The Center For Deep Listening

EAR HANDS, BY Nik ForresT

Nik Forrest is an interdisciplinary artist based in Tio’tia:ke/Montreal. Their practice includes experimental sound performance, installation and composition, as well as experimental video, video installation, and drawing. Their recent projects explore the ecological potentials of sound and listening as techniques to heighten attunement to entangled human and non-human materials, bodies and forces, and to interconnected affective, social and environmental relations. They are currently working on a PhD at Concordia University in the interdisciplinary humanities program.

CLEMENCY, BY RAYLENE CAMPBELL

Solo or group.

Raylene is a sound artist who’s embraced various creative practices including improvisation, composition, performance art, sound and image, public intervention, and Deep Listening. They have a Master of Fine Arts degree from the Milton Avery Graduate School of the Arts at Bard College, and taught in the Department of Music at Concordia University. The focus of Raylene’s creative process involves explorations of acoustic ecology, psychogeography, computer interactive technology, and audience interactivity in both performance and installation environments.

QUIET PIECE, BY LANDON CALDWELL

Landon Caldwell is a composer and multi-disciplinary artist in Indianapolis whose work examines environment, family, & class through the language of intuition and other hidden layers of reality.

RECIPE PIECE, BY CAROLINE MALLONEE

American composer Caroline Mallonee finds inspiration in visual art, science, languages, and musical puzzles. She holds degrees from Harvard, Yale and Duke, and held a Fulbright Fellowship to the Netherlands, where she studied with Louis Andriessen. She is a professional singer in the Vocalis Chamber Choir and is the director of the Walden School Creative Musicians Retreat, a week-long festival for composers and improvisers held in New Hampshire each June.

Paper Song For Pauline’S 90TH, BY TOMIE HAHN

Tomie Hahn is an artist and ethnomusicologist. She is Professor emerita in the Arts Department at Rensselaer, where she served as the Director of the Center for Deep Listening. She is currently President of the Society for Ethnomusicology. Her books include Arousing Sense: Recipes for Workshopping Sensory Experience, University of Illinois Press and Sensational Knowledge: Embodying Culture through Japanese Dance, Wesleyan University Press (awarded the Alan P. Merriam prize, Society for Ethnomusicology).

GARDEN, BY IOANNA VALSAMARA

My name is Ioanna Valsamara. I am currently living in Thessaloniki, Greece. I am a physics graduate and have completed my studies with a masters degree in computer science. I play the piano and I am an active member of the 6daEXIt Improvisation ensemble. I like music improvising and writing, especially experimental.

CRICKETS, BY NIKKI KRUMWIEDE

Nikki Krumwiede is a composer currently residing in Moore, Oklahoma. She is currently working toward a DMA from the University of Oklahoma where she directed the New Century improv! Ensemble. Nikki’s strives to create music that engages performers and allows flexibility and interpretation. Much of her music draws upon her experience as an improv performer and asks musicians to create through improvisation. She consciously attempts to incorporate various musical genres, as well as her background in writing and literature, into her compositional process in a way that engages a diverse audience.

AUDITORY PAREIDOLIA (DRAGON SHAPED CLOUDS), BY MICHAEL REILEY

“When the cloud is no longer in the sky, it doesn’t mean the cloud has died. The cloud is continued in other forms like rain or snow or ice. So you can recognize your cloud in her new forms.”

I listen, co(create) soundscape and therapeutic music, facilitate Deep Listening and meditation experiences. My favorite sound is silence which contains nothing and everything in one expansive instant. http://soundoflistening.com

LANGUAGE AS MELODY, BY SETH DELLINGER

For any number of readers (large groups encouraged). For any duration (long durations encouraged). In public performances, the audience can be invited to participate by providing copies of the score and a menu of “beautiful sentences” from which to choose. The constellation of the performers presents another opportunity for creativity. If performed in a large space, readers can walk about while performing. Individual members of each call and response ensemble can space out as much as they like so long as they can still relate to each other.  Variation: with musical drone as accompaniment. 

Seth Dellinger is a life-long experimentalist, speaker of tongues, Feldenkrais practitioner, and creator of the Musicality of Being workshops.

LAUGH PIECE, BY JAMES M. CREED

‘Laugh Piece’ is a simple thing to do in pairs. It is about silliness in doing things very seriously, and about the laughter that is brought on by the laughter of others. 

I am a composer and guitarist currently working in Leeds and London. My scores and music are mostly concerned with ways of playing together and the ways that we ask things of each other. Realisations of my scores vary greatly and are informed as much by the personalities of those who play them as by anything I have written, but they do tend to be quiet and slow (the sounds I make when improvising or interpreting scores by others are generally similar, sometimes louder). http://soundoflistening.com