Gitlin.Hans Tammen likes to set sounds in motion, and then sit back to watch the movements unfold. Using textures, timbre and dynamics as primary elements, his music is continuously shifting, with different layers floating into the foreground while others disappear. “Proprioception (Body Awareness 2017)” is an assemblage of historic imagery, 70’s experimental video practices, and modern-day chaotic audio procedures. John Heartfield was a pioneer using collage and photomontage as a means to fight militarism and fascism in Europe. The work juxtaposes two camera streams pointing to Heartfield’s imagery and to crosshairs from an analog videoscope, using video processing equipment built in the 1970’s – a technology that was made to facilitate alternative, experimental and open practices. The processing in turn is controlled by audio from a modern-day synthesizer using chaotic procedures. Special thanks to Signal Culture for access to their equipment.Series produced by Dylan A. Marcheschi.
Matthew Goodheart: remnants HARVESTWORKS - Digital Media Arts Center 2022-02-21 | …remnants is an immersive sound installation combining live transducer-activated resonant instruments and found objects with binaural bone-conducting headphone listening for one person at a time. (Covid restrictions).…remnants is part of an ongoing series of compositional installations and performance works using transducers that explore the nature of space, materiality, and the physicality of listening. Individually, audience members wearing wireless bone-conducting headphones enter the installation space filled with broken and shattered string instruments. Upon entrance, the installation comes sonically to life: sounds emerge from the instruments, mixing with disembodied sound from the headphones. The installation reacts to their path through the space, responding to their distance to each object, the history of what has sounded, and the history of their movements to create an ever-changing, responsive, and personalized experience.Matthew Goodheart is a composer, improviser, sound installation artist, and educator. A lifelong teacher, he is and Assistant Professor of Music Composition at Rensselaer Polytechnic University.Performer: Yang SunVideographer: Carlton BrightPresented in The Workings of Media [art and artists] exhibition on Governors Island in Fall 2021. Produced in part through the artist in residence program at Harvestworks.
Sabine Gruffat: Antibodies HARVESTWORKS - Digital Media Arts Center 2022-02-21 | AntiBodies is a set of video game simulations about the ways video games and other forms of virtual reality represent (and misrepresent) the female body, creating a world where body dysmorphia is an artificial intelligence that decides how bodies move and collide. The avatars in AntiBodies are all Frankenstein-like ready-mades concocted from a vast library of modular assets shared and created by the video game community. By using these “assets,” Sabine is exposing the surreal misogyny and racism that is programmed into the software and embedded in video game technology itself.Sabine Gruffat is an artist who works with experimental video and animation, media-enhanced performance, participatory public art, and immersive installation. By actively disrupting both current and outmoded technology, she questions standardized ways of understanding the world around us. She is also a filmmaker with a special interest in the social and political implications of media and technology, creating films that seek to empower people, encourage social participation, and inspire political engagement. Currently she is Associate Professor of Art at the University of North Carolina – Chapel Hill and a co-founder of the Cosmic Rays Film Festival.Produced in part through the Artist in Residence Program at Harvestworks
Valerie Halliler - Scream Now Inside/Out HARVESTWORKS - Digital Media Arts Center 2022-02-21 | Video documenting the artist's practice leading to the project ScreamNow, an interactive public art project allowing the visitor to experience the transformative act of screaming and the possibility to see a visualization of their scream.Inspired by the French Medieval “crieur public”, ScreamNow is the first public screaming booth that takes a fundamental yet repressed human expression to generate visuals seen inside and outside of the booth.ScreamNow : Inside/Out evolved to reflect our current social distancing and deeply transformative times. The new set up expands in space with a studio, adding the concept of Inside/Out to the project’s original purpose of offering a sanctuary for people to scream their heart out. The screams from inside each of us are released outside in nature, shielded by the open booth structure. Recorded via a microphone in the booth, the screams are processed inside of the studio. Flower petals picked from the outside world are covering the walls of the studio where the recorded screams are transformed into visuals and projected back outside onto the booth.The screamer instantly sees the visuals empowering his/her voice.BIO-“Hallier’s work follows an integrative continuum that utilizes technology as tool and object, generating an exquisite tension between the humanistic and mechanistic sense of Being.” Julie Escalona. Hallier’s early multimedia work has received prizes at ACM Siggraph (FL), SCAN Arts Symposium (PA), Ars Electronica in Finland and Anima Mundi in Brazil. Presented in the Workings of Media [art and artists]. The Harvestworks Art and Technology Program on Governors Island. Produced in part through the Harvestworks Artist in Residence Program.Programmer: Matthew Ostrowski
Amanda Gutiérrez : Flâneuse La Caminanta, performance documentation HARVESTWORKS - Digital Media Arts Center 2022-02-20 | Presented at Roulette Intermedium in the festival Folly Systems in 2019, in collaboration with artist Viv Corringham and Julia Santoli.Flâneuse La caminanta is a video documentary edited as a VR (virtual reality), using a 360-degree camera to document soundwalks of female participants in the public space. The title emphasizes a missing word in the French and Spanish language of women as wanderers. This lost world also represents the lack of inclusiveness in which the female-identifying bodies can safely perceive their autonomy as walkers. The VR environment exposes the perspective of participants navigating urban landscapes in Mexico City, Abu Dhabi, NYC, and Brooklyn through short conversations while we walk in their space. The locations selected by participants and have personal meaning in their everyday journeys on the relationship of inclusiveness, safeness, vulnerability, and empowerment.Amanda Gutiérrez (b. 1978, Mexico City) explores the experience of home, belonging, and cultural identity by bringing into focus details of everyday practices whose ordinary status makes it particularly hard for us to notice their key role in defining who we are. Trained and graduated initially as a stage designer from The National School of Theater, Gutiérrez uses a range of media such as sound art and performance art to investigate how these conditions of everyday life set the stage for our experiences and in doing so shape our individual and collective identities.Produced in part through the Harvestworks Artist in Residence Program.COLLABORATORSMatthew Gantt coding
Amy Youngs: Becoming Biodiversity HARVESTWORKS - Digital Media Arts Center 2022-02-20 | Becoming Biodiversity is an augmented reality application that encourages participants to explore and experience local, ecological networks present in an urban park site. Cell phones and headphones are used to experience this artwork, which includes mixed-reality animations and storytelling as an overlay to the actual park. The experience is an embodied one, designed to connect humans empathetically with the biodiversity, symbioses, and unseen worlds in public park spaces.Fantastic ecologies exist everywhere on earth and at many scales, many of which are invisible to us. Though we mostly ignore and disrespect the non-humans in these networks, our lives depend upon them. This artwork is a guided tour which will allow us to inhabit the worlds of multiple species along the network, allowing them to become visible and “sense-able” to us. The viewer re-enacts stories from the perspectives of non-humans; playing the part of a plant calling out to a bird to help with pest control, an ant planting spring flowers while simultaneously feeding her babies, an underground fungal network delivering goods to struggling trees, and a cormorant searching for a meal in a man-made lake in New York City.There are 8 scenes, each takes place at Willow Lake, on the South end of Flushing Meadows Corona Park. The starting point for the app tour is the East entrance of the Pat Dolan Trail, right after walking over the Van Wyck Expressway pedestrian bridge. This is near the Mauro Playground. The tour takes about 26 minutes and the one-way walk down the trail is less than a mile.Becoming Biodiversity Augmented reality app exhibited at the New York Electronic Arts Festival, June 1 - August 11, 2019Commissioned by Harvestworks Digital Media Arts Center through the Artist in Residence ProgramSupport: New York Urban Field Station, a partnership between NYC Parks, the US Forest Service, and the Natural Areas Conservancy, NY. The Ohio State University, Columbus, OH.Collaborators: Josh Rodenberg, audio. Danielle McPhatter, programming. Jayne Kennedy, 3D modeling.Download page for Android or iOS hypernatural.com/bb
About Harvestworks with music from TELLUS #26 by Catherine Jauniaux HARVESTWORKS - Digital Media Arts Center 2022-02-20 | A short video that shows our location, our staff, programs, facility and works from our community. The Harvestworks mission is to support the creation and presentation of art works achieved through the use of new and evolving technologies. We believe that Innovative use of new technologies in the arts can help acclimate people to change.Excerpts from the following presentations: The Plural of Abyss by Ryan Soper, (AIR 2016) an evolving organic video performance series using a custom control voltage interface and frame animation visuals, One by Mari Kimura (AIR 2015) and Tomoyuki Kato, a large-scale performance that uses an interactive motion sensing device to control aspects of the sound and the video projection, Glass Helmet by BoHyun Yoon (AIR 2015) involving a new interface to control digital audio systems, Red by Cecilia Lopez (AIR 2017) is an investigation into unstable feedback networks and Ominous by Marco Donnarumma (AIR 2013), is a sculpture of invisible but malleable sonic matter.
Rituals of Consumption by Jessica Ann Peavy from NYEAF 2009 HARVESTWORKS - Digital Media Arts Center 2022-02-10 | Rituals of Consumption by Jessica Ann Peavy is a three-channel experimental video work exploring the spaces and contexts of food in the African-American tradition and the effects of food on the African-American female psychology and physiology. This body of work consists of a publicperformance, video installations, and animations. Jessica was an artist in residence at Harvestworks in 2008 and created this work that was presented in the Time and Space in Electronic Art exhibition at the World Financial Center for the 2009 New York Electronic Art Festival. Jessica Ann Peavy was born in Columbus, Ohio and now currently lives and works in New York City. She received her BFA from Tisch School of the Arts at New York University and completed a MFA in Photography, Video, and Related Media at the School of Visual Arts. Peavy recently received Residencies at Smack Mellon and Harvestworks and grants from Franklin Furnace, and the New York State Council of the Arts. jessicaannpeavy.com
ZOOM IN: OLAP #8 with guest The Seals HARVESTWORKS - Digital Media Arts Center 2022-02-02 | Our collaboration with Experimental Intermedia continues with our eighth ZOOM IN: OLAP (Online Live Art Performance) community discussion forum. For this event we have invited The Seals.Date: January 30th, 2022The Seals, an AI-inspired electronic noise band, is the collective effort of Ria Rajan, Sophia Sun, Susie Green, Sofy Yuditskaya, Margaret Schedel, and 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. A detailed paper on our process can be read at http://nime2021.org/program/#/paper/190. Our music came about during the height of the Covid-19 lockdowns across the globe. We individually created content with which to compile songs as a Networked Ensemble. This created a bed track for our Live Performances online using various tech stacks through which we improvise while incorporating Creative AI assisted visuals. About OLAPZOOM IN: OLAP, a collaborative initiative by Harvestworks and Experimental Intermedia, was conceived by Katherine Liberovskaya and Carol Parkinson in the winter of 2021 in response to all the proliferating on-line artistic initiatives brought on by the pandemic. Its objective continues to be to reflect on the aesthetic and technical dimensions of live streaming and to share knowledge among the participants. The meetings feature guest practitioners from different artistic fields (music, live visuals, performance, dance, theater) who speak about their approaches and experiments with online performance (sound, video, conferencing, streaming software, aesthetic and organizational approaches), followed by Q&A. The forum is also open to hearing about new ideas and projects that are in development as well as technical and/or conceptual concerns from the participants. As the ever-increasing online live streaming events are starting to seem more and more all the same and are holding our attention less and less, we feel that it is crucial to unpack and re-think the online presentation of live online art practices and to imagine new approaches that are far better suited for the virtual performance stage that we experience on such a variety of platforms (computers, laptops, pads, phones) that have nothing to do with the in-person venues where they would usually take place. Moderated by Katherine Liberovskaya of Experimental Intermedia and Harvestworks Director Carol Parkinson
The Workings Of Media [art and artists] Fall 2021: An Overview HARVESTWORKS - Digital Media Arts Center 2021-12-13 | The Workings of Media [Art and Artists] is a series of presentations, workshops, open studios and exhibitions to understand social and cultural changes reflected through the lens of art and artists. Curator and director Carol Parkinson has selected these artists because of their use of the new media technology including data sonification and visualization, immersive sound, smell and social networks. The Art and Technology program is a component of our Creative Residency and Sponsored Projects programs and seeks to create a responsive public context for the appreciation of new work and to advance the art’s community and the public’s appreciation of the use of technology in art. Artworks in order of appearance:Matthew Goodheart: remnants, an immersive sound installation of sonic instruments, found objects to be listened to with bone-conducting headphones (COVID restrictions will apply). Artist Talk October 30, 2021 at 1:30 pmDan Joseph: Informed by early minimalism, acoustic ecology, deep listening and ambient music, Periodicity Piece #10 will combine a diverse collection of sounds into a slowly changing sonic ecosystem. A Harvestworks Commission for our Immersive Room on Governors Island. Opens October 2, 2021. Performance Oct. 30, 2021 at 3 pm.Sofy Yuditskaya: The Secret Pope is a video homage to Pope Joan, considered fictional in todays society, but a beloved story during the middle ages of a female pope that rose through the ranks of Christianity with her wit and skill. Pope Joan dressed in men’s clothes, but was discovered as a woman when she became pregnant. After she was discovered body examinations practices were put in place so that no women could rise to power in Christianity ever again. Gaze upon her as into a mirror, the Secret Pope is all of us. Performance October 31, 2021 at 2:30 pmJocelyn Ho: An installation and performance series of compositions for Women’s Labor, a feminist project that uses embedded technologies to transform old domestic tools into new musical instruments, to address gender inequality in domestic labor division and challenge persistent gendered social norms. Performance Sept. 18, 2021George Moraitis: AttoWatt is an installation made up of long vertical metal bars and neon tubes. Light and sound travel from rung to rung simultaneously all around the installation with fast velocity creating various forms made of electricity within space. Performance October 23, 2021Mike Bullock: Ephemerospheres, an installation of electroacoustic audio works for his custom wave field synthesis array. Compositions by Mike Bullock, Seth Cluett and LInda Gail Aubry. MIke Bullock is a composer and intermedia artist focused on environmental sound recording. Artist Talk Sept. 11, 2021.LadyK : Inspired by bioluminescent marine organisms and digital network traffic, Luciferins is an interactive installation. Viewers walk through awakening graphical portals and field recordings, which open to depict invisible network traffic of websites. LadyK’s practice encompasses responsive systems exploring how our collective digital experiences are shaping our future. Artist Talk Sept. 11, 2021.PerformancesLiz Gerring Company with Michael Schumacher presents Nolan Park, a sound and movement installation. PROGRAM: 60 min. Program Times: noon, 2 pm & 4 pm. Performance Sept. 25, 2021 with Liz Gerring Dance Company.Ginny Benson presents her live A/V performance
Nolan Park[Excerpt], a sound and movement installation by Liz Gerring and Michael Schumacher HARVESTWORKS - Digital Media Arts Center 2021-11-23 | ‘Nolan Park’ is a sound and movement piece by choreographer Liz Gerring and composer Michael Schumacher that uses Governors Island’s outdoor spaces to create a dynamic and unpredictable experience for visitors. The dancers will rotate through a series of mapped positions, offering viewers a variety of perspectives on Ms. Gerring’s original movement, while a portable sound system will subtly interact with the environmental ambience. As the dancers and sounds move from place to place there will be repeated interactions with the audience, each within a new context.• DATES AND TIMES: Sep 25, 2021 TIIME: 1-4pm with breaks NYTime (Rain date: Sep 26)• LOCATION: Building 10a, Nolan Park, Governors Island and other locations in Nolan ParkThe idea behind the dance installation: "We are, all of us, individuals who change and adapt to the conditions of our environment. One moment we observe, the next we are observed. Our attention is directed outward, then inward. We feel elated and then, from a chance encouter, elation transforms to doubt and insecurity. The flux of perception, of emotions, of attention, create a map, a potential form within which to cast an enduring, memorable experience. An installation should open up the potential for creating meaning out of diverse and apparently unrelated events that constitute a given interval of time. An installation gives context, continuity, by making everything that happens within the space of its duration a relational framework, a purpose, an intentionality." -Artists' StatementIn the 1990s, Gerring and Schumacher performed day-long movement and sound events at a loft downtown. The public would come and go throughout the day. Gerring improvised based on a repertoire of movements developed in the studio, Schumacher improvised on laptop, synths and prepared guitar. This work represents a return to this project, with the benefit of years spent working together, each forging a personal style and a unique approach to the union of dance and music. Gerring and Schumacher have collaborated on a half dozen large scale, proscenium-based works presented at the Kasser Theater, The Joyce, BAC, Roulette, and other venues.The installation format allows for a particular kind of intimacy, full of the potential for discovery, between the artwork and the audience. Our approach is to create a space that is saturated with potential, with the possibility for creating meaningful interconnections between the elements, like a “paint by numbers” drawing with an infinite number of figurations.The elements: specific movements, as subtle as a hand’s gesture or sustained over a complex phrase; bits of sound, combined and interconnected, abstract or practically tangible; the ever-shifting perspective of the viewer/listener – her own “data” in the form of memories…Funded in part by the New Music USA Project Grant”. newmusicusa.org/program/project-grants• BIOSLiz Gerring was born in San Francisco in 1965 and grew up in Los Angeles where she began studying dance at age 13. Ms. Gerring studied at the Cornish Institute in Seattle, and in 1987 she received a BFA from the Juilliard School. She formed the Liz Gerring Dance Company in 1998 and has been presenting her work in New York City and abroad continuously since that time. Ms. Gerring was awarded the Jacob’s Pillow prize in June 2015 and a Joyce Theater Residency the same year. Between 2013-18, Ms. Gerring was commissioned for three works in collaboration with composer Michael J. Schumacher for Peak Performances at the Kasser Theater in Montclair NJ. In 2017/18 she was awarded a City Center Choreographic Fellowship and in 2019. Ms. Gerring was one of five artists to receive the Cage – Cunningham Fellowship from the Baryshnikov Arts Center. Ms. Gerring is currently working on a project with composer John Luther Adams and the Jack Quartet at the ICA Boston and Summer Stages. Ms Gerring has been on the faculty of Groove With Me, an after school dance program for girls, since 2018.She lives in New York City and upstate NY with her husband Kirk Radke, her three children, two dogs, and a cat. • COLLABORATORSPerformers: Mariah Anton, Cemiyon Barber, Brandon Collwes, Mossy ParkeHarrison, Quashierra Mohammad, Claire WestbyChoreographer: Liz GerringComposer: Michael J SchumacherVideo: Zorica Colic
Island Time by Dan Joseph HARVESTWORKS - Digital Media Arts Center 2021-11-18 | In conjunction with his multi-channel installation Periodicity Piece #10, composer Dan Joseph (hammer dulcimer) will be joined by musicians J D Parran (winds), Tom Chiu (violin) and Danny Tunick (percussion) for a live performance that will augment the sounds of the installation and expand it throughout the Harvestworks house. Saturday October 30, 2021 @ 3 pm. Duration: 50 minutesLOCATION: The Workings of Media [art and artists] in Building 10a, Nolan Park, Governors IslandPeriodicity Piece #10 (Island Time) is a mixed-media, multi-channel sound installation created for Harvestworks’ exhibition space in Nolan Park, Governor’s Island. Influenced by early minimalism, acoustic ecology, deep listening and ambient music, Periodicity Piece #10 combines a diverse collection of sounds into a slowly changing sonic ecosystem. Building on prior works in the Periodicity Piece series, the goal of the work is to establish multiple rates of periodicity, ranging from short musically metrical repetitions, to longer patterns of recurrence. The resulting experience of these simultaneously unfolding rates of periodicity, is to give the listener a rich and complex sense of passing time on multiple planes. The unique Governor’s Island setting, with its proximity to the elements and relative remove from the bustle of the city, informs both the choice of sonic materials as well as the arrangements of speakers and mix. Field recordings, bird songs, machine sounds, abstract noises, spoken words, musical notes and phrases, and various other sound materials are all combined together into this imaginary soundscape.The result is a unique, site-specific listening experience, a kind of augmented soundscape, or sonic portal, that can engage the attention of the audience while also allowing for contemplation and a broader form of listening.BIOS:Dan Joseph is a composer, curator and writer based in New York City. He began his career in the early ‘80s as a drummer in the vibrant punk scene of his native Washington, DC. Soon after, he became active in the experimental tape music underground, producing ambient-industrial works for various independent labels. He spent the ‘90s in California where he studied at CalArts and Mills College. His principal teachers include Pauline Oliveros, Alvin Curran and Mel Powell. Equally influential were his studies with Terry Riley during several workshops in California and Colorado.As an artist who embraces the musical multiplicity of our time, Dan works simultaneously in a variety of media and contexts, including instrumental chamber music, electroacoustic computer music, free improvisation, electronica, and sound art. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music. As a performer he is active with his own chamber ensemble, The Dan Joseph Ensemble, as well as in various improvisational collaborations and as a frequent soloist. Recent projects include the JCC Trio with composer-performers Tom Chiu and Jason Cady.Dan’s work has been presented at Merkin Concert Hall, Diapason Gallery for Sound, Harvestworks, Roulette, Issue Project Room, Experimental Intermedia, Human Resources (CA), Harrison House (CA) and other venues. He has received commissions from the New York State Council of the Arts, Gamelan Son of Lion, sfSoundGroup, baritone Thomas Buckner, and clarinetist Matt Ingalls. Dan has held residencies at Headlands Center for the Arts, the Lower Manhattan Cultural Council and Harvestworks Digital Media Arts Center.Active for many years as a curator and presenter, he currently produces the monthly music and sound series Musical Ecologies at The Old Stone House in Park Slope, Brooklyn. His writings on music have appeared in Musicworks Magazine (Toronto), The Brooklyn Rail, NewMusicBox.org.
The Secret Pope-Last Rites Performance by Sofy Yuditskaya HARVESTWORKS - Digital Media Arts Center 2021-11-18 | A live play of a new piece recently created for the Secret Pope project by Sofy Yuditskaya. This last embodiment will be performed on Oct 31, 2021 for the closing of the Secret Pope installation at Harvestworks on Governor’s Island. On a backdrop of spacey stary skies and generated graphics, the Secret Pope emerges like a satellite reflecting and refracting 8bit projections of the constellations behind her. This piece speaks to the extension of ourselves into the future, and expanding into space. The piece was originally commissioned by Robert Pepper for his tarot project closing at Pleiades Gallery. DATES AND TIMES: Sunday October 31 2021. 2:30pm• RUN TIME OF PERFORMANCE: 20-30 minutes• LOCATION: The Workings of Media [art and artists] at the Harvestworks Art and Technology House. Building 10a, Nolan Park, Governors Island.BIOSSofy Yuditskaya (@_the_s0urce_) is a site-specific media artist and educator working with sound, video, interactivity, projections, code, paper, and salvaged material. Her work focuses on techno-occult rituals, street performance, and participatory art. Sofy’s performances enact and reframe hegemonies, she works with materials that exemplify our deep entanglement with petro-culture and technology’s affect on consciousness.Collaborator: Andrew MacFarlane (vaporstack) is a brooklyn based artist and self-taught developer focussed on realtime generative graphics, vector art, and studious observation of the world around us. his ongoing project is a game/application engine written in c. when he has to, he writes python instead. he graduated from the cooper union in 2005. insta: @vaporstack
Live A/V Performance by Ginny Benson HARVESTWORKS - Digital Media Arts Center 2021-11-05 | Ginny Benson presents an improvisational work for audio and video. This live performance will pair audio synthesis with real-time video collage and image manipulation, resulting in an immersive audiovisual experience. DATE and TIME: October 23, 2021 @ 3 pm. Duration: 30 minutesLOCATION: The Workings of Media [art and artists] at the Harvestworks Art and Technology House. Building 10a, Nolan Park, Governors IslandBIO Ginny Benson is an intermedia artist who explores techniques of audiovisual collage. She utilizes synthesis, sampling, and thrift electronics to create immersive compositions and live performances. She has toured extensively under the moniker VX Bliss, and has presented work at New York institutions including Lincoln Center, Pioneer Works, Electronic Arts Intermix, Roulette Intermedium, and The Museum of Modern Art. She lives and works in Queens, NY.“This program is made possible by the New York City Artist Corps.”excerpt from solo Roulette show (2018): vimeo.com/311599312Full length Roulette performance with Kiran Arora (2021): vimeo.com/504448444Solo performance as VX Bliss at H0L0 (2020): youtu.be/bqMMpEqbBskStudio visit (2018): vimeo.com/298682889‘Static Pleasures’ excerpt: vimeo.com/321534001SOCIAL MEDIA LINKSInsta: @ginbe Facebook: facebook.com/vxblissSoundcloud: http://soundcloud.com/vxbliss
Topographical Amnesia by George Moraitis HARVESTWORKS - Digital Media Arts Center 2021-11-05 | Sharing the day with Ginny Benson will be George Moraitis, who is currently exhibiting AttoWatt in The Workings of Media [art and artists] exhibition.His compositions reflect upon the perception of a sonic environment with noises, history, rapid changes and memory. Concentrating on the details of the path, zooming in on the micro-cosmos of heterogeneous environments, multiple and migrating sounds that carry the historical memory of contacts within the Mediterranean basin, while resonating the teeming grids and networks of the basin and echoing the myths of this complex cultural area as accursed or sacred. The sounds will be presented in about a dozen different layers, in which different movements of sound will be dominated, creating an archipelago of sounds. A collection of distinctive acoustic events that produces a temporal evolution of environmental transitions, creating a sonic cocoon that envelops the visitor.DATE and TIME: October 23, 2021 @ 1:30 pm. Duration: 30 minutesLOCATION: The Workings of Media [art and artists] at the Harvestworks Art and Technology House. Building 10a, Nolan Park, Governors IslandBioMy artistic approach focuses on the realm between sound sculpture, audiovisual installations, two-dimensional works and performance. My work incorporates sound and found objects which are often accompanied by drawings, screen prints, video, photography and computer-controlled interactive installations in which sound is utilised as a primary medium. My great interest in sound focuses on acoustic and psychoacoustic themes as well as themes related to the body, sculpture and video, as a mixture of peculiarities of perception, technology and materials. My multi-layered installations and performances have been presented at venues across Europe, including Reina Sofia Museum, Documenta 14, Goethe Institut, Οnassis Cultural Centre, Biennale Némo in Paris, Stavros Niarchos Foundation and St. Mary’s Cathedral Glasgow. – George Moraitisinfo@georgemoraitis.grwww.georgemoraitis.gr
Womens Labor Performance HARVESTWORKS - Digital Media Arts Center 2021-10-18 | A feminist activist project, Women’s Labor repurposes domestic tools to become new musical instruments using embedded technologies, explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement.The first instrument featured in installation/performance is Embedded Iron, based on an early-20th century wooden ironing board and antique iron. Compositions that will be premiered at this event are "Ladan" by Niloufar Nourbakhsh and Chelsea Loew and "Housework Lock (her) Down" by Jocelyn Ho and Margaret Schedel, written for Embedded Irons. Performers: Robert Cosgrove, Dianna Hnatiw, Taylor Long and Alina Tamborini.• DATE and TIME: September 18, 2021 @ 4 pm. Duration: 30 minutes• LOCATION: The Workings of Media [art and artists] at the Harvestworks Art and Technology House. Building 10a, Nolan Park, Governors IslandArtist(s):Jocelyn Ho, creative director with Margaret Schedel, Rob Cosgrove, Melody Loveless, Omkar Bhatt, Matthew Blessing. Commissioning Niloufar Nourbakhsh and Chelsea Loew.A feminist activist project, Women’s Labor repurposes domestic tools to become new musical instruments. Using embedded technologies, these domestic-tools-turned instruments are explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement and performative spectacle.The new instruments are based on laundering tools that highlight gender performativity through clothing. Thefirst instrument featured in installation/performance is Embedded Iron, based on an early-20th century wooden ironing board and antique iron. Both the public and musicians can “iron” fabrics, including their own pieces of clothing, to make music. Using spectroscopy and machine learning, the Embedded Iron has a color-sensing ability—‘seeing’ the color of the fabric to play different timbres. The iron’s placement on the XY-axis of the ironing board determines pitch using LIDAR and ultrasonic technology. The Embedded Iron is an Embedded Acoustic Instrument which means it includes all necessary components for performer interaction, data-mapping, synthesis, and sound generation in a single self-contained body. A Raspberry Pi, speaker and a transducer are attached to the underside of the wooden ironing board acting as a resonator. Because it is not dependent on computers or speakers that are used for other tasks, it gains more agency and identity.The Embedded Iron installation is made possible in part by funds from the City Artist Corps Grants program, presented by The New York Foundation for the Arts (NYFA) and the New York City Department of Cultural Affairs (DCLA), with support from the Mayor’s Office of Media and Entertainment (MOME) as well as Queens Theatre; UCLA Herb Alpert School of Music Dean's Opportunity Fund; and UCLA Library Hugo and Christine Davise Fund for Contemporary Music and the Harvestworks Artist in Residence Program.
Voice, Body, Language and Someone HARVESTWORKS - Digital Media Arts Center 2021-10-09 | The program draws attention to artists’ videos that reflect on the human body’s entanglements with the environment, history, technologies, pharmacologies, as well as its corporeality and mortality. The seven contemporary artists included in the program explore how we think, create or act within the immersion of these entanglements. Each video piece troubles the limits of what a body can consume, process, reach and become, exposing the body’s critical and aesthetic dilemmas, as well as its potentials. DATES AND TIMES: October 9, from 2:30 PMLOCATION: Harvestworks Art and Technology House. Building 10a, Nolan Park, Governors Island and Livestreamed on the harvestworks YouTube channel and available to view for 24 hours.Artists’ videos that ask the question: How has the perception of human body, one of the oldest subjects in the history of art, changed in recent years, in life and art? Do new technologies enhance the control over our bodies or do they turn our bodies into objects of experimentation and profit making? What happens to the body when it’s separated from its voice? What will Narcissus see in the muddy, plastic filled river? Each video piece troubles the limits of what a body can consume, process, reach and become, exposing the body’s critical and aesthetic dilemmas, as well as its potentials.Curated by Zorica ČolićSupported by City Artist Corps Grant (The New York Foundation for the Arts and the New York City Department of Cultural Affairs)Program:1. Ivana Smiljanić, ANTHURIUM ANDREANUM, 1’53”, 20202. Eva Davidova, Global Mode - Narcissus and Drowning Animals, 2’52”, 20183. Zorica Čolić, Cutaneous Vision, 4′ 19”, 2020-214. Monika Sigeti, It’s More Comfortable Here, 1’, 20215. titre provisoire, Some things in common perhaps, 18’, 20176. Marianna Ellenberg, The Psychotropic Alphabet, 1’, 20057. Maja Čule, The Horizon, 2’30”, 2013Zorica Čolić is a visual artist, born in Serbia and based in New York. Using a wide range of media – video, sound, mixed media sculpture, text and collage, she explores issues around the human body as a cultural symptom, focusing on how its health and well-being are intertwined in the political, economic and cultural realms. Čolić was a resident artist at the Whitney Museum Independent Study Program, The Bronx Museum of the Arts, Institute for Electronic Arts, International Summer Academy, Salzburg. Selected solo and group exhibitions include: Elizabeth Foundation for the Arts Project Space, New York; The Energy Museum of Santralistanbul, Istanbul, Turkey; Museum of Yugoslav History, Belgrade, Serbia; Museum of Contemporary Art, Leipzig, Germany.
Walking in Azcapotzalco by Viv Corringham & Amanda Gutiérrez HARVESTWORKS - Digital Media Arts Center 2021-09-08 | July 16, 2021: This live duo performance contains 360 video, field recordings, voice and electronic voice processing. The artists will explore the art of walking, an activity central to both of their practices. The focus will be on a shared walk they took in Mexico City in 2019 around Azcapotzalco, a neighborhood on the northwest side where Amanda Gutiérrez grew up. DATE: July 16, 2021. TIME: 7 pm • RUN TIME OF PERFORMANCE: 25 minutes• LOCATION: The Workings of Media [art and artists] at the Harvestworks Art and Technology House. Building 10a, Nolan Park, Governors IslandIn 2019 Amanda Gutiérrez and Viv Corringham took a shared walk in Mexico City, through Azcapotzalco, a neighborhood on the northwest side where Amanda grew up. The walk had meaning and significance for Amanda and became part of Viv’s long-term Shadow-walks project, based on people’s special walks and her sung response to them. Amanda also created a video series of the location. Later they made a piece together based on that walk, using the 360 videos and field recordings made there, plus vocals. It was performed online in 2021 at World Through a Window Earth Day Festival and the Quarantine Concerts.This will be the premiere of the live performance version. The duo will improvise in real time with the material, using 360 video, field recordings, voice and electronic voice processing. In performance, improvising voice and video will respond to these fragmented memories and to the psychogeography of the location, interwoven with the acoustic and visual experience of female walkers in Mexico City. BIOSViv Corringham is a composer, singer and sound artist, active since the late 1970s. Her work includes concerts, soundwalks, radio works and installations. She is interested in exploring people’s sense of place and the link with personal history and memory. She has received many awards, including two McKnight Composer Fellowships through the American Composers Forum. She studied and worked with Pauline Oliveros and holds a Certificate to teach Deep Listening. Work has been presented internationally at venues including Fonoteca Nacional de Mexico 2019; Prespa Museum Greece 2019; Shantou University China 2018; Hong Kong Arts Centre 2018; Harvestworks, New York 2016; Tempo al Tempo Festival, Brussels 2016; Borderline Festival. Athens 2016; La Collera delle Lumache Festival, Italy 2016; Ohrenhoch Sound Gallery, Berlin 2015; Vitamin S Festival, New Zealand 2015; Syros Sound Meeting, Greece 2014; SoundOut Australia 2014; Around Sound, Hong Kong 2013; Tempo Reale, Florence, Italy 2012; Soundworks, ICA, London, UK 2012.Articles about her work have appeared in publications including Leonardo Music Journal (US), In the Field (UK), Art of Immersive Soundscapes (Canada), Organised Sound (UK), Musicworks (Canada), Catskill Made (US), Playing With Words (UK) The Wire (UK) and For Those Who Have Ears (Ireland).Amanda Gutiérrez (b. 1978, Mexico City) explores the experience of home, belonging, and cultural identity using a range of media such as sound, video and performance art. Approaching these questions from immigrants’ perspectives continues to be of special interest to Gutiérrez, who completed her MFA in Media and Performance Studies at the School of the Art Institute of Chicago and is currently elaborating on the academic dimension of her work as a Ph.D. student at Concordia University, studying the field of the acoustic culture in urban studies. Accordingly, these techniques also constitute the core of the pedagogical practice Gutiérrez has developed over a decade of teaching in diverse settings ranging from high schools on Chicago’s South Side to a senior center on New York’s Upper West Side, including academic institutions such as the SAIC, Connecticut College, and Columbia University. Her work has been exhibited internationally in venues such as The Liverpool Biennale in 2012, Lower Manhattan Cultural Council. A recipient of a grant from the National System of Art Creators, in Mexico, Gutiérrez is currently a member of the Board of Directors of the World Listening Project.
The Workings Of Media [art and artists] Exhibition Spring 2021 HARVESTWORKS - Digital Media Arts Center 2021-08-31 | A selection from the Harvestworks Art and Technology Program on Governors Island in Spring 2021.The Workings of Media [Art and Artists], was series of presentations, workshops, open studios and exhibitions to understand social and cultural changes reflected through the lens of art and artists. Curator and director Carol Parkinson. selected these artists because of their use of the new media technology including data sonification and visualization, immersive sound, smell and social networks. The Art and Technology program is a component of our Creative Residency and Sponsored Projects programs and seeks to create a responsive public context for the appreciation of new work and to advance the art’s community and the public’s appreciation of the use of technology in art.The series began on May 8, 2021 with an exhibition that included the following artists until the closing on August 8, 2021.Dafna Naphtali: AUDIO CHANDELIER: POLYÉLAIOS , a multi-channel audio speaker sculpture created in collaboration with metalsmith/designer Ayala Naphtali.Jakob Dwight: Autonomous Prism | Solarwind Over Sorrow, two lightboxes exploring cinematographic and illuminated abstraction through LED screens and N’CHI, a sci-fi world-building app and micronation generator for mobile smartphone.Valérie Hallier: Scream Now, an open-air public screaming booth that takes the fundamental yet repressed human expression, the scream, to generate visual art. An RSVP to screamnow44@gmail.com is required to participate.Charlotte Mundy: Light as a Feather, an immersive sound, light and scent installation inspired by the healing, psychedelic visions of medieval abbess Hildegard of Bingen and the visionary 1949 film The Wizard of OZ.Andrew Demirjian: Recalibrating, Extrapolating new research in Machine Learning, this sound and visual installation of speculative fiction explores the notions of artificial curiosity and machine self-actualization through the lens of non-human consciousness, languages of communication and the poetry of interfaces. Artist Talk: July 23, 2021Joseph Morris: Scintillator uses computer-controlled electromagnets to turn inverted wine glasses into sonic resonators, similar to the vibrations created when you rub your finger along the rim of a glass. However, in this work, the sonic composition is activated by an embedded cosmic ray muon detector. Scintillator illuminates and sonifies these events as they pass through the space in this room. Sergey Kasich: fFlower-room (a room with the FingerRing interface) has an 8-channel sound system and a FrR-interface (a.k.a. fFlower). Everyone is welcomed to come and play with the interface and explore its possibilities. (not in the video).PERFORMANCES - (not in the video)Mari Kimura: MUGIC Magic. A demonstration of the Violin with motion sensor designed for musicians, performers, dancers and beyond followed by a performance of her composition Rossby Waving inspired by climate change.Viv Corringham and Amanda Gutierrez: Walking in Azcapotalco, a live duo performance containing 360 video, field recordings, voice and electronic voice processing.Nick Hwang, Eric Sheffield and Anthony T. Marasco: Collab-Hub, a tool for interconnected audiovisual performance and installations. A workshop followed by a performance by the participants that is documented on the Harvestworks YouTube channel.Surabhi Saraf and Dorothy Santos: Body in Transit. Made during the 2016 US election as countless individuals grappled with the imposed immigration ban, Body in Transit explores the anxiety and disorientation of displacement through transit and forced migration. Online on Harvestworks YouTube channel.
Body in Transit - Surabhi Saraf and Dorothy Santos HARVESTWORKS - Digital Media Arts Center 2021-07-31 | Made during the 2016 US election as countless individuals grappled with the imposed immigration ban, Body in Transit explores the anxiety and disorientation of displacement through transit and forced migration. Working with cinematic sounds, poetry, and moving images, this work imagines the ways in which the human body travels through physical and virtual spaces in search of home. Featuring movement by Shinichi Iova Koga and text by Dorothy Santos.This work was exhibited at Errant Sound as part of the Listening Biennial. The evening will include the screening of the video, poetry reading and a conversation between Surabhi Saraf and Dorothy Santos. BIOSSurabhi Saraf is a media artist, composer, and founder of the Centre for Emotional Materiality. Her practice lives at the intersection of technology, healing and activism. Surabhi is the recipient of the Eureka Fellowship Award by the Fleishhacker Foundation (2015), the Djerassi Resident Artist Award (2012) and the Artist + Process + Ideas Residency at Mills College Art Museum (2016). She has had solo exhibitions at Galerie Mirchandani + Steinruecke in Mumbai and Hosfelt gallery in San Francisco. She has performed at the Thessaloniki Contemporary Art Biennial, San Francisco Electronic Music Festival, NETMAGE 10 International Live Media Festival (Bologna), and Soundwave Biennial ((5)), Yerba Buena Center for the Arts and the Asian Art Museum in San Francisco. Her videos have been shown at TIMES SQUARE, New York, Blanton Museum, Austin, the Hunter Museum of American Art Chattanooga, TN and the Museum of Contemporary Art, Vojvodina, Serbia. Her work has been featured in The New York Times, Time Out Sydney & Mumbai, the San Francisco Bay Guardian, Blouin ArtInfo, Art Practical, and KQED Arts. Surabhi graduated from the School of the Art Institute of Chicago in 2009 with an MFA in Art and Technology. She was a 2019 Technology Resident at Pioneer Works in Brooklyn, and 2020 resident at HarvestWorks, NY. Surabhi is currently based in Brooklyn, NY.Dorothy R. Santos is a Filipina American writer, artist, and educator whose academic and research interests include feminist media histories, critical medical anthropology, technology, race, and ethics. She is a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz as a Eugene V. Cota-Robles fellow. She received her Master’s degree in Visual and Critical Studies at the California College of the Arts and holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco. Her work has been exhibited at Ars Electronica, Fort Mason Center for Arts & Culture, Yerba Buena Center for the Arts, and the GLBT Historical Society. Her writing appears in art21, Art in America, Ars Technica, Hyperallergic, Rhizome, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She is a co-founder of REFRESH, a politically-engaged art and curatorial collective and serves as the Executive Director for the Processing Foundation.ABOUT THE LISTENING BIENNIAL THE LISTENING BIENNIAL draws attention to listening as a relational capacity, a philosophical and political proposition, a creative practice, and research framework. From radical empathy to weak ontology, poetic refusal to diasporic resistance, eavesdropping to intimate envelopment, listening wields a creative and critical force that may contribute to maintaining the diversity of our social adventure.THE LISTENING BIENNIAL brings together an international group of participating artists, musicians, and researchers, as well as institutions and collectives across the globe, to foster questions and experiences of listening. The Listening Biennial is conceived as a global project and aims at a curatorial construct of shared resonances and polyvocal manifestations. This includes the exhibition of audio works, experimental performances, and discursive events presented across a constellation of collaborating institutions and venues, where listening and locality are accentuated, and cultural specificities contribute to a greater ecology of attention. From critical storytelling, experimental noise, and musical rapture to acoustic care, interspecies contact, and environments of sounded matter, the Biennial aims at fostering a listening world.
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