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DTSTART;TZID=America/Los_Angeles:20181023T200000
DTEND;TZID=America/Los_Angeles:20181023T200000
DTSTAMP:20181008T220820Z
CREATED:20181008T215701Z
LAST-MODIFIED:20181008T220820Z
UID:4036-1540324800-1540324800@www.h-r.la
SUMMARY:Astor | Sean McCann\, Matthew Sullivan & Alex Twomey | Erika Bell
DESCRIPTION:Erika Bell\, Astor\, and a trio performance by Sean McCann\, Alex Twomey\, and Matthew Sullivan. \nErika Bell will be presenting a new\, four-channel work titled Saint-Girons\, which was inspired by a recent field recording she took in a workshop led by Christina Kubisch. The recording captures both the electromagnetic sounds (via Kubisch’s headphones) and the acoustic atmospheric sounds of Saint-Girons\, France in real-time. This field recording will be paired with\, and accompanied by\, a small ensemble. \nOriginally hailing from Australia\, Astor’s music can range from claustrophobic to cosmic while incorporating a wide range of techniques spanning the history of electronic music. Their most recent solo album\, 2018’s Lina in Nida on UK-based Penultimate Press\, featured a spoken word contribution from Estonian artist Kris Lemslau alongside a proposed anthem for Britain during a potential invasion by ISIS and more. This event will be a rare opportunity for fans of field recordings\, musique concrete\, dark ambient\, and fringe electro-acoustic music to experience this artist in a live setting. \nSean McCann\, Alex Twomey\, and Matthew Sullivan will perform as a trio\, bringing together three highly notable LA-based artists involved in sacred and propane music. Their debut live performance\, following the release of their cassette\, The Bird. \n“There is something about this music that reminds me of the great Walter Marchetti\, and I almost never say that. One of my favourite tapes from the last few years that doesn’t have me on it.” – Scott Foust (Idea Fire Company/Swill Radio) \nChristopher Reid Martin will provide music between sets. \nTickets for the event may be purchased for $9.99 in advance or for $12 at the door. \n  \nBios: \nAstor is an Australian publisher\, event curator\, and sound artist who is now residing in London\, United Kingdom. Under this guise\, they deploy a wide variety of techniques including field recording\, musique concrete\, electronics\, and spatialisation. All of these forms are approached with a sense of bypassing the clichés imbedded within in order to coerce a sound world which is simultaneously contemporary\, foreign\, beautiful\, unsettling and engaging. Astor has released 2 acclaimed LPs on Kye (USA) and has a third Lina in Nida on Penultimate Press (UK). \nErika Bell is a Los Angeles-based composer and instrumentalist. Her work comes from a place of intuition\, preference and the personal\, with an emphasis on exploring the timbre of sonic realms. Bell often derives from found text\, objects\, and sounds\, and juxtaposes strict notation with elements of openness in the use of time and material. With her work slowly and methodically unraveling she allows full immersion into the audible phenomenon of beating\, cyclical melodic/harmonic loops\, and washes of texture. Bell’s Sucking Stones (2017) for large-ensemble was performed at the Walt Disney Concert Hall in L.A. Phil’s 2017 Noon to Midnight concert. She has received commissions from the wulf.\, premiered her large-ensemble work < | > (2018) in Dog Star Orchestra’s fourteenth festival and will have a piece performed at the Göteborg Art Sounds festival in Sweden this September. Currently Bell is preparing two album-length audio releases of her music and an installation version of her large-ensemble work Moving Like Icebergs Against Each Other (2018). Erika holds a BFA in music composition from California Institute of the Arts where she studied with Michael Pisaro and Laura Steenberge. \nPresented by VOLUME and Last Visible Dog Records.
URL:https://www.h-r.la/event/astor-sean-mccann-matthew-sullivan-alex-twomey-erika-bell/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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DTSTART;TZID=America/Los_Angeles:20181027T200000
DTEND;TZID=America/Los_Angeles:20181027T200000
DTSTAMP:20181019T051341Z
CREATED:20181016T225022Z
LAST-MODIFIED:20181019T051341Z
UID:4052-1540670400-1540670400@www.h-r.la
SUMMARY:Maggi Payne | Maria Chavez | Kaori Suzuki | Joseph Hammer
DESCRIPTION:VOLUME presents legendary composer\, video artist\, recording engineer\, and multi-instrumentalist Maggi Payne (Oakland). Joining the lineup are Maria Chávez (NYC)\, Kaori Suzuki (Oakland)\, and Los Angeles local Joseph Hammer for what will surely be a night of focused and sustained immersive listening. \nPayne will present several works from recent years\, including Heat Shield (2018)\, Black Ice(2014)\, and Quicksilver (2011). Black Ice and Heat Shield will both be presented in four-channel audio. Of the works\, Payne notes\, “At times multiple spaces coexist […] There is always a sense of place\, an atmosphere\, in these acoustic constructs. The sounds are choreographed in an expanded three-dimensional space beyond boundaries\, with no walls\, ceilings\, or floors to constrain them.” Payne’s work in electroacoustic and electronic media spans an historical era in California’s experimental composition. The three compositions she will perform tonight reflect both the technical and conceptual rigours and fascinations of our locale––explorations of land\, light\, and space; highly technical expressions of immersive experiences. \nKaori Suzuki returns to Los Angeles on the heels of her second solo record of the year out on Second Editions (Berlin)\, titled Conduit. This evening she will perform the record live as it was originally composed\, for full\, extended duration and high volume playback. The work is immersive\, physically charging\, and will magnetize listeners in a venue as reverberant as Human Resources. \nChávez’s work in improvised turntablism is also a special treat for listeners in a space as reverberant as Human Resources. Her approach examines the nature of the materials used––turntable\, needle\, vinyl\, time\, choice\, chance\, and accident. These interests in deterioration and generation are also reflected in her scholarly and visual work\, which has been widely celebrated and internationally supported. \nAbout the artists \nMaria Chávez\, born in Lima\, Peru\, and based in NYC\, is best known as an abstract turntablist\, conceptual sound artist and DJ. Her improvised solo turntable performance combines recorded sounds from vinyl records with the electroacoustic sounds of vinyl and needle in various deteriorating phases. Her conceptual sound installation practice tends to be site specific\, allowing each space to highlight its own sonic qualities. Her solo exhibitions are often interactive\, ranging from spatial sound presentations to turning an entire art space into a gigantic string instrument for the audience to perform. \nChávez has been a research fellow of the Sound Practice Research Department\, Goldsmith’s University\, a composer fellow with Civitella Ranieri in Umbertide\, Italy\, and an artist fellow at the Robert Rauschenberg Foundation. Her instructional book of essays and illustrations\, OF TECHNIQUE: Chance Procedures on Turntable\, was published in 2012. She has participated in various artist residencies including the CEC Artslink/Back Apartment residency in St. Petersburg\, Kunstmeile Krems sound artist residency in Austria\, The Kitchen in New York and the Royal Academy of Music in Denmark. Her work has been exhibited internationally\, including at HeK – haus der elektronischen Künste-Basel\, INKONST Art Center\, Sweden\, The Judd Foundation\, Marfa\, Texas\, The Brooklyn Museum of Art\, The Getty Museum\, Black Mountain College Museum and Documenta14 in Kassel. More at www.mariachavez.org \nIn the field of found sound\, Joseph Hammer is the master of survey and delay; with looped tape and a gloved hand\, he taps a magnetic vein\, coaxing fragments of occluded origin into a sonic sui generis. Hammer is longstanding contributor to the undulating Los Angeles experimental music scene. PAN\, which released a record of Hammer’s in 2010\, describe the work as a “journey into playful yet heavily focused idiot-savant infinite psychedelic inertia […] utilising consumer audio technology and 20th century detritus.” He is a member of the trio Solid Eye\, a frequent collaborator and improviser\, and member of LAFMS. \nMaggi Payne is a composer primarily of electronic and electroacoustic music\, a flutist\, and a video and installation artist. She is a recording engineer/editor\, archivist\, and historical remastering engineer. She taught composition\, electronic music\, and recording engineering at Mills College from 1972-2018. \nHer electroacoustic works often incorporate visuals\, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. Many works address issues around the environment\, especially noise pollution. She has composed music for dance\, theatre\, and video\, including the music for Jordon Belson’s video Bardo. She collaborated for several years with video artist Ed Tannenbaum in his Technological Feets performance. \nShe received Composer’s Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts; video grants from the Mellon Foundation and the Western States Regional Media Arts Fellowships Program; and was awarded six honorary mentions from Concours International de Musique et d’Art Sonore Electroacoustiques de Bourges and one from Prix Ars Electronica. Her works appear on Aguirre\, The Lab\, Lovely Music\, Innova\, Starkland\, Music and Arts\, New World Records (CRI)\, Root Strata\, Ubuibi\, Asphodel\, and/OAR\, Centaur\, MMC\, Digital Narcis\, Capstone\, Mills\, and Frog Peak labels. \nKaori Suzuki (b.1984) is a Japanese-born music maker currently based in Oakland\, CA. She has toured and presented her work in various venues across the U.S.\, Japan\, Mexico\, and Canada. Her compositions combine electronics\, bowed percussion and string instruments\, resonating objects\, computer\, and others. Her feedback/synthesizer recordings are found on Newsun (Sounds et al)\, and her recent release of a durational composition for very high frequencies\, Conduit\, is out on Second Editions (Berlin). \nIn addition to her solo music\, she plays drums in the Oakland-based minimalist psych-punk group Night Collectors\, and collaborates with partner\, John Krausbauer\, on voice\, amplified strings\, bells\, and immersive light/sound happenings. Her works have been presented at San Francisco Electronic Music Festival\, Debacle Fest\, Berkeley Art Museum\, CCRMA\, The Lab\, Mills College\, Elastic Arts\, and many others. \n  \nPlease note that as seating for this event is limited\, advance ticket purchase is recommended. For more info\, and to purchase tickets\, please visit https://volume.wedid.it/events/56
URL:https://www.h-r.la/event/maggi-payne-maria-chavez-kaori-suzuki-joseph-hammer/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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DTSTART;TZID=America/Los_Angeles:20181030T180000
DTEND;TZID=America/Los_Angeles:20181030T210000
DTSTAMP:20181008T213306Z
CREATED:20181008T213306Z
LAST-MODIFIED:20181008T213306Z
UID:4033-1540922400-1540933200@www.h-r.la
SUMMARY:Whale Song: A Workshop
DESCRIPTION:“The greatest amount of change appears when singing is most pervasive and the effort of each singer is most intense.”\n— Katy Payne \nSince they were first recorded by hydrophones in the late 1960s\, the haunting songs of humpback whales have been objects of human inquiry. These “long\, complexly organized patterns of sounds\,” which include\, “the highest and lowest frequencies that humans can hear\,” are shared between whales\, and sung seasonally\, with differences arising as the songs repeat over time. \nWe do not know precisely why the whales sing. But as Katy Payne\, an acoustic biologist and preeminent scholar of humpback whale song\, observed in 1985\, “we have not yet been able to discover any ‘leaders’…. [It is] as though decisions on how the song should change were made democratically.” \nCo-led by vocalist\, composer\, and cantor Daniela Gesundheit and media scholar Sarah Kessler\, this workshop will facilitate an environment within which a primary experience of the compositional techniques and structures at play in humpback whale song can emerge. Together\, we will employ leaderless collaboration and experimentation to examine and illuminate the vocalizations of the world’s largest broadcasting mammals\, and to see what we might discover about group identity\, distance\, competition\, innovation\, and empathy in the process. \nAfter a presentation and discussion of the key insights uncovered by Katy Payne’s groundbreaking research\, we will put our own voices to work\, apprenticing ourselves to the songs of these masterful composers. All voices welcome. \nWhile this event is free to attend\, space is limited: email for RSVP: info@humanresourcesla.com
URL:https://www.h-r.la/event/whale-song-a-workshop/
CATEGORIES:one-time event at HR
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