Dafna Naphtali & Chuck Bettis, Chatter Blip
Chatter Blip is a an interstellar multi-character audio operetta involving a multitude of human, alien, and machine voices, in a mash-up of primal and classic sci-fi, electro-acoustics and lo-fi video communications. The piece was created and performed by Chuck Bettis, electronics/voice and Dafna Naphtali, electronics/processing/voice. This performance was recorded at Experimental Intermedia Foundation in New York in December 2010.
Dafna Naphtali is a sound-artist/improviser/composer/singer/guitarist/electronic-musician. An active and versatile performer, she has been performing and composing since the mid-90’s using her custom Max/MSP programming for sound processing of voice and other instruments. She co-leads the digital chamber punk ensemble, What is it Like to be a Bat with Kitty Brazelton and has collaborated / performed with many experimental musicians and video artists, such as Lukas Ligeti, David First, Chuck Bettis, Joshua Fried, Ras Moshe, Alexander Waterman, Kathleen Supové and Hans Tammen, Benton-C Bainbridge and Angie Eng among others, and is a member of Magic Names vocal ensemble championing the vocal work of Stockhausen.
Chuck Bettis was raised in the fertile HarDCore soil, nourished within Baltimore's enigmatic avant garde gatherings, and currently blossoming in New York's downtown musical tribe. He has performed with John Zorn, Fred Frith, Jamie Saft, and Afrirampo to name a few. Some of the musicians Bettis has recorded and played live with are as follows; Ikue Mori, Nautical Almanac, Audrey Chen, Yellow Swans, Toshio Kajiwara, Mick Barr, etc, plus a long history of punk bands he was in (most notably the experimental punk band Meta-matics as well as the enigmatic All Scars).
The object of this series is to invite emerging and established innovators to share their work. These programs are usually a combination of an interview with a far-reaching perspective on the artist's career, some recordings illustrating this history, and something new. Open territory. The unfortunate and unintended messages that come attached to a title like Experimental Composers are many. Still it is one of the few labels to come out of the world of music that has not been co-opted by promoters, corporations, journalists, or lawyers. This one just seems to have anti-market goo on it. Hooray. It's also just bad English (as if to imply that these poor souls are themselves, in their flesh and blood, some kind of experiment and, perhaps, even expendable). And then there is the spectre of defying the wisdom of the great Edgar Varèse who said something like, "I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment."more
A radio series of programs recorded at Experimental Intermedia Foundation (EI), the legendary, influential downtown New York loft venue, incubator, showcase, and community center for composers and experimenters in the arts, known for being first and best at presenting (and recording!) new music and new media since the 70s. The concert series is programmed and produced by composer Phill Niblock who has been directing presentations at Experimental Intermedia since 1973 (well over 1,000 performances) and he is the curator of EI's XI Records label. In 1993, he opened a satellite space with window gallery in Ghent, Belgium. For more on the concert series, recordings, archives, and other intermedia adventures of Phill Niblock around the globe visit the Experimental Intermedia Foundation site. This radio project is a partnership between Experimental Intermedia Foundation and The Clocktower Gallery and its radio station at ARTonAIR.org. The series is produced and managed with the generous efforts of Byron Westbrook.more