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In Downtown Miami, our Focus On Puerto Rico residency program is in full swing. 

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Essex Olivares, Incorporate



An orchestrated ensemble of vocalists, acoustic and digital instrumentalists perform a live set of soothing yet invigorating musical selections excerpted from the original score of Essex Olivares’s smartphone application, Incorporate, for the launch event at SculptureCenter in February, 2014.

When installed on a mobile handheld device – common to commuters, teenagers, urban subjects, emerging artists, wage laborers, freelance intellectuals and still other persistent producers of digital communication – this objective-free guided meditation encourages its users to practice self-reflection through a series of specially tailored activities intended to reestablish (or rather, generate) tangible connections between an individual and his or her actual surroundings. Posing questions that cannot be earnestly answered by algorithm or automated machine (Are you feeling irritable? . . . lonely? . . . disoriented?) Essex Olivares’s unproductive and therapeutically uncertified script for overcoming Cartesian dualism promotes uncomfortable interactions that stimulate internal balance by ultimately dissolving the solipsism of contemporary life – via the selfsame social media channels that valorize consumer satisfaction through instant (and only ever temporary) gratification.
Kari Rittenbach



With Natalie Galpern & Darius Greyson, vocals; Eve Essex, saxophone & percussion; Nathan Hauenstein & Brendan Rielley, synthesizer; James Mercer, laptop; Max Zuckerman, guitar. Written by Eve Essex and Juan Antonio Olivares. Commissioned by SculptureCenter as part of "In Practice: Chance Motives."
 

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Experimental Composers

RADIO SERIES

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."
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