2004 New Works Residencies

New Works Residencies

Benjamin Aranda

“Off the Grid” consists of video footage gathered using custom-built cameras attached to four pigeons, which is presented on a 2×2 matrix with simultaneous surround-sound that establishes the work’s spatial context. Aranda established Terraswarm Inc. as a design research studio conducting experiments on urban and media phenomena, and has completed installations for Creative Time at the Brooklyn Anchorage, Storefront for Art and Architecture, as well as the MoMA. Off the Grid is planned for ISEA2004 International Symposium on Electronic Arts.

David Behrman

Behrman’s surround-sound mix of thick, harmonic, drifting sounds will blend acoustic elements and include radical transformations of spoken text. Behrman — with Robert Ashley, Alvin Lucier, and Gordon Mumma — established the Sonic Arts Union in 1966, toured with the Cunningham Dance Company in the 70’s, co-directed the Center for Contemporary Music at Mills College, and is currently among the MFA faculty at Bard College.

Olivia Block

Block’s project is a Sound Cube installation consisting of cello passages and textural sounds that come in and out of focus in different parts of the space. Block is a Chicago-based electroacoustic composer who has done live composition in numerous international festivals, including the Sonic Light Festival in Amsterdam, the Angelica in Italy, and Outer Ear in Chicago. She also worked with Pauline Oliveros for the “Women: Mixing in Sound” compilation. This installation will appear at the Kitchen in Spring 2004.

Jeff Carey

Jeff’s surround sound piece is composed of field recordings of urban and rural Singapore and Malaysia, which are transformed using techniques ranging from soundscape, musique concrete, and G.M. Koenig’s concept of “Field Composition,” to spatialization routines written with Supercollider. Carey is the owner and developer of radiantslab.com, an online platform for artists, record labels, and online sound art projects, and currently has a residency at STEIM (Studio for Electro-Instrumental Music) in the Netherlands.

Abigail Child

Abagail Child will set her hour-length film (with score by John Zorn) in the legacy of home-movies and with a special focus on the lenses of history, gender, and religion. Child is an award-winning film and video maker whose work has appeared at the Whitney Museum, the Whitney Biennial, the New York Film Festival & Video Side Bar, and is part of the permanent collection of MoMA and the Centre Pompidou in Paris. The single-channel version of her film “Cake and Steak” will exhibit in March 2004 at the Yerba Buena Center in San Francisco, CA.

Angela Eng/ Dafna Naftali

“Memobile” explores the similarities between nomads of primitive societies and digital culture by using sounds created with MAX/Jitter to trigger and manipulate video, which is then projected onto a tent structure that houses the performers. Eng has performed live video and sound at the New Museum of Contemporary Art, Roulette Intermedium and the Whitney Museum. Naftali specializes in vocal performance using MAX/MSP and teaches at NYU and Harvestworks. They will be performing Memobile  at Experimental Intermedia in March.

E-TEAM – Franziska Lamprecht

1.1 Acre Flat Screen is a documentary of the improvement on a lot in the desert of Utah, which was purchased on eBay. The video was started during the E-Team’s residency at Eyebeam’s moving image department. It is scheduled for screening at Lothringer 13 in Munich.

Leroy Jenkins/Mary Griffin

“Coincidents,” a documentary about the artists’ African American and Welsh heritages and the effect of migration on identity, uses Jitter to allow Jenkins’ violin to trigger the video. Jenkins is an internationally renowned composer/violinist who is a founding member of the Association for the Advancement for the Creative Musicians. Griffin is a writer and video maker, who has received awards from the New York foundation for the Arts and The Rockefeller Foundation, and residency grants at Harvestworks, The Atlantic Center, and Rensselaer Polytechnic Institute.

Mari Kimura

Kimura will produce an interactive piece between human and machine that uses MAX/MSP to pitch-track the violin and generate figures and motives for the Guitarbot. As a Japanese violinist/composer, Kimura is known in over 18 countries for her extended technique (including the creation of the bowing “subharmonics”), her use of interactive computer systems, and performance of specially composed pieces by Toshi Ichiyanaga and Jean-Claude Risset.

Diane Ludin

Memoryflesh is an exploration of the human genome and DNA as a rising world power, and uses touch sensors interfacing with MAX to record a fake suturing process that drives the mix of media montages. Ludin is a Brooklyn based artist whose work has appeared worldwide, including the Ars Electronica, Online traveling exhibition. This project will be launched at Turbulence.org in March 2004.

Jane Rigler

Rigler will create an interactive improvisation-based performance system using the flute, voice and movement to trigger extended sonic responses using MAX/MSP in conjunction with hidden sensors to give the appearance of an entirely acoustic performance. Rigler is an active performer in improvisation and experimental music festivals throughout the US and Europe.

Keiko Uenishi

Uenishi’s piece centers on a MAX/MSP patch that allows composition of movement and location of sound mapping, along with an additional hand made midi-controlling device. Also known as o-blatt, Uenishi has performed all over the world both solo and with musicians such as Ikue Mori and Zeena Parkins.

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