April 23rd Concert @ Spectrum NYC
Nicolas Maigret // Daniel Neumann // Melissa F. Clarke & Nat Roe // Phillip Stearns
Hosted by Spectrum
121 Ludlow, Second Floor
New York, New York 10002
Title: SYSTEM INTROSPECTION [2002-2013]
System Introspection can be envisaged as an observation of the machine by itself, proposing a physical experience of the numeric data and its different languages and contents. The live version is based on a concrete exploration of the binary code on a local HardDrive and its intrinsic qualities (structure, logic, rhythm, redundancy, compression) immediately returned by the computer in the form of visual and sound flows.
Nicolas Maigret has been developing digital and sound art realizations since 2001. In his works, internal characteristics of media are revealed through their errors, dysfunctions, borderlines or failure threshold, which he develops sensory and immersive audio visual experiences. After studying Intermedia arts, he joined the Locus-Sonus Laboratory in Nice dedicated to networked art research. He taught at the Fine Arts School of Bordeaux and is presently involved in an artist run space named Plateforme in Paris. Simultaneously, he co-founded the Art of Failure collective in 2006.
His works have been presented in various exhibitions and venues such as File (Sao Paulo, BR) – Encountering Data (New York, USA) – Upgrade! (Chicago, USA) – Gli.tc/h (Birmingham, UK) – Gaite Lyrique (Paris, FR) – Leeds Film Festival (UK) – Le Zoo (Genève, CH) – LEAP (Berlin, DE) – DeOrigenBélico, (Caracas, VE) – Sonica (Ljubljana, SI) – Artivistic (Montreal, CA) – ESG (Kosice, SK) – Cimatics (Brussels, BE)
Title: A Corner As A Field
Multi-channel live improvisation using electronic sounds that are ran through diverse re-recording processes to create concrete spatial acoustic fields.
Daniel Neumann is a Brooklyn-based sound artist, organizer and audio engineer, originally from Leipzig, Germany.
In his artistic practice he is using conceptual and mostly collaborative strategies to explore sound and sound material and its modulation through space and media. Pieces are developed in different formats and variations as ongoing processes, which can result in concerts, installations, radio shows and others. The leitmotif for these processes is the development of a poetry of the fragile, and a skepticism towards demonstrations of power. Impermanence is understood as temporal fragility. For the collaborative practice he coined the terms ‘modular collaboration’ and ‘sonic exchange’, which describe non-hierarchical and decentralized forms of organization, where collaborators interact as equals. Context and site are important parameters and often used as a starting point.
Melissa F. Clarke & Nat Roe: Private Language
Melissa F. Clarke is an interdisciplinary artist whose work employs data and generative self-programmed compositional environments.
Nat Roe has used his weekly late-night radio program with WFMU since 2008 as a platform for sound-collages that explore a nuanced relationship with popular culture.
Private Language appropriates, collages and processes radio signals using digital and analog means, as well as exploiting sonic qualities inherent to the playback device. Private Language’s arsenal contains inflections of Brion Gysin’s cutups, John Cage’s chance composition, DJ Screw’s codeine tinted outlook, and the chaotic anxiety of no-wave. Visually, kaleidoscopic geometrical solids frame diaristic encounters with culture as surreal, uncanny and sometimes alienating. Video footage is sourced from Youtube using a Max patch which employs similarity algorithms to cycle through visuals in a manner that mirrors the chance-based subject matter of flipping through a radio dial; the software also includes custom algorithms that trigger visuals in response to sound.
Proto-Chiptunes: the hypothetical ancestor of modern-day 8-bit video game music, known as “Chiptunes”. Before there were arduinos, video game systems, or even microchips capable of producing sound, there was only binary logic. But in order to find the roots of this ancient music, we must go back further, back before the time of logic, far back into the pre-history of electronics. From the primordial ooze of analog circuits arose the first digital logic circuits. Made only from transistors, resistors and diodes, they clawed their way out of the random void to assert their unambiguous binary dominion over the whole world of electronics. When the digital circuits had established themselves as supreme rulers of the electronic world, and mastered the use of fire, they developed a style of music called “0 01 0110 10010011 0101 01 1″ known today as “Proto-Chiptunes”. Now the CMOS 4000 Series Digital Logic Family re-imagine this primitive electronic music under the careful and patient direction of Phillip Stearns.
Bio: The Brooklyn based artist is responsible for the Year of the Glitch and Glitch Textiles projects. His work as an artist involves a lot of tinkering with electronics: taking things apart, short circuiting devices and building things from scratch. A passion for noise is informed by a love of physics. He’s a freelance photographer and audio technician on the side and teaches electronics at 3rd Ward.