The Executive Director of Harvestworks Digital Media Arts Center whose professional services include presentations and arts panel reviews locally, nationally and internationally. She is primarily interested in the development of experimental electronic sound art and emerging technologies. Continue reading
Gisburg worked as a sound and music editor/assistant and mixer with directors such as Martin Scorsese, Woody Allen, Abigail Child, Ethan Coen, Robert Duvall, Rob Marshall, Sophie Barthes, and Amie Siegel. Continue reading
Daniel Temkin’s Light Pattern is a language where the programmer communicates with the machine through photos. The source code, rather than appearing as text (perhaps of the “goto 10” variety) is encoded in changes in color and exposure from one image to the next. In a daily photo practice, Temkin attempts to communicate with the machine by producing images according to the specifications of the compiler. Continue reading
Philip White has created a 7.1 mix of “20140704-15 A Night in Tunisia” from his new album on Infrequent Seams Documents. It is a piece about intuition and the recursive influences inherent in memory. I subject the recording to a a series of processes through which I derive musical information (harmonic, melodic, timbral, rhythmic, formal, etc). That information drives a set of voltage controlled amplifiers tied into a non-linear feedback system, influencing the behavior of the system and leaving a shadow of the original work. Continue reading
ALTERNATE CLASS – This workshop is intended for Producers and Sound Artists wishing to expand their knowledge of Ableton Live and start making their own Max for Live Patches and Effects. We will start with an overview of available Max for Live Devices and how different types function within an Ableton Live Set. We will build several of these “Max for Live Devices” from scratch to manipulate sound and midi in unique ways – stepping out of the effects built into the software. We will also look at how to integrate video into our sets for live, audio responsive VJ Performances. Continue reading
After the overwhelming success of our current workshop with French sound documentarian Benoit Bories, we decided to offer a special workshop for artists, to work closely with Benoit on their individual projects in a small group setting. This workshop is geared towards artists who have already a professional or semi-professional practice in radio drama, sound art or sound installations.The workshop is limited to 4 people. Continue reading
The central idea in the intensive practices is to strongly accelerate the time of the various productive phases and thus to force the animal to adapt to this rhythm. Which can be the consequences of such a forced report, how saw this situation for animals gathered on small spaces in a sound and visual environment out of their natural framework of comprehension? By the sets of sound and visual compositions, their rhythmic and their tonalities, it is proposed here to question the importance of the respect of the temporality of life of livestock. Continue reading
It’s Happy Holiday Time! We’re closed on Thanksgiving Day, Christmas Day (25th) and New Year’s Day (1st) (2014/2015). We may also be closing early on the 24th and 31st, so call or email before you come in – just to make sure… Contact: carolp[AT]harvestworks.org Continue reading
Fusing sound art and durational performance, LIGHTHOUSE is an immersive 3D sound installation that plumbs a world in which the seas have risen—in particular, the uneasy psychic terrain of an inundated New York City. Campanella’s impressionistic electronic score is designed for one live performer and a multi-tiered 8.4.1 system of speakers that surrounds the viewer/listener from all sides and above. Continue reading
In this 5.1 surround sound album, recorded prose is combined with sonic landscapes in an attempt to create an experience somewhere between reading a book and going to the movies. Twelve written pieces arrived at through automatic writing, journaling, and dream re-interpretation move through worlds blending modular synthesis, sound design, sampling, homemade instruments, and field recordings in order to crossfade listeners between real and surreal settings. Continue reading
