Ensemble Decipher will perform at Roulette Intermedium (509 Atlantic Ave, Brooklyn, NY 11217) on October 23rd, 8:00PM. Doors open at 7:30PM. The program will include works by Bora Yoon, Erin Rogers, and Lyn Goeringer. It will also include a collaboration between choreographer and dancer Hiva Sedaghat and ensemble members Niloufar Nourbakhsh, Robert Cosgrove, and Taylor Long.
We greatly appreciate the support of the Alice M. Ditson Fund, the Copland Fund for New Music, the Amphion Foundation, the Fromm and Barlow Foundations, the Brooklyn Arts Council, Reed College, and the numerous individuals who have already donated. This project could not have been achieved without you!
Politics I will receive another performance at the Association for Technology in Music Instruction’s 2023 Conference at 3:15PM on Thursday October 26th. The performance will occur in the Pinecrest Meeting Room. Hope to see you all there!
I’m really excited to be performing works by Mari Kimura, Oliver Hickman, and Maura Drinkert on Friday, 3.31.23 at RhizomeDC with Ensemble Decipher! Also on the show are sets by Sideband and Warp Duo. Then we move on to The Peabody Institute at Johns Hopkins University, where we’ll be premiering works by Erin Rogers and Lyn Goeringer, as well as performing Mari Kimura’s KISMET, Margaret Schedel’s, Union of Workers, and Joseph Bohigian’s Stone Dreams. Hope to see you all there!
Truly honored to have several works included in this year’s Performing Media Festival! First up, an audio-visual rendering of Astraeus, from my upcoming album, Timegivers, will be installed at the South Bend Museum of Art in either the Museum’s Project Room Gallery or the Weikamp Gallery from 1.14-3.19.23. Then, Politics I will be performed during the festival, March 9-10!
Super excited to be back with friends at the Australasian Computer Music Conference for both an Artist Talk and a performance of Politics I. There will be quite a few housekeeping updates to the software, but most notable will be Discord integration for users without twitter or for those who can’t text US numbers!
You can find our more about the conference here. Once I get the conference schedule, I’ll update this post!
Update 2: The performance of Politics I, Cybernetic Republic will be during the artist talk. toy_3 will be performed during the Day Two morning concert (5:30PM EST 8/31/22, 9:30AM NZT 9/1/22). https://www.acmc2022.com/day-two-morning-concert
toy_3 will be performed live at the New York City Electroacoustic Music Festival later this month! Right now it’s scheduled for a concert on June 21st, but I am trying to get it moved to a concert on the 26th for scheduling accommodations with the other performers.
Hope to see you there!
UPDATE: Both works will be performed on the last concert of the festival (yay!). Niloufar Nourbakhsh and I will be performing my work as well as Daria Semegen’s Vignettes Transfigurations.
Politics I will be performed on the Art Work track at the 7th International Web Audio Conference. I’ll update this post as more details arrive, but you’ll be able to participate in Cannes, France — in person, or online!
For more details on the conference, check it out here. More coming soon as conference schedule is settled!
One of the advantages of being in a university (really Hochschüle) that has tons of concerts and events going on, is there is always something new and interesting to do. This is especially true when the school has a leading institute for computer music/sound technology. A couple weeks ago I went and saw an evening of music put together by students and faculty in ZHdK’s Electroacoustic Masters program. The evening hosted a bunch of interesting works, and I got to hear some music by friends who I have met during my first five months here, in addition to students who I do not know.
The works ranged from fixed media pieces with some simple, live manipulation, to pieces that involved NIME’s (new interfaces for musical expression), to works that incorporated spatialization techniques to varying degrees. Toro-Perez’s work, shown above, integrated the variable height of the speakers and the movement of the saxophonist in relation to said speakers into the structure of the work. James Tenney’s Saxony was performed as well, but with an added twist thrown in by Eric Larrieux who applied live, first order ambisonics to the recorded loops.
Back in December I went to see another concert of electroacoustic music hosted in the Transdisciplinary Department’s Atelier (the department I am associated with) as part of ZHdK’s Lange Nacht der zeitgenössischen Musik. The offerings were similarly diverse, and a ton of fun to experience, along with mood lighting and cheap drinks!