On Sunday, April 29, 2012, Harvestworks and Issue Project Room co-produced an in-depth investigation into the phenomena of no-input, a style of sound art using internal mixer feedback to generate sound. An audio mixer with anything from basic EQ and sufficient outputs/channels provides a diverse palette for experimentation with feedback. Using multiple channels, different configurations of inputs/outputs and possibly external effects can further extend the range of obtainable timbres.
Toshimaru Nakamura, Philip White, Bob Bellerue
Bonnie Jones, Gene Coleman and Phillip Stearns
Sunday, April 29 2012, 6 – 10 pm
Harvestworks Inside @Issue Project Room
110 Livingston St. (Entrance at 22 Boerum Place) Brooklyn, NY 11201
A Harvestworks 35th Anniversary Event.
Presentations will feature no-input icon Toshimaru Nakamura who will be joined by sound artists Philip White, Bob Bellerue, Bonnie Jones and Phillip Stearns in a panel that will explore the limits of the sound-generating technique, it’s influence on the audience and how each artist has expanded their equipment to address stylistic concerns. The panel will be followed by a performance with special guest Gene Coleman where participants will exhibit the their idiosyncratic approaches to controlling an instrument that defies control.
Toshimaru Nakamura has been producing sound art on his self-named “no-input mixing board,” after long unhappy years with the electric guitar. The name describes the method of his sounds. “No” external sound source is connected to “inputs” of the “mixing board.” Toshimaru is a distinguished and original voice in electro-acoustic improvisation. Since 1998, Nakamura has been exploring the possibilities of his no-input mixing board system.
Philip White is a sound artist who’s performances and presentations center on a nonlinear feedback system, which consists of a mixer and several homemade circuits. In addition to his work with analog and digital electronics, White has created a large body of intermedia pieces that explore meaning in information transmission.
Bob Bellerue is a sound artist based in Brooklyn NY. His work utilizes custom electronics and programming, incorporating feedback, prepared field recordings, demusicalized objects, and found oscillators. The artist states,”my work is based in feedback circuits used for synthesis; recontextualized field recordings; texture/drone/nonmusical instruments (shanai, rebab, gambuh, chinese cymbals, hunting calls, junk metal, sheets of glass); and a performance presence best characterized as animist/animalistic.”
Bonnie Jones is a Korean-American writer, sound artist, and performer working primarily with electronic sounds and text. Born in 1977 in South Korea, she currently resides in Baltimore, MD. Bonnie creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken). She is interested in how people perceive, “read” and interact with these sounds and texts in our current technological environment. Bonnie has presented her work in the US, Europe, and Asia and received her MFA from the Milton Avery School of the Arts at Bard College.
Phillip Stearns creates at the intersection of art, philosophy, and science, drawing upon a variety of disciplines including sound installation, music performance and composition, video, circuit sculpture, photography, and conceptual art. Deconstruction, dissection, and reconfiguration are methods he commonly employs in his hands-on approach to creating works with materials ranging from electronic objects, biological systems, images, light, video, and sound. In his work with technology, the machine is understood as the living manifestation of human intentions where the development and application of our technologies, machines, and tools reveals our desires and dreams—both conscious and not.
Gene Coleman is a composer, musician and director. He has created over 50 works for various instrumentation and media. Since 2001 his work has focused on global culture and music’s relationship with architecture, video and dance. Coleman is the recipient of the 2013 Berlin Prize in Music Composition and was composer in residence at the American Academy in Rome (Fall 2011). He has collaborated with a wide range of composers; from Jim O’Rourke and Otomo Yoshihide to Helmut Lachenmann and George Crumb. Groups that have commissioned music and film work include Klangforum Wien, The Japan Society, The Ernst von Siemens Foundation, Chamber Music Now, Network for New Music, Ensemble On-Line, Phace Contemporary, I-House Philadelphia, E-Mex Ensemble, Tom Buckner, MoMA, The Crossing and others. More info at: http://vimeo.com/genecoleman (and soon) http://genecolemancomposer.com.
Harvestworks is a nonprofit Digital Media Arts Center that presents experimental artworks created in collaboration with our Technology, Engineering, Art and Music (TEAM) Lab. Our programs are made possible with funds from New York State Council on the Arts, the National Endowment for the Arts, the NYC Dept. of Cultural Affairs, the Jerome Foundation, mediaThefoundation, Meet The Composer Cary Performance Fund, The Edwards Foundation Arts Fund, Bloomberg Philanthropies, The Andy Warhol Foundation, Foundation for Contemporary Arts, Materials for the Arts, and the Friends of Harvestworks. This project is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes (www.NYSCA.org, www.eARTS.org).
About Issue Project Room
ISSUE Project Room is a pioneering art and performance center dedicated to providing artists with a dynamic environment to create and perform new and challenging work. ISSUE is dedicated to the artist, with a particular focus on those whose work moves culture forward through experiment and investigation. Events at ISSUE expose audiences to groundbreaking work, and foster an extended community dialogue.