Eight-channel performance and iteration of Isomorph and Plastics, two suites of procedural electronic composition first released with Oxtail and Orange Milk Recordings, respectively.
Black Box 5th floor, Hunter North Building
TIME 7 pm
Produced by Harvestworks in partnership with the Integrated Media Arts MFA at Hunter College.
Isomorphs and Plastics
Following up on Plastics (Orange Milk ’17), Isomorphs filters smartphone noise, trap sample packs and modular squelch through twenty-first century indeterminacy and digital pseudo-sensuality. Inspired in equal parts by John Cage’s chance operations, random MIDI structures, San Fransisco Tape Music Center experiments and Lex Luger’s revolutionary production circa 2010, Gantt reckons with the impossible density of contemporary media by arbitrarily dividing it into electronic compositions or arbitrary duration. Isomorphs fastens the sonic vocabulary of an iPhone 5s onto a frame of procedurally generated MIDI. Taking cadences from the source material as a starting point, these sounds are orchestrated with a variety of media signifiers (arena-rock guitar, auto-tune sludge, sci-fi synths), and re-presented in both raw and mediated states.
Matthew D. Gantt is a composer and conceptualist based in Brooklyn, NY. His practice focuses on procedural systems and the idiosyncrasies of the technology that facilitate them, as well as the overlap between production and consumption of digitized culture. Recent projects include tape releases for Orange Milk and Oxtail Recordings, an eight by eleven foot graphic score for interdisciplinary performance, and a series of VR environments containing procedural motion and spatial sound. While living in New York, Gantt has performed or presented work at a range of spaces, including Pioneer Works, Roulette, Issue Project Room, New Museum, the Stone, and internationally at the IRCAM Academy in Paris, France. He received an M.M. in composition from CUNY Brooklyn College, teaches music technology at Sarah Lawrence, Kaufman Center and Harvestworks, and worked as a studio assistant to electronics pioneer Morton Subotnick from ’16 – ’18.
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