New Works Residencies
Jem Cohen for the soundtrack of his in-depth film/video portrait of Pisa, Italy. The film looks at the nature of the urban experience and global change as it applies to daily existence of residents who are overshadowed by tourism. The music will be constructed from on-location recordings, samples of modern and ancient Pisan music and various experimental composers.
Beth Coleman for an audio works of bass frequency modulations fusing urban sound sources and sine wave manipulations. “Jeep”, a sonic architecture piece for performance in Spring 1998, will focus on phase cancellation and augmentation shifting as the frequencies move to different audio spaces in the city. The piece will be a part (along with text, image, and additional sound) of her multimedia story “Betty Mann Takes a Stand”, which will be performed at SoundLab in Manhattan and published as a comic book with accompanying CD.
Mark Coniglio for the development of video imagery and interactive triggering controls for the dance piece “Boxes”. “Boxes” addersses the vibrant energy and frantic routines of people on the New York City streets. The piece is scheduled for performance by his Troika Ranch dance theater group at Context Studios in Manhattan on June 4, 5 & 6 1998.
Dawn DeDeaux for the multimedia installation “The Last Hunt” to be premiered at the John F. Kennedy Library in Boston in April 1999. This work, which utilizes the character of Ernest Hemingway to explore the “Hemingway myth” and contemporary masculine codes and rites of passage, will be realized as a 360-degree in-the-round film-projection installation with a quadraphonic surround soundtrack.
Jin Hi Kim
Jin Hi Kim for “Touching the Moons”, an interactive, multimedia, live performance exploring feminine cosmic energy and the relationship of traditional Asian cultures within the context of the 20th Century. The piece will consist of an interactive set design in which the movement of dancers controls images of outer space and sound samples, and Kim will perform on electric kumango and electric changgo drum while also controlling MIDI devices. “Touching the Moons” is planned for performance in multiple location throughout the U.S. as part of the Korea Society’s Performing Art Series.
Michelle Kinney for her piece for Cyrus Kambatta’s Phffft! Dance Company, examining the way people value and balance personal resources and energy. Multiple sound samples, cello, and live sound effects and triggers will be utilized to create various different textures and rhythms in accompaniment to the dance/theater performance. The work is scheduled for performance at festivals internationally.
Roger Kleier for “Cortina”, a 40-minute multi-movement work for electric guitar, sampler and percussion, inspired by the exploits of the 19th-century Tejano guerrilla leader Juan Cortina. “Cortina” will explore the manipulation and combination of recorded instrumental materials, including “prepared” guitar and found sounds, and is planned for international radio broadcast.
Andrea Parkins for a sound score to Cornelia Blatter’s project “cloth-change” for multi-channel video and slide installation. The audio piece is scored for digitally processed piano, sampler, and accordion and will be presented with the visual work in gallery and performance spaces, as well as as a single-channel video recording.
Rea Tajeri for the creation of an audio track for the 26-minute video work “The Family Body”. “The Family Body” will be a dark, surreal comedy about the complex relationships in a contemporary Asian-American family, presented as a fractured narrative in three vignettes. The first vignette is being shot this December in Los Angeles and will be presented at the San Francisco Asian American Film/Video Festival.
Matt Rogalsky for the recording, editing and production of four new live solo sound works incorporating self-created software and controllers, as well as live digital processing and external sound sources. “RESONATE (noise/tones)” is an extended textural work for live improvisation; the first part exploring noise timbres, and the second, pitched sounds. “Transform: XXXX” is a performance work which processes AM radio station signals to create a range of sounds from resonating streams of harmonics to soft percussion. For each performance, the “XXXX” in the title is replaced with the call letters of the station utilized. Rogalsky will also work on two as yet untitled pieces working with SuperCollider live digital processing and various MIDI controllers.