Sep
27
9:30 PM21:30

Contemporary Music Ensemble: Timothy Weiss, conductor - Oberlin, OH

I’m so excited that Oberlin’s Contemporary Music Ensemble, conducted by Timothy Weiss, is playing a 2019 revision of mosaic for flute, clarinet, vioiln, cello, prepared piano. I’m honored to be on the program with Ives, Jesse Jones, Kari Watson, and Kirsten Docter.

Click for more information and link to the webcast.

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Apr
5
7:30 PM19:30

This Train, Blue Shine @ Hammert Artist Series: Brianna Matzke - Eudora, KS

Brianna Matzke, featured artist in the Hammert Concert Series performs This Train, Blue Shine for piano, ebow, guitar slide, and harmonica 

Bob Dylan’s It Takes a Lot to Laugh, It Takes a Train to Cry features “lazy slap” style drumming (a slower tempo slightly favoring the offbeat), steady strummed rhythms, and resolute piano, vocal, and harmonica parts. Along with the music, the lyrics evoke a sense of locomotion, “ride on a mail train,” as well as imagery: “shinin’ through the trees” and “the sun look good goin’ down over the sea.” This Train, Blue Shine takes its lead from these elements and unfolds a deconstructed blues while re-imagining the piano played like a guitar. With an emphasis on timbre and texture, the piece begins with hand stomps inside the piano and a low rumble resembling a slow train. Gradually, the piece opens up to the piano’s full range and features layered textures created by strumming, guitar slides on strings, and an electric bow (e-bow). As homage to Dylan’s iconic sound, the harmonica joins the texture until the end of the piece. Many thanks to Brianna Matzke for her artistry and for the opportunity to write for The Response Project.

I am so honored to be a part of Brianna Maztke's third The Response Project: Something is Happening Here.  

SOMETHING IS HAPPENING HERE is a community-wide response to Bob Dylan's 1964 album Highway 61 Revisited. Twelve composers, nine filmmakers, and six multidisciplinary artists create new work in response to songs from the album. These evenings feature short films and musical responses. Visit www.theresponseproject.org/bds-the-project for more info.

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Mar
17
to Mar 19

Why Should Our Bodies End at the Skin? @ TEI 2019 - Tempe, AZ

Why Should Our Bodies End at the Skin? for sensor-equipped belly dancer, robotic percussion, sound exciters, and live sound processing at the ACM International Conference on Tangible, Embedded and Embodied Interaction (TEI) Conference in Tempe, AZ

Why Should Our Bodies End at the Skin? is a 2018 Ammerman Center for Arts and Technology Commission.

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Feb
16
7:30 PM19:30

This Train, Blue Shine @ Kent State Vanguard Series featuring Brianna Maztke - Kent, OH

Brianna Matzke, featured artist in the Kent State Vanguard Series performs This Train, Blue Shine for piano, ebow, guitar slide, and harmonica 

Bob Dylan’s It Takes a Lot to Laugh, It Takes a Train to Cry features “lazy slap” style drumming (a slower tempo slightly favoring the offbeat), steady strummed rhythms, and resolute piano, vocal, and harmonica parts. Along with the music, the lyrics evoke a sense of locomotion, “ride on a mail train,” as well as imagery: “shinin’ through the trees” and “the sun look good goin’ down over the sea.” This Train, Blue Shine takes its lead from these elements and unfolds a deconstructed blues while re-imagining the piano played like a guitar. With an emphasis on timbre and texture, the piece begins with hand stomps inside the piano and a low rumble resembling a slow train. Gradually, the piece opens up to the piano’s full range and features layered textures created by strumming, guitar slides on strings, and an electric bow (e-bow). As homage to Dylan’s iconic sound, the harmonica joins the texture until the end of the piece. Many thanks to Brianna Matzke for her artistry and for the opportunity to write for The Response Project.

I am so honored to be a part of Brianna Maztke's third The Response Project: Something is Happening Here.  

SOMETHING IS HAPPENING HERE is a community-wide response to Bob Dylan's 1964 album Highway 61 Revisited. Twelve composers, nine filmmakers, and six multidisciplinary artists create new work in response to songs from the album. These evenings feature short films and musical responses. Visit www.theresponseproject.org/bds-the-project for more info.

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Nov
15
to Nov 16

The Response Project: Something is Happening Here

I am so honored to be a part of Brianna Maztke's third The Response Project: Something is Happening Here.  

SOMETHING IS HAPPENING HERE is a community-wide response to Bob Dylan's 1964 album Highway 61 Revisited. Twelve composers, nine filmmakers, and six multidisciplinary artists create new work in response to songs from the album. These evenings feature short films and musical responses. Visit www.theresponseproject.org/bds-the-project for more info.

Premieres at The Woodward, Over the Rhine in Cincinnati, OH

Please visit here to donate to the project.

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Jun
8
7:30 PM19:30

Why Should Our Bodies End at the Skin? @ NIME 2018, Collective Response Concert

Why Should Our Bodies End at the Skin? for sensor-equipped belly dancer, robotic percussion, sound exciters, and live sound processing at the 2018 New Instruments for Musical Expression Conference (NIME) and the NIME (2018) Collective Response concert.

Why Should Our Bodies End at the Skin? is 2018 Ammerman Center for Arts and Technology Commission.

 

 

 

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Jun
3
to Jun 6

Why Should Our Bodies End at the Skin? @ NIME 2018

Aurie Hsu and Steven Kemper perform their collaborative piece, Why Should Our Bodies End at the Skin? for sensor-equipped belly dancer, robotic percussion, sound exciters, and live sound processing at the 2018 New Instruments for Musical Expression Conference (NIME).

Why Should Our Bodies End at the Skin? is 2018 Ammerman Center for Arts and Technology Commission.

Details TBA

 

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Feb
17
to Feb 18

Why Should Our Bodies End at the Skin? @ Ammerman Center for Arts and Technology

Recipients of an Ammerman Center for Arts and Technology 2018 Commission, Aurie and Steven Kemper premiere our new collaborative piece, Why Should Our Bodies End at the Skin? for sensor-equipped belly dancer, robotic percussion, and live sound processing.  Schedule TBA.  

Why Should Our Bodies End at the Skin? for sensor-equipped belly dancer, robotic percussion, and live sound processing, explores questions of intersectionality and fluidity between organism and machine as raised in Donna Haraway’s 1984 essay “A Cyborg Manifesto.” In a broad sense, these intersections between human and machine suggest hybrid bodies, raising questions about embodiment in our contemporary techno-culture where the lines between organism and machine become indistinguishable.

This performance enacts Haraway’s idea of a “cyborg world” consisting of “lived social and bodily realities in which people are not afraid of their joint kinship between animals and machines.” Why Should Our Bodies End at the Skin? realizes the capability of the hybrid body in performance, sonically connecting mechanized human movement and humanized robotic action. Robotic percussion surrounds the dancer, serving as a visual and sonic extension of the dancer’s body. The RAKS (Remote electroAcoustic Kinesthetic Sensing) system, a wireless wearable sensor interface, translates the dancer’s movement into activations of the robotic percussion instrument CADI (Configurable Automatic Percussion Instrument). Through the RAKS system, the dancer also controls computer-generated sound processing and synthesis.

 

The interaction between dancer, CADI, and sound processing is modeled after the drum solo, a Middle Eastern musical form consisting of a fast-tempo virtuosic improvisation where the lines between leader and follower are indistinguishable. The piece reflects this blurring of roles in the relationship between human and machine, creating a feedback loop between the dancer’s movements and CADI’s mechanical actions. The choreography reflects the mechanical nature of robotic movement with isolations and body locks, while CADI produces a visual and sonic echo of this movement through rhythmic and sustained textures.

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