Galleries

disappearing by listening, by Minerva Juolahti

Minerva Juolahti (1987, Helsinki) is a visual artist and performance maker working in the intersection of body, sound, and space. Juolahti is interested in how the ideas of space and movement can be approached through the idea of translation, as well as voice and noise as embodied and conceptual phenomenon. Public discussion, affect, bodily place relationship, and memory are recurring concepts in their body of work. They work artistically especially with sound performance and use the sounds produced by the body as a starting point in their work. They live and work in Helsinki, Finland.

let the wind rinse your ears, by Tina Mariane Krogh Madsen

Tina Mariane Krogh Madsen is an artist and researcher who works in the intersection between performance art, sound, open technology, and matter. Madsen is currently a doctoral candidate at Aalto University School of Arts, Design and Architecture (FI), researching environmental performance art and affective relations in the context of climate change. Madsen is the founder and curator of performance protocols, a nomadic platform for instruction-based art and collaborative processes, and a certified Deep Listening facilitator from the Center for Deep Listening, Rensselaer Polytech Institute (US).

A Thousand Mile Song, by David Rothenberg

Musician/philosopher David Rothenberg wrote Why Birds Sing, Bug Music, Survival of the Beautiful & many other books, published in at least eleven languages. His more than thirty recordings include One Dark Night I Left My Silent House, and most recently In the Wake of Memories and Faultlines. He has performed or recorded with Pauline Oliveros, Peter Gabriel, Ray Phiri, Suzanne Vega, Scanner, Elliott Sharp, Umru, Iva Bittová, & the Karnataka College of Percussion. Nightingales in Berlin is his latest book and film. Rothenberg is Distinguished Professor at the New Jersey Institute of Technology.

Song for the Waxing Moon, by Jeannette Lambert

Living creatively through jazz and intuition guides my life as a jazz singer and composer. As a Dutch-Indonesian immigrant raised in Northern Ontario in Canada, free jazz, sound poetry, and dreamwork allow me the freedom of a unique creative expression. My recent album Genius Loci North was instantly composed with my trio and the spirits of place in forests in Quebec. I live in Montreal, Quebec. http://www.jeannettelambert.com

Imp/Rov(ing)isation, by norman lowrey

Imp/Rov(ing)isation Is a modified version of a work for Singing Masks and Electronics. Created for and performed at the Third Annual Conference of the International Society for Improvised Music, hosted by Lamont School of Music, University of Denver, December 7, 2008..

Norman Lowrey is a mask maker/composer/performance/video artist. and Professor Emeritus of Music at Drew University. He is the originator of Singing Masks, was among the first group to receive certification in Deep Listening, and was a Board of Directors member of the former Deep Listening Institute.

SIMPLE FORMS, COMPLEX PEOPLE, by ART CLAY

Simple Forms, Complex People (1991), Art Clay. The composition uses words to provide a sense of atmosphere, a musical process, and the framework for determining the overall duration. Each of the pieces is written for a different combination of performers and the movements may be performed separately or along with any of the other three. The work as a whole emphasises a certain sense of flexibility in a composition by providing for the possibilities of having a long or a short piece with one or several movements played by one to four people playing on any instruments.

The sound artist Art Clay lives in Basel Switzerland. He has appeared at international festivals, on radio and television, and diverse art venues from top museums to artist run spaces. He has received support from a multitude of arts councils from around the world for diverse projects including those for performance, installation, theater, and design. Prizes have been awarded to him for music composition, performance, theatre, new media art, curation, as well as software development.

Draw, Graph, or otherwise illustrate your listening experience, by miles friday

“draw, graph, or otherwise illustrate your listening experience” is a prompt to reflect on the ways that we listen and hear. It is a page from my “Getting to Know Your Loudspeakers” project, an instructional booklet that proposes a series of listening activities, performance instructions, and diagrams for an individual and two loudspeakers in a room.

Miles Jefferson Friday is a composer who works with a wide range of acoustic, un/notated, electronic, digital, installation, and instrument-building based compositional practices. He aims to explore the personal subjectivities of auditory reception, rethink instruments and/as objects, and propose ways in which the field of music composition can operate more dynamically.

lateNt cartographies, by michael century

Michael Century, composer and cultural theorist, Professor of New Media and Music in the Arts Department at Rensselaer Polytechnic Institute, which he joined in 2002. Before Rensselaer, he worked as a new media researcher, inter-arts producer, and arts policy maker. Century’s works for live and electronically processed instruments have been performed and broadcast in concerts and festivals. His book Northern Sparks: Innovation, Technology Policy and the Arts in Canada from Expo 67 to the Internet Age appeared in 2022 with The MIT Press.

Future Soundscapes, by scott smallwood

Scott Smallwood is a sound artist, composer, and sound performer who creates works inspired by discovered textures and forms, through a practice of listening, field recording, and sonic improvisation. He designs experimental electronic instruments and software, as well as sound installations and site-specific performance scenarios. He works in a variety of sound and music genres, including instrumental concert and chamber music, electroacoustic music, sound art and installation, improvisatory performance, and more recently, audio game development. His work has been presented worldwide, including recent presentations at SARC in Belfast, the Issue Project Room in NYC, the Burning Man Festival in Black Rock City, Nevada, the The Hong Kong Arts Centre, and Caramoor Center for Music and the Arts in Katonah, NY. His recorded work has been released on Autumn Records, Deep Listening, Wowcool, Simple Logic, Static Caravan, and Dead Definition Records.ool. 

Stones/Water/Time/Breath, by Dean Rosenthal

Stones/Water/Time/Breath was composed in 2012 on the island of Martha’s Vineyard at Edgartown Great Pond. The piece is frequently performed and the Edition Wandelweiser recording of 2019 contains performances in Newfoundland, Brooklyn, and other sites, including Wilbraham, and Woodstock. For more about Stones/Water/Time/Breath in much greater detail, and for translations of the score in French, German, Chinese, Spanish, and Polish, please visit: www.stonespiece.com, the companion site.

Dean Rosenthal is an American composer who writes instrumental and electrocoustic music. His music is called “thorny” and “modernist” by the New Yorker although much of it isn’t, like this score. His music is widely broadcast, performed, and choreographed in North America, Europe, and Asia. He plays the role of editor for Open Space publications and often collaborates with others to present work as well as performing in the duo, Daykah, with Karin Rosenthal. He is currently writing an oral history of American experimental music for Oxford University Press.