CJM Sounds | Blog



Lo-res but very high quality content. Suzanne Fiol with choreography Yoshiko Chuma after the 2nd of 2, 7-hour performances of the work Sundown at ISSUE Project Room's Carroll Street silo space. Visit here to see images from that spectacular event.
Suzanne Fiol at the original ISSUE Project Room space at 619 E 6th Street in the East Village, December 17, 2004



Her impact on the world will be felt for a very long time. I miss her terribly...
It has been my misfortune or good fortune to take the world by surprise. New experiments, or old experiments in new style, must sometimes engender misunderstanding.
M.K Gandhi



[One of hundreds of quotes posted on the wall at Gandhi Smitri in Delhi, the site where Gandhiji lived his last 144 days and where he was shot by a Hindu extremist on 30 January 1947]

India, travel

New Music America
Festival Locations, Producers, Venues 1979-92

From New Music Across America, Iris Brooks editor
Published by Cal Arts/High Performance , 1992
ISBN 0-938683-01-2

l979
Rhys Chatham
Mary MacArthur
The Kitchen
New York, New York

1980
Nigel Redden
Walker Arts Center
Minneapolis Star
Minneapolis, Minnesota

1981
Robin Kirck
San Francisco Examiner
San Francisco, California

1982
Peter Gena
Alene Valkanas
Mayor's Office of Special Events
The Chicago Tribune
Museum of Contemporary Art
Chicago, lllinois

1983
Deborah Hanzlik
Bill Warrell
Bob Wisdom
Washington Performing Arts Society
9th Street Crossings Festival
District Curators, Inc.
Washington, D.C.

1984
Joseph Celli
Mary Luft
Real Art Ways
The Travelers Companies;
Assoiate Producer the Advocate Newspapers
Hartford, Connecticut

1985
Joan La Barbara
Carl Stone
Collaboration of 25 arts organizations.
Los Angeles, California

1986
Michael Galbreth
Jerry McCathern
Pauline Oliveros
The Houston Festival Foundation, Inc.
Houston, Texas

l987
Joseph Franklin
Relache
The Ensemble for Contemporary Music
Philadelphia, Pennsylvania

1988
Joseph Celli
Mary Luft
Tigertail Productions
Miami, Florida

1989
Yale Evelev
Brooklyn Academy of Music's Next Wave Festival
The Kitchen
Dance
Theater Workshop
The Knitting Factory
Roulette
Prospect Park Picnic House
Experimental Intermedia
Performance Space 122
WNYC
New York, New York

1990
Jean Piché
Montréal Musiques Actuelles
Montréal, Québec
Canada

1991
No Festival

1992
New Music Across America
In 14 U.S. cities, two Canadian cities, and two European cities.

David First's myspace
ISSUE Project Room calendar page

David First’s Gestural Improv Group – an evening of searching for perfect frozen moments through hyper-sensual tuning systems and black holed rhythms. Featuring Jane Rigler/flute, Chris McIntyre/trombone, Reuben Radding/bass, Michael Evans/drums & percussion and D.F. on guitar & laptop.


 
[Images by David's wife Mira]

I visited the Dan Graham show at the Whitney today (finally). It was a really great experience. The pavilions especially are as profound as they are socially engaging.

I took some clandestine audio with the iPhone Voice Memo app in the rooms with 2 classic film projectors projecting simultaneously. I've included them here as a little "displacement" of the ambient audio from both pieces (forgot to document the titles... anyone?):

Room 1 - Eiki projectors

Room 2 - projector type unknown

From CJM Facebook Wall:

Christopher McIntyre is there a musical analogy to Smithson's "non-site" concept?
August 5 at 1:15am

Michael Berk
Maybe not musical, and maybe not even aesthetic at all, but I think of convolution reverb processes
August 5 at 1:36am

Christopher McIntyre
very nice mB. had to wiki it, but convolution reverb and the impulse response component in particular are spot on. been digging in to smithson, matta-clark, et al. for a project. really inspiring...
August 5 at 1:52am


From Wikipedia:
Convolution reverb
In audio signal processing, convolution reverb is a process for digitally simulating the reverberation of a physical or virtual space. It is based on the mathematical convolution operation, and uses a pre-recorded audio sample of the impulse response of the space being modelled. To apply the reverberation effect, the impulse-response recording is first stored in a digital signal-processing system. This is then convolved with the incoming audio signal to be processed.


I've been wending my way through a book exploring the work and working method of artist Robert Smithson. Entitled Robert Smithson: Learning from New Jersey and Elsewhere, author Ann Reynolds charts a teleological path through Smithson's abstruse and varied interests. She identifies essays and books he was reading and quoting in his own writing while in process with his art works. His use of aerial maps, mirrors, and of course "earth" as content have larger dimensions than I thought before reading this work. There is a particularly compelling section dealing with Smithson's drive to fully objectivize abstraction in which his interest in "coded environments" informs the non-site concept. It inspired me to work on a composition tentatively called "The Crystal Land", the title of an important eassy he wrote in the late 60's. I'm going to use my own composerly coded environment to generate formal and linguistic content. Smithson's land of crystal is New Jersey, and I'm not really sure I understand what he means yet, but I have picked up a copy of "The Writings of...". I plan to read it while in India. Aptly incongruous for me...
Cardew. There's a really fascinating and palpable renewed interest in his work. Treatise [1967] and its precursors, such as Octet '61 for Jasper Johns [1961], are extremely imaginative and evocative works of visual language. Graphic "interfaces" meant to elicit interactive musical responses, avoiding collaborative hierarchies based on access to knowledge (i.e. training in conventional notation). So few of the young composers I come across objectify the actual visual interface of the score like Cardew and so many others did in the halcyon days of the 60's and 70's. Pragmatism rules the day I'm afraid. At any rate, a few images of my new prized possession...



Page 42

Page 131
I checked out Bang On a Can's newest project Asphalt Orchestra at Lincoln Center Saturday night. I was very keen to hear this group during its debut run (at LC no less!) for several reasons. First of all, a number of stellar colleagues of mine are members of the band (Shane Endsley on trumpet, Peter Hess on tenor sax, Ken Thomson on alto sax, Jessica Schmitz on flutes, and Yuri Yamashita on percussion). Secondly, I was very curious to hear what Ty Braxton chose to write for them. I have a lot of respect for his band Battles and I recently heard some other written material of his. And third, I have a feeling that AO and TILT Brass may cross paths at some point, and I wanted get a sense of what they do.

I thought it was a really impressive musical experience, especially for a just-hatched ensemble idea! Most groups, especially repertoire oriented ones, need a minute to find their voice. Asphalt Orchestra came out with a fully formed and well executed concept. Maybe that can be at least partially attributed to the experience and support of the BoaC clan, but the quality and depth of the players involved can not be underestimated. In any case, it was a lovely moment all around.

[I will refrain from commenting on my friend Rhy Chatham's 200 guitar piece. It was a mob scene audience-wise, which meant I could neither see nor hear (believe it or not) the thing. I ended up splitting after about 30 minutes and grabbing Afghani food with my boy Anthony Coleman. Sorry Rhys (and Mr. King)!]


090826 Addition

[ed. note - I had forgotten about this recording I had made with my iPhone until it came up accidently in iTunes. iTeresting...]

Asphalt Orchestra playing Conlon Nancarrow's Study No. 20, arr. by Ken Thomson - 8/8/09 7:10 PM
listener