ABOUT Site : Sound is a series of intimate site-specific lectures, sonic-spatial interventions, and performances celebrating the pliancy and tactility of acoustic experience. Taking place across three boroughs of New York City from April 23 to June 25, 2017, twelve contemporary sound artists, composers, and instrumentalists invited the public to channel their curiosity and join in an exploration of the auditory sense.
PROGRAM
SITE-SPECIFIC LECTURES
4/23 - Lecture No.1 - Daniel Neumann, artist and sound engineer @ OUTPUT in Brooklyn, NY. 5/21 - Lecture No.2 - Anne Guthrie, composer, instrumentalist, and acoustician @ Arup Soundlab in New York, NY. 6/14 - Lecture No.3 - Lori Napoleon (Antenes) @ Cooper Union School of Engineering's Anechoic Chamber.
BEACHSIDE HAPPENING
5/27 - Beachside Happening - Performances by percussionist Sarah Hennies, multimedia artist Julia Santoli, vocalist GABI with harpist Marilu Donovan, and electronic sound artist Mara Mayer at Fort Tilden, Rockaway.
SITE : SOUND
6/25 - Listening and Showcase - A sonic portrait and re-telling of the Site : Sound series, with performances by Eli Keszler, Stine Motland, Lea Bertucci, Tilt Brass, and Ashcan Orchestra @ at Knockdown Center in Queens, NY.
CREDITS Presented by Clocktower and curated by Lea Bertucci.
Special thanks to the DCA (Department of Cultural Affairs); NYSCA (New York State Council on the Arts); and to our partners Knockdown Center, Maspeth, NY; Output, Brooklyn, NY; Cooper Union, New York, NY; and Arup Soundlab, New York, NY; ISSUE Project Room, Brooklyn, NY; and label NNA Tapes, Burlington, VT.
SHOWS
Knockdown Center : Eli Keszler
Knockdown Center : Lea Bertucci
Knockdown Center : Ashcan Orchestra
Knockdown Center : Stine Motland
Knockdown Center : TILT Brass
Beachside Happening Pt.2 : Julia Santoli and Lea Bertucci
Beachside Happening Pt.3 : GABI with Mara Mayer and Marilu Donovan
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<br /><strong>ABOUT</strong> <br /><strong><em><br /></em>Site : Sound</strong> is a series of intimate site-specific lectures, sonic-spatial interventions, and performances celebrating the pliancy and tactility of acoustic experience. Taking place across three boroughs of <strong>New York City</strong> from <strong>April 23 </strong>to<strong> June 25</strong>,<strong> 2017</strong>, twelve contemporary sound artists, composers, and instrumentalists invited the public to channel their curiosity and join in an exploration of the auditory sense.<br /><br /><iframe src="http://www.youtube.com/embed/9Y3TJG7qljo" frameborder="0" width="425" height="350"></iframe><br /><strong><br />PROGRAM</strong> <br /><br />SITE-SPECIFIC LECTURES<br /><br />4/23 - <span style="text-decoration: underline;"><a href="http://www.facebook.com/events/157591521433724/" target="_blank">Lecture No.1</a></span> - Daniel Neumann, artist and sound engineer @ OUTPUT in Brooklyn, NY.<br />5/21 - <span style="text-decoration: underline;"><a href="http://www.facebook.com/events/643122432546181/" target="_blank">Lecture No.2</a></span> - Anne Guthrie, composer, instrumentalist, and acoustician @ Arup Soundlab in New York, NY. <br />6/14 - <span style="text-decoration: underline;"><a href="https://www.facebook.com/events/113826532503735/" target="_blank">Lecture No.3</a></span> - Lori Napoleon (Antenes) @ <span>Cooper Union School of Engineering's Anechoic Chamber.</span><br /><br />BEACHSIDE HAPPENING <br /><br />5/27 - <span style="text-decoration: underline;"><a href="http://www.facebook.com/events/842186962596345/" target="_blank">B</a>eachside Happening</span> - Performances by percussionist Sarah Hennies, multimedia artist Julia Santoli, vocalist GABI with harpist Marilu Donovan, and electronic sound artist Mara Mayer at Fort Tilden, Rockaway. <br /><br /><span>SITE : SOUND </span><br /><br />6/25 - <span style="text-decoration: underline;"><a href="http://www.facebook.com/events/113509882534026/" target="_blank">Listening and Showcase</a></span> - A sonic portrait and re-telling of the Site : Sound series, with performances by Eli Keszler, Stine Motland, Lea Bertucci, Tilt Brass, and Ashcan Orchestra @ at Knockdown Center in Queens, NY. <strong><br /><br />CREDITS <br /><strong><br /></strong></strong>Presented by<strong><strong> Clocktower </strong></strong>and curated by <strong><strong><strong>Lea Bertucci</strong>. </strong><br /><br /></strong><em>Special thanks to the DCA (Department of Cultural Affairs); NYSCA (New York State Council on the Arts); and to our partners Knockdown Center, Maspeth, NY; Output, Brooklyn, NY; Cooper Union, New York, NY; and Arup Soundlab, New York, NY; ISSUE Project Room, Brooklyn, NY; and label NNA Tapes, Burlington, VT. </em><strong><br /></strong>
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As the final act of the evening, composer, and percussionist <strong>Eli Keszler </strong>delivered a powerful solo performance; situated just off the main stage in the heart of <strong>Knockdown Center</strong>. <strong><br /></strong>
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As the final act of the evening, composer, and percussionist <strong>Eli Keszler </strong>delivered a powerful solo performance; situated just off the main stage in the heart of <strong>Knockdown Center</strong>. <strong><br /><br />ABOUT</strong><br /><br /><strong>Eli Keszler</strong> is a<strong> New York</strong> based artist, composer, and percussionist.<strong> Keszler</strong>’s installations, music, and visual work have appeared at <strong>Lincoln Center</strong>, <strong>MIT List Center</strong>,<strong> Victoria & Albert Museum</strong>, <strong>Sculpture Center</strong>, <strong>The Kitchen</strong>, <strong>South London Gallery</strong>, <strong>Hessel Museum</strong>, <strong>Carpenter Center for the Visual Arts</strong>, <strong>Luma-Foundation</strong>, <strong>Tectonics Festival (Harpa Hall) Reykjavik</strong>, <strong>Centraal Museum in Utrecht</strong>, <strong>Barbican-St. Lukes</strong>, <strong>LAX Art</strong>, <strong>3s Arts</strong> and <strong>Greater New York</strong> at MoMa<strong> PS1</strong>.<br /><br />His work has been featured in <strong>Frieze, Bomb Magazine</strong>,<strong> The New York Times</strong>,<strong> Wire Magazine</strong>,<strong> The Washington Post</strong>,<strong> Gramophone </strong>and<strong> Modern Painters </strong>among others. <br /><strong><br /></strong>He has released solo records for<strong> Empty Editions, Esp-Disk', Pan </strong>and<strong> REL records. </strong>He has lectured as a visiting artist at<strong> Brooklyn College</strong>,<strong> Columbia University</strong>,<strong> New England Conservatory</strong>,<strong> Dartmouth University</strong>,<strong> Washington University</strong>,<strong> Mass Art and UMass Boston.<br /><br /></strong>As a composer,<strong> Keszler </strong>has received commissions from the<strong> Icelandic Symphony Orchestra</strong>,<strong> ICE Ensemble</strong>,<strong> Brooklyn String Orchestra </strong>and<strong> So Percussion. <br /><br />Keszler </strong>is a graduate of the<strong> New England Conservatory of Music </strong>and was a 2016<strong> New York Foundations for the Arts </strong>fellow.<br /><br /><strong>MORE<br /><br /></strong>To learn more about Eli Keszler's work, visit his website, <span style="text-decoration: underline;"><a href="http://www.elikeszler.com/page-cv" target="_blank">here</a></span>.
<em><strong>Site : Sound</strong> </em>curator and multi-instrumental composer, <strong>Lea Bertucci</strong><strong></strong>, delivers a performance of looped vocals and saxophone--orchestrating each interchangeably.<br /><br /><br />
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<em><strong>Site : Sound</strong> </em>curator and multi-instrumental composer, <strong>Lea Bertucci</strong><strong></strong>, delivers a performance of looped vocals and saxophone--orchestrating each interchangeably.<br /><br /><strong>ABOUT</strong><br /><br /><strong>Lea Bertucci</strong><span> is a sound artist, composer, and performer whose work describes relationships between acoustic phenomena and biological resonance. Her work incorporates multi-channel speaker arrays, electroacoustic feedback, extended instrumental/vocal technique, and tape collage. As an instrumentalist, she takes an idiosyncratic approach to the amplification of woodwind instruments, creating organic yet electrified sonic interventions. </span><br /><br /><span>Her debut solo LP,</span><em><strong> Resonance Shapes</strong></em><span>, was released in </span><strong>2013</strong><span> on the </span><strong>Obsolete Units</strong><span> label and has been praised by </span><strong>A Closer Listen</strong><span> as </span><em>"A grand exploration of the possibilities inherent in sound”</em><span>. She is a 2015</span><strong> ISSUE Project Room</strong><span> </span><em>Artist-in-Residence </em><span>and is a </span><strong>Harvestworks</strong><span> </span><em>New Works Fellow.</em><span> Her discography includes a number of solo and collaborative releases on various underground independent labels in the US and Europe.</span><br /><br /><strong>MORE<br /></strong><br /><span>To learn more about </span><strong>Lea Bertucci</strong><span>, visit her </span><span><a href="http://www.brokendiorama.com/" target="_blank">website</a></span><span>.</span>
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Performing live at <strong>Knockdown Center</strong> for<em><strong> Site :</strong><strong><em> </em>Sound</strong></em>'s culminating showcase, <strong>Ashcan Orchestra </strong>delivered a spellcasting performance featuring a sound-responsive light show, bells, operatic vocals, and more.
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<span><span>Performing live at <strong>Knockdown Center</strong> for<em><strong> Site :</strong><strong><em> </em>Sound</strong></em>'s culminating showcase, <strong>Ashcan Orchestra </strong>delivered a spellcasting performance featuring a sound-responsive light show, bells, operatic vocals, and more. <br /><br /><strong>ABOUT</strong><br /><br />The<strong> Ashcan Orchestra</strong> is simultaneously the audio/visual work of composer<strong> P. Spadine</strong>, a collection of toy, re-appropriated, and homemade instruments, and a revolving performance ensemble based in NYC since 2007. <br /><br />On stages and basements, indoors and out, it has been presenting new music and rituals in celebration and emulation of the physics and mathematics that bind the known universe. </span></span>
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Experimental artist and musician <strong>Stine Motland</strong> delivers a vocally gymnastic performance from her <em>Fake Synthetic Music </em>project. Haunting and full of force, the audio was recorded live for <strong>Site : Sound</strong>'s <strong>Knockdown Center</strong> <em>Listening and Showcase </em>in <strong>Maspeth</strong>, NY. <strong><br /></strong>
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Experimental artist and musician <strong>Stine Motland</strong> delivers a vocally gymnastic performance from her <em>Fake Synthetic Music </em>project. Haunting and full of force, the audio was recorded live for <strong>Site : Sound</strong>'s <strong>Knockdown Center</strong> <em>Listening and Showcase </em> in <strong>Maspeth</strong>, NY. <strong><br /><br /><br />ABOUT<br /><br />Stavanger-born</strong>, <strong>Berlin-based</strong> vocalist <strong>Stine Janvin Motland</strong> works with experimental music, sound, and audiovisual performance, with a special interest in the ambiguous and unrecognizable qualities of the voice. <br /><br />Her recent work is focussed on imitation and abstract storytelling through sound collages inspired by a variety of genres and traditions of electronic music, sound poetry, folk music and languages of various peoples, birds, and animals. <br /><br />Through a diversity of projects such as <em><strong>Fake Synthetic Music</strong></em>, the performative installation <em><strong>The Subjective Frequency Transducer</strong></em>, the live radio play <em><strong>In Labour</strong></em>, alter ego <em><strong>Stine II</strong> </em>and as the second half of field recording adaptations duo <strong>Native Instrument<em> </em>(Shelter Press)</strong>, she explores and challenges the physical features of the voice, the acoustics of her external/internal surroundings, and new performance strategies.<br /><br /><strong>MORE</strong><br /><br />To learn more about<strong> Stine Motland</strong>, click <span style="text-decoration: underline;"><a href="https://stinesthetics.com/" target="_blank">here</a></span>.
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Recorded live at <strong>Knockdown Center</strong>, Maspeth, NY, <strong>TILT Brass </strong>delivered a roving brass performance. Using the entire central hearth of Knockdown's converted glass factory building, this performance recording is a testament to the force and versatility of brass instrumentation.
⇄⧉program_content => string (1639) "Recorded live at <strong>Knockdown Center</strong>, Maspeth, NY, <strong>TIL...
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Recorded live at <strong>Knockdown Center</strong>, Maspeth, NY, <strong>TILT Brass </strong>delivered a roving brass performance. Using the entire central hearth of Knockdown's converted glass factory building, this performance recording is a testament to the force and versatility of brass instrumentation. <strong><br /><br />ABOUT</strong><br /><br />Led by composer, trombonist, and concert producer <strong>Chris McIntyre</strong>,<strong> TILT Brass</strong> is a Brooklyn-based organization dedicated to creating new content and contexts for contemporary brass music by producing inventive concert programs, recording projects, and commissioning initiatives. <br /><br /><strong>TILT</strong> boldly positions itself as the vanguard presenter and advocate for new brass music in New York City. <br /><br />Founded in 2003 by <strong>McIntyre</strong> and <strong>Gregory Evans</strong>, <strong>TILT Brass</strong>’ various projects present the work of living composers with over 50 premiere performances thus far. Its personnel includes many of the brightest stars from the local brass community in ensemble configurations ranging from solo and chamber groups to experimental brass orchestra. <br /><br /><strong>TILT</strong> can be heard on releases by the<strong><em> Tzadik</em></strong>, <strong><em>New World</em></strong>, <em><strong>Non-Site</strong></em>, and <em><strong>POTTR</strong> </em>labels. <br /><br /><br /><strong>MORE<br /><br /></strong>To learn more about TILT Brass click, <span style="text-decoration: underline;"><a href="http://www.tiltbrass.org/" target="_blank">here</a></span>.
This episode of <strong><em>Site : Sound </em></strong>takes us off the grid for a <strong><em>sonic happening</em></strong> and <strong>acoustic intervention</strong> at a bunker in <strong>Fort Tilden</strong>, <strong>Rockaway</strong>.
This episode of <strong><em>Site : Sound </em></strong>takes us off the grid for a <strong><em>sonic happening</em></strong> and <strong>acoustic intervention</strong> at a bunker in Fort Tilden, Rockaway. Presented by <strong>Clocktower</strong> and curated by <strong>Lea Bertucci. </strong>Listen here for<strong> part 2 of 3 </strong>performances, which took place on<strong> May 27, 2017. <br /><br /><br />ABOUT <br /></strong><br />Part of <strong>Clocktower</strong>'s <em><strong>Spring 2017</strong> </em>concert series<strong><em> Site : Sound</em></strong>, this event was held at an underground beachside echo chamber. Once part of <strong>Fort Tilden</strong>'s naval infrastructure. The unique acoustic landscape of the chamber and its surrounding area will inform site-specific performances by percussionist <strong>Sarah Hennies</strong>, multimedia artist <strong>Julia Santoli</strong>, vocalist <strong>GABI</strong> with harpist<strong> Marilu Donovan</strong>, and electronic sound artist <strong>Mara Mayer</strong>.<br /><br /><strong>ARTISTS / PT. 2<br /><br /></strong> <strong>Julia Santoli</strong> is a multi-media artist based in <strong>New York</strong>. Her work synthesizes image, gesture, and sound while navigating memory and presence—how past experience manifests in the present as ruins, and how these traces transform through mediation to/from the body within the ghost-nature of sound. Her explorations take the form of vocal performance and body-generated audio feedback, sonic installation, video, and prints. <br /><br />She completed her <strong>BFA</strong> from the <strong>School of Visual Arts</strong> in <em>Visual and Critical Studies</em>, and has presented performative and visual work throughout <strong>New York</strong>.<br /><br />::::<br /><br /><strong>Lea Bertucci</strong> is a sound artist, composer and performer whose work describes relationships between acoustic phenomena and biological resonance. Her work incorporates multi-channel speaker arrays, electroacoustic feedback, extended instrumental/vocal technique, and tape collage. As an instrumentalist, she takes an idiosyncratic approach to the amplification of woodwind instruments, creating organic yet electrified sonic interventions. <br /><br />Her debut solo LP,<em><strong> Resonance Shapes</strong></em>, was released in <strong>2013</strong> on the <strong>Obsolete Units</strong> label and has been praised by <strong>A Closer Listen</strong> as <em>"A grand exploration of the possibilities inherent in sound”</em>. She is a 2015<strong> ISSUE Project Room</strong> <em>Artist-in-Residence</em> and is a <strong>Harvestworks</strong> <em>New Works Fellow.</em> Her discography includes a number of solo and collaborative releases on various underground independent labels in the US and Europe.<br /><br /><strong>MORE<br /><br /></strong>To learn more about <strong>Julia Santoli</strong>, visit her <span style="text-decoration: underline;"><a href="http://juliasantoli.net/" target="_blank">website</a></span>.<br />To learn more about <strong>Lea Bertucci</strong>, visit her <span style="text-decoration: underline;"><a href="http://www.brokendiorama.com/" target="_blank">website</a></span>.
This episode of <strong><em>Site : Sound </em></strong>takes us off the grid for a <strong><em>sonic happening</em></strong> and <strong>acoustic intervention</strong> at a bunker in <strong>Fort Tilden</strong>, <strong>Rockaway</strong>.
This episode of <strong><em>Site : Sound </em></strong>takes us off the grid for a <strong><em>sonic happening</em></strong> and <strong>acoustic intervention</strong> at a bunker in Fort Tilden, Rockaway. Presented by <strong>Clocktower</strong> and curated by <strong>Lea Bertucci. </strong>Listen here for<strong> part 3 of 3 </strong>performances, which took place on<strong> May 27, 2017. <br /><br />ABOUT <br /></strong><br />Part of <strong>Clocktower</strong>'s <em><strong>Spring 2017</strong> </em>concert series<strong><em> Site : Sound</em></strong>, this event was held at an underground beachside echo chamber. Once part of <strong>Fort Tilden</strong>'s naval infrastructure. The unique acoustic landscape of the chamber and its surrounding area will inform site-specific performances by percussionist <strong>Sarah Hennies</strong>, multimedia artist <strong>Julia Santoli</strong>, vocalist <strong>GABI</strong> with harpist<strong> Marilu Donovan</strong>, and electronic sound artist <strong>Mara Mayer</strong>.<br /><br /><strong><strong>ARTISTS / PT. 3</strong></strong><br /><br /><strong>Gabrielle Herbst (GABI) </strong>is a composer and vocalist residing in <strong>Brooklyn</strong>, New York. She has premiered her compositions at <strong>Roulette</strong>; <strong>The Stone</strong>; <strong>Cabinet Magazine’s Exhibition Space</strong>; <strong>Issue Project Room</strong>; and <strong>HERE Arts Center</strong>. Recipient of the <strong>2011 Artist Residency</strong> at <strong>Robert Wilson</strong>’s<strong> Watermill Center</strong> in partnership with<strong> New York Theater Workshop</strong>, <strong>Herbst</strong> received commissions from <strong>Roulette</strong> and the <strong>Jerome Foundation</strong>; <strong>Sugar Vendil</strong> and the <strong>Nouveau Classical Project</strong>; <strong>Duo Noir</strong> and <em>Experiments in Opera</em> at<strong> Issue Project Room</strong>. <br /><br />She is a <strong>2012</strong> <strong>Con Edison</strong> <em>Composer-in-Residence</em> through <strong>Exploring the Metropolis, Inc</strong>. as well as a <strong>2013</strong> <em>Composer-in-Residence</em> at <strong>Atlantic Center for the Arts</strong>. As a featured vocalist she has performed with <strong>Valgeir Sigursson</strong>, <strong>Zeena Parkins</strong>,<strong> Missy Mazzoli</strong>, <strong>Elliott</strong> <strong>Sharp</strong>, <strong>Da Capo Chamber Players</strong>, <strong>Contemporaneous</strong>, <strong>Allie Avital Tsypin</strong> at <strong>The Kitchen</strong>, and <strong>Marina Rosenfeld</strong>’s <em><strong>Teenage Lontano</strong> </em>in the <strong>2008 Whitney Biennial</strong>. <br /><br />She has studied composition with <strong>Joan Tower</strong>, <strong>Martin Bresnick</strong>, <strong>Marina Rosenfeld</strong> and <strong>Zeena Parkins</strong>;<strong> </strong>voice with <strong>Ilka LoMonaco</strong>, and clarinet with <strong>David Krakauer</strong>.<br /><br />::::<br /><br /><strong>Marilu Donovan</strong>, <strong>New York City</strong> and <strong>Los Angeles-</strong>based musician, specializes in performing and recording new works for the harp. Originally from <strong>Houston</strong>, <strong>Texas</strong>, <strong>Marilu</strong> holds a <em>Bachelor of Music</em> from the <strong>Glenn Gould School</strong> <strong>of the Royal Conservatory of Music</strong> in <strong>Toronto</strong>, Canada; and an <em>MFA</em> from the <strong>California Institute of the Arts</strong>. <br /><br />She has worked closely with numerous composers in the realization of their works, including <strong>Joshua Carro</strong>, <strong>Alexandra Drewchin</strong>, <strong>Michael Jon Fink</strong>, <strong>Whitney George</strong>, <strong>Gabrielle Herbst</strong>, <strong>Michael Pisaro</strong>, <strong>Christina Vantzou</strong>, and<strong> Christian Wolff.</strong> Marilu has presented multidisciplinary performances involving dance, theater, music, improvisation and stage work across <strong>The United States</strong> and in <strong>Canada</strong>. Recent recordings released on <strong>New World Records</strong>, <strong>Northern Spy</strong>, <strong>Hausu Mountain</strong>, <strong>Kranky</strong>, and <strong>Software</strong>.<br /><br />::::<br /><br /><strong>Mara Mayer</strong> attended to the <strong>Eastman School of Music</strong> where she earned her degree in <strong>clarinet performance</strong>. She now resides in <strong>Brooklyn</strong>, <strong>NY</strong>, where she is happy to learn more about different forms of music every day. Mara’s musical life is rich in bass clarinet, Balinese Gamelan, and performance art. She teaches private clarinet and bass clarinet lessons and curates a series of new and experimental music called <em><strong>Home Audio</strong></em>. She has also studied Cognitive Science and teaches yoga in <strong>New York City</strong>.<br /><br /><strong>MORE<br /><br /></strong>To learn more about <strong>GABI</strong>, visit her <span style="text-decoration: underline;"><a href="http://www.gabi-music.com/" target="_blank">website</a></span>. <br />To learn more about <strong>Marilu Donovan</strong>, visit her <span style="text-decoration: underline;"><a href="https://www.mariludonovan.com/" target="_blank">website</a></span>.<br />To learn more about <strong>Mara Mayer</strong>, visit her <span style="text-decoration: underline;"><a href="http://maramayermusic.com/Home.html" target="_blank">website</a></span>.
<strong>Lecture No.2</strong> of series<em> Site : Sound</em> features a site-specific lecture by <strong>Anne Guthrie </strong>on <strong>May 21, 2017</strong> at the <strong>Arup Soundlab</strong> in New York, NY. <br /><strong><br />RSVP / TICKETS / <a href="clocktower.org" target="_blank"><span style="text-decoration: underline;">LISTEN</span></a> / <span style="text-decoration: underline;"><a href="http://www.facebook.com/events/643122432546181/" target="_blank">FACEBOOK</a></span></strong><strong><br /><br />ABOUT</strong> <br /><br /><strong>Anne Guthrie</strong> will demonstrate the capabilities of spatial audio reproduction for acoustics and sound art at the <strong>Arup Soundlab</strong> in Lower Manhattan. The <strong>Soundlab</strong> uses an 18-loudspeaker ambisonic rig to reproduce real and virtual sounds in 3D. Ambient field recordings using a 3D ambisonic microphone from around the <strong>New York City</strong> area will be demonstrated, and creative applications of this technology will be discussed. <br /><br />She will also expand upon how the acoustic characteristics of different spaces are recorded and modeled, performing in some of these spaces using a real-time auralization system developed with <strong>Terence Caulkins</strong> at <strong>Arup</strong>.<br /><strong><br /><br />ARTIST<br /><br /><strong>Anne Guthrie</strong> </strong>is an acoustician, composer, and French horn player living in Brooklyn, NY. She studied music composition and english at the University of Iowa and architectural acoustics at <strong>Rensselaer Polytechnic Institute</strong>, where she completed her Ph.D in 2014. She works as an acoustic consultant at Arup in New York, NY. <br /><br />Her music combines her knowledge of acoustics with contemporary composition and improvisation. Her electronic music has focused on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings. Her composition has focused on the orchestration of non-musical sounds, speech in particular. Her French horn playing has focused on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Her acoustics research has focused on the use of ambisonics for stage acoustics.<br /><br /><br />
This episode of <strong><em>Site : Sound </em></strong>takes us off the grid for a <strong><em>sonic happening</em></strong> and <strong>acoustic intervention</strong> at a bunker in <strong>Fort Tilden</strong>, <strong>Rockaway</strong>.
This episode of <strong><em>Site : Sound </em></strong>takes us off the grid for a <strong><em>sonic happening</em></strong> and <strong>acoustic intervention</strong> at a bunker in Fort Tilden, Rockaway. Presented by <strong>Clocktower</strong> and curated by <strong>Lea Bertucci. </strong>Listen here for<strong> part 1 of 3 </strong>performances, which took place on<strong> May 27, 2017. <br /><br />ABOUT <br /></strong><br />Part of <strong>Clocktower</strong>'s <em><strong>Spring 2017</strong> </em>concert series<strong><em> Site : Sound</em></strong>, this event was held at an underground beachside echo chamber. Once part of <strong>Fort Tilden</strong>'s naval infrastructure. The unique acoustic landscape of the chamber and its surrounding area will inform site-specific performances by percussionist <strong>Sarah Hennies</strong>, multimedia artist <strong>Julia Santoli</strong>, vocalist <strong>GABI</strong> with harpist<strong> Marilu Donovan</strong>, and electronic sound artist <strong>Mara Mayer</strong>.<br /><br /><strong>ARTISTS / PT.1</strong> <br /><br /><strong>Sarah Hennies</strong> (b. <strong>1979,</strong> <strong>Louisville</strong>, <strong>KY</strong>) is a composer and percussionist based in <strong>Ithaca</strong>, <strong>NY</strong>. Her work utilizes an often grueling, endurance-based performances practice in a subversive examination of psychoacoustics, queer identity, and expressionistic absurdity. <br /><br />Her work has been presented in a variety of contexts including <strong>Café Oto</strong>, London; <strong>cave12</strong> , <strong>Geneva</strong>;<strong> Ende Tymes</strong>, New York; <strong>Festival Cable</strong>, <strong>Nantes</strong>; the <strong>Johns Hopkins Digital Media Center</strong>; New York; <strong>O’ Art Space</strong>, Milan; and <strong>Second Edition</strong>, Stockholm.<br /><br />She has composed several site-specific works for decommissioned industrial and military spaces such as <strong>Silo City</strong>, Buffalo, NY; <strong>Fort Tilden Bunker</strong>; Rockaway, NY; and <strong>The Monon Line Railway</strong>, Indianapolis, IN. <br /><br />She received her M.A. from the <strong>University of California-San Diego</strong> in <strong>2003</strong> where she studied with renowned percussionist <strong>Steven Schick</strong> and in <strong>2016</strong> was awarded a fellowship in <em><strong>music/sound</strong> </em>from the N<strong>ew York Foundation for the Arts</strong>. <br /><br /><strong>Hennies</strong> is currently a member of improvised music group <strong>Meridian</strong> with <strong>Greg Stuart</strong> and <strong>Tim Feeney</strong>, a duo with sound and performance artist <strong>Jason Zeh</strong>, and the <strong>Queer Percussion Research Group</strong> with <strong>Jerry Pergolesi</strong>, <strong>Bill Solomon</strong>, and <strong>Jennifer Torrence</strong>. In late <strong>2017</strong> she premieres the large-scale work,<em><strong> Contralto</strong></em> at <strong>Issue Project Room</strong> in New York, a video and sound work involving strings, percussion, and a cast of transgender women.<br /><br /><br /><strong>MORE</strong><br /><br />To learn more about <strong>Sarah Heinnes</strong>, visit her <span style="text-decoration: underline;"><a href="http://www.sarah-hennies.com/" target="_blank">website</a></span>.<br /><br />
⇄⧉program_desc => string (322) "<strong>Lecture No.3</strong> of the <em><strong>Site : Sound</strong><...
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<strong>Lecture No.3</strong> of the <em><strong>Site : Sound</strong></em> series features muscian <strong>Lori Napoleon</strong> (<strong>Antenes</strong>), who lead a demonstration exploring the concept of silence and the psychoacoustic effects of anechoic (echo-less) sound on our senses over time.
<strong>Lecture No.3</strong> of the <em><strong>Site : Sound</strong></em> series features muscian <strong>Lori Napoleon</strong> (<strong>Antenes</strong>), who lead a demonstration exploring the concept of silence and the psychoacoustic effects of anechoic (echo-less) sound on our senses over time. <br /><br />The event was held at <strong>Cooper Union School of Engineering</strong>, where participants could conduct their own sound experiments in the university's <em><strong>anechoic chamber</strong></em>. <br /><br /><strong><span style="text-decoration: underline;"><a href="http://www.facebook.com/events/113826532503735/">FACEBOOK</a></span></strong><br /><br /><strong>ABOUT</strong> <br /><br /><strong>Lori Napoleon</strong> (<strong>Antenes</strong>) is a New York-based musician, synth builder and electronics artist operating a laboratory of self-made sequencers and synthesizers using repurposed vintage telephone equipment. Known for her inventive soundscapes, <strong>Antenes</strong> treats the studio as a space for sculpting emergent patterns, textures, and percussion layers. Drawing musical influence from the curious and ephemeral sound-world of outdated telephone systems, her productions integrate sounds reminiscent of pulsing analog relay switching systems, errant radio transmissions, cross-continental echo, signature drones and message interferences between wires. <br /><br /><strong>Lori Napoleon </strong>is currently an artist in resident at <strong><span style="text-decoration: underline;"><a href="http://issueprojectroom.org/" target="_blank">Issue Project Room</a></span> </strong>in Brooklyn, NY.