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23 February @ 4.00 pm - 9.00 pmFree, but pre-register
A mini festival of cutting-edge electronic music, video art, sound art, and improvisation, presented by the NYUAD Music Program. There are three sessions:
Session 1: 4pm
Clare Lesser Metatechnic (2018) A work of 20-30 minutes for two ‘de-preparing’ amplified pianos, substantially improvised with optional additional sound at the performers’ discretion.
Karlheinz Stockhausen Pole (1969-70) One of the classics of the electro-acoustic performance repertoire, Pole was composed for the Osaka Expo of 1970. An exploration of mirror image processes, the piece exploits the oscillation of material between fixed points using short wave radios and live electronics. Performers: Clare Lesser, David Lesser, João Menezes
Session 2: 5.20pm
Carlos Guedes / Cristina Ioan / Nikolaj Hess / Laetitia Morais Untitled 1 A game of improvised music between Nikolaj Hess and Carlos Guedes with pre-determined structure. Laetitia Morais and Cristina Ioan make the game more interesting through interventions with video and flute.
David Lesser / Cristina Ioan Remembrances of Nothing (1995) Inspired by the theatre of Samuel Beckett, Remembrances of Nothing is a dark and mysterious interrogatory ‘dialogue’ between a flautist and its pre-recorded ‘other’.
David Franzson fragment, red hook, in-progress A grid of speakers play field recordings taken at various times at a single location, spatialised to represent the relative location of sound as it was captured. Occasionally, a performer steps in and performs against this topography, ‘naming’ points of interest and mapping connections across space and time, effectively landscaping that which is already there. The audience moves between and around the speakers and the performer, experiencing sound as an object in space.
Session 3: 7.30pm
Panel Discussion With Carlos Guedes, Clare Lesser, David Lesser, Jonny Farrow, and Nikolaj Hess.
João Menezes – Live Set Through collective vibratory relations, sound can generate affective tonalities, in which it contributes to an immersive atmosphere of ecstasy, fear or dread. Within this principle, sound is only a particular vibratory mode of perception through which the production, transmission, and mutation of affective tonality can be thought.
Jonny Farrow Time Core#3 Time Core #3 is a new sound work primarily featuring two instruments: a sruti box and the Macumbista Benjolin V4. The sounds produced by these acoustic and electronic boxes are sampled live and manipulated using Max/MSP. Primarily improvised, the piece has a score that is more like a map – “a sonic topography to explore, timbral borders in which to roam, a dronespace for your dreams”.
David Franzson fragment, red hook, in-progress A second performance of Franzson’s experiential piece that allows the audience to experience sound as an object in space.