March 15, 2017
Click [ HERE ] for more info.
SETH CLUETT, TOBIAS LEIBETSEDER & ASTRID SCHWARZ
SETH CLUETT (Elektronik und verstärkte Objekte): Resonant Spaces • TOBIAS LEIBETSEDER & ASTRID SCHWARZ (Klangerzeuger, Live-Elektronik): Tobias Leibetseder Fugen Licht Gebirge, Leibetseder & Schwarz Steel Girls, Astrid Schwarz Ice book No.1
Der amerikanische Klangkünstler und Komponist Seth Cluett ist als Künstler und Theoretiker eine zentrale Figur der New Yorker Soundart-Szene. In Resonant Spaces benutzt er live gesungene und elektronisch erzeugte Sinustöne, um raumakustische Phänomene auszuloten, denen er Aufnahmen ganz unterschiedlicher Klänge gegenüberstellt. Seine Arbeiten wurden international an Institutionen wie dem Palais de Tokyo (Paris), Whitney Museum (NY), MoMA PS1 (NY) und STEIM (Amsterdam) präsentiert. Er unterrichtet am Institute of Technology in Hoboken.
Tobias Leibetseder und Astrid Schwarz leben und arbeiten in Wien. Sie präsentieren neben jeweils eigenen Arbeiten elektronischer Musik in verschiedenen mehrkanaligen, medialen Settings mit Steel Girls, Operation Extreme Gardening – radical unknown statements eine neue Zusammenarbeit.
February 12, 2017
Moving Image New York 2017 will take place February 27 – March 2, 2017. Located in the Waterfront Tunnel event space between 27th and 28th Streets with an entrance on 11th Avenue in Chelsea. Moving Image will be free to the public and open Monday – Wednesday, February 27 – March 1-5, 11–8 PM and on Thursday, March 2, 11-4 PM. An opening reception will take place Monday, February 27, 6–8 PM.
ADMISSION IS FREE
Moving Image was conceived to offer a viewing experience with the excitement and vitality of a fair, while allowing moving image-based artworks to be understood and appreciated on their own terms. Participation is by invitation only. The newly formed Moving Image Curatorial Advisory Committee for New York 2017 is inviting a selection of international commercial galleries and non-profit institutions to present single-channel videos, single-channel projections, video sculptures, immersive media, and other larger video installations.
Moving Image New York
February 27 – March 2, 2017
Rebecca Allen / Gazelli Art House, London, UK (VR)
Marcos Bonisson and Khalil Charif / Artur Fidalgo galeria, Rio de Janeiro, Brazil
Kevin Cooley / Kopeikin Gallery, Los Angeles, CA
Adriana Duque / Zipper Galeria, São Paulo, Brazil
Zachary Fabri / ROCKELMANN &, Berlin, Germany
Nina Fischer & Maroan el Sani / Galleria Marie-Laure Fleisch, Rome, Italy
John Craig Freeman / Moving Image Immersive Media, New York, NY (AR)
Claudia Hart / TRANSFER, Brooklyn, NY (AR)
Robert Hodge / Freight + Volume, New York, NY
Iyvone Khoo / A.I. Gallery, London, UK
Christopher Manzione & Seth Cluett / Moving Image Immersive Media, NY (VR)
Alexander Mazza / Luciana Caravello Arte Contemporânea, Rio de Janeiro, Brazil
Joiri Minaya / Smack Mellon, Brooklyn, NY
Brenna Murphy / Upfor, Portland, OR (VR)
Damir Očko / Kasia Michalski Gallery, Warsaw, Poland
Will Pappenheimer / Moving Image Immersive Media, New York, NY (AR)
Jacques Perconte / Galerie Charlot, Paris, France
Jefferson Pinder / Curator’s Office, Washington, DC
Jordan Rathus / Upfor, Portland, OR
Casey Reas / DAM, Berlin, Germany
Michael Rees / BravinLee programs, New York, NY (AR)
Rick Silva / TRANSFER Gallery, Brooklyn, NY
Jakob Kudsk Steensen / Moving Image Immersive Media, New York, NY (VR)
Tamiko Thiel and Zara Houshmand / Moving Image Immersive Media, New York, NY (VR)
Naoko Tosa / Ikkan Art Gallery, Singapore
Anton van Dalen / P·P·O·W Gallery, New York, NY
Arda Yalkın / Gaia Gallery, Istanbul, Turkey
Matteo Zamagni / Gazelli Art House, London, UK (VR)
VR = Virtual reality artwork
AR = Augmented reality artwork
February 5, 2017
Phil Edelstein (Composers Inside Electronics) and I are leading the Apple Box Orchestra to cap off the concert at the end of the night.
From the Armory Website
The Armory and the International Contemporary Ensemble (ICE) host an open commemoration of the life and work of Pauline Oliveros at the Park Avenue Armory
ICE and the Armory are partnering to welcome the vast network of Oliveros’ students, collaborators, and friends into an open set of performances, meditations, storytelling, and Deep Listening. Spaces dedicated to historical audio recordings, film and documentary clips, participatory listening sessions, and cutting edge electro-acoustic performances are open to the public as a free offering of new experiences.
Composer Pauline Oliveros touched countless artistic lives as a tireless advocate for making and listening to new sounds. As a pioneer of electronic music and inventor of transformative listening methods, Oliveros changed the way music is made and conceived for several generations of musicians.
For those inspired by Oliveros or who are curious to learn more about her beautiful life and work, the day provides an opportunity to learn, reflect, and listen in the spaces where Oliveros held several Deep Listening sessions during her April 2016 residence as part of the Armory’s Artists Studio series in the newly restored Veterans Room. Contributors include Claire Chase and the International Contemporary Ensemble, Either/OR, the New York Public Library for the Performing Arts, Deep Listening Certificate Holders and members of the Center for Deep Listening at Rensselaer, Anagram Ensemble, Ione, and many of Oliveros’ longest collaborators.
Ross Karre, curatorial coordinator and producing manager
International Contemporary Ensemble, lead ensemble and co-host
Park Avenue Armory, co-host
Ione, Trustee of the Pauline Oliveros Trust, performer, curator
New York Public Library, artifacts and recordings from the Oliveros Collection
Center for Deep Listening, curatorial and coordinating partner
Performers, Organizers, and Contributors include:
Linda Mary Montano
Leila Ramagopal Pertl
Photo by Vinciane Verguethen
December 29, 2016
December 29, 2016
January 11, 2017
708 Montgomery St
From the press release:
For our first show of 2017 we are excited to present Seth Cluett from NYC with Eric Glick Rieman and Jim Haynes.
Seth Cluett will perform live using sung and electronically generated sine tones, room acoustic phenomena, and recorded sound to explore the boundary between personal and communal listening. Constructing a focused, attentive perceptual space and an elastic, malleable experience of time, the sound world of this work is tensely suspended between full body immersion and brittle, sparse timelessness.
Seth Cluett is an American artist whose work includes installation, concert music, performance, photography, and critical writing. His «subtle…seductive, immersive» (Artforum) sound work has been characterized as «rigorously focused and full of detail» (e/i) and «dramatic, powerful, and at one with nature» (The Wire). The recipient of awards from Meet the Composer, the Andrew W. Mellon Foundation, and the Foundation for Contemporary Arts Emergency Grant his work has been presented internationally at venues such as the Palais de Tokyo, the Whitney Museum, MoMA PS1, STEIM, Apexart, and Eyebeam. He has published writings with Tacet Revue, Leonardo Music Journal, and the Journal of the Acoustical Society of America, and his creative work is documented on the Line Imprint and Errant Bodies Press as well as Sedimental and Winds Measure Recordings. In the fall of 2015 he joined the faculty of Stevens Institute of Technology in Hoboken where he is jointly appointed in the programs in Visual Arts & Technology and Music & Technology.
Eric Glick Rieman
Eric Glick Rieman is a composer/improviser and instrument manipulator, whose interests at the moment include the lengths of rat’s tongues, snail trails, and plate tectonics. His fascination with putting sounds into space has led him into performing with the amplified innards of a modified Rhodes electric piano, and this, as well as piano, has been his primary performance instrument for the past 17 years. He composes for instruments and ensembles, often including improvisation as part of the compositional structure.
Jim Haynes is an artist defining his work through the phrase, «I rust things.» The statement embraces a multiplicity of meanings across various media. There are three major approaches in the work at large: the mangled surfaces of corroded photographs, the cryptic tension of the video / expanded cinema pieces, and the caustic field disturbances in sound composition. Blight. Dislocation. Subcutaneousness. Toxicity. Brackishness. Psychic unease. These allusions (amongst others) develop and materialize through various chemical, digital and/or analog means, often an intertwined amalgam. This process seeks to accentuate the instability of these conditions and territories as a series of evocations, hauntings, convulsions, and evanescence.
Through sound (and more recently video), Haynes investigate these properties of corrosion, specifically on how decay parallels and relates to the perception of time when cycles of activity collapse into stasis, and how that stasis can rupture when any number of pressures are applied. These result from a cross-contamination of ultrasound detection, shortwave reception, surveillance camera observation, moribund radiophonic exploration, and/or electro-magnetic disruption.
Based in California, Jim Haynes has exhibited internationally at the San Francisco Museum Of Modern Art, the Lausanne Underground Film Festival, the Berkeley Art Museum, WestSpace (Melbourne, Australia), and Diapason (New York). Recorded media has been published through Editions Mego, Ghostly International, Drone Records, Hooker Vision, Intransitive, Semperflorens, Elevator Bath, and The Helen Scarsdale Agency. He has also been awarded residencies at the Djerassi Resident Artists Program (California), Recombinant Media Labs (California), Chalk Hill Artist Residence, Jack Straw Productions (Seattle), and MoKS (Estonia). He has participated in a number of fruitful collaborations with Loren Chasse, Keith Evans, Steven Stapleton, and M.S. Waldron. Until 2015, Haynes was the Vice President and Curatorial Director for 23five Incorporated, a nonprofit organization dedicated to the development and increased awareness of sound arts within the public arena. He is also the lone occupant at The Helen Scarsdale Agency.
December 29, 2016
Thu, 01/12/2017 – 7:30pm – 9:00pm
FREE – Open to the Public
Artist Seth Cluett will present a live performance using sung and electronically generated sine tones, room acoustic phenomena, and recorded sound to explore the boundary between personal and communal listening. Constructing a focused, attentive perceptual space and an elastic, malleable experience of time, the sound world of this work is tensely suspended between full body immersion and brittle, sparse timelessness.
December 29, 2016
WORK 17 Doors 8:00pm, show 8:30pm
$8:00 or donation, entrance by stairs at Houdini’s, on Decatur St.
A rare performance back in NYC of Early Web – the duo of Anastasia Clarke and Chris Penalosa. Anastasia is an Oakland/NYC based composer and performer, using tabletop electronics and software and hardware instruments of her own design. Chris Penalosa, based in NYC, uses modular electronics. He works with the Generations Unlimited record label.
With Live video projection by Katherine Liberovskaya.
A rare duet by two old friends :Mike Bullock and Seth Cluett are sound makers with 20 years of collaboration behind them. With idiosyncratic individual practices and a strong inclination to improvise, they check in with one another periodically to see what they sound like together. They have been practicing in an anechoic chamber to unearth strange new acoustic relationships. Mike will play an acoustic bass, and Seth will play an amplified zither. Each player’s sound is fed into the body of the others’ instrument through tactile transducers and as you might expect, there is some feedback. Their brains are connected through the ether and the results are surprising even to them.
The definition of rare. A solo performance by percussionist and explorer Sean Meehan.
December 20, 2016
December 22, 2016 | 7:00pm
The New York Public Library for the Performing Arts, The Bruno Walter Auditorium
111 Amsterdam Avenue
New York, NY 10023
FREE with reservation
Composer Pauline Oliveros touched countless artists during her life as a tireless advocate for making and listening to new sounds. On December 22nd, The New York Public Library for the Performing Arts welcomes all those who were inspired by Oliveros or who are curious to learn more about her beautiful life and work to remember her at the home of her archive. Friends of Oliveros, the Library’s staff of scholars and curators, and the International Contemporary Ensemble will present an open sequence of letters, images, sounds, stories, and performances. There will be opportunities for questions and stories from the audience as well.
For free events, The Library generally overbooks to ensure a full house. All registered seats are released 15 minutes before start time, so we recommend that you arrive early.
PROGRAM OF PERFORMANCES AND REMEMBRANCES INCLUDES:
Pauline Oliveros: Earth Ears
Seth Cluett: Apple Box
David Byrd Marrow, horn
Claire Chase and Alice Teyssier, flutes
Peter Evans, trumpet
Ross Karre, percussion
Levy Lorenzo, electronics
Cory Smythe, piano
November 7, 2016
Avant.org presents Seth Cluett: Inward-Turning Histories at The Current Museum on Nov. 10, 2016.
Cluett will realize a composition directed around psychoacoustic methods to create individualized listening spaces for audience members using field-recordings and masking/occlusion. The work considers social politics using psychoacoustics as a cypher: what people hear is different and individualized from seat to seat. This performance will utilize the unique acoustic resonances of interior of the The Current Museum at 60 Sullivan Street.
The work was first premiered at the Avant.org Sonic Research: Psychoacoustics program during the ALLGOLD residency at MoMA/PS1. The piece has recently manifested an editioned artist score and software environment. The event is in celebration of the release of this artist print of the score for Inward-Turning Histories. The print also includes access to a customized software package to be used as an instrument to perform the work on your own. The software can also be used as a framework for building a site-specific sound installation based on the unqiue acoustic space of the listener’s environment.
Admission: $10 general; $5.00 sudent; $20 with a signed artist edition.
The doors open at 7pm. Cluett will speak with curator Regine Basha at 8pm and perform shortly thereafer.
Listen to an excerpt of Inward-Turning Histories here: https://soundcloud.com/sethcluett/inward-turning-history-excerpt-live-at-allgold-momaps1
“Places are fragmentary and inward-turning histories, pasts that others are not allowed to read, accumulated times that can be unfolded but like stories held in reserve, remaining in an enigmatic state, symbolizations encysted in the pain or pleasure of the body. ‘I feel good here’ : the well-being under-expressed in the language it appears in like a fleeting glimmer is a spatial practice.” – Michel de Certeau
Seth Cluett is an artist and composer based in Hoboken, NJ. Cluett earned an MFA in Electronic Art from Rensselaer Polytechnic Institute and a PhD in Composition from Princeton University and is an Assistant Professor at Stevens Institute of Technology where he holds a joint appointment in Visual Arts and Music.
This program was organized by Charles Eppley & Sam Hart for Avant.org, a distributed project space for critical thought and practice. “Inward-Turning Histories” is presented with support by The Current Museum of Art, a non-profit institution devoted to digital art. Subscribe here to stay Current.
November 7, 2016
The Current Museum of Art calibrates its vision alongside works by Kawandeep Virdee, Daniel Temkin, Claudia Hart, Matthew Biederman, Carmen Aguilar y Wedge, Nitzan Bartov, Ashley Baccus-Clark, Ece Tankal, Sam Lavigne, Seth Cluett, Charles Eppley, and Casey Reas that interrogate how signals configure images, how concepts resolve into focus, and what patterns we can set in motion for the future of art.
also on view: TRANSFER experiments with digital media formats in an immersive triptych rotating 3D video, generative software, and animation works by artists such as Philip David Stearns, Rosa Menken, Rick Silva, Nicolas Sassoon, Rollin Leonard, and Laturbo Avedon.
60 Sullivan Street, NYC, 11a-6p M-F (and by apt.)
November 4, 2016
October 16, 2016
Fiftieth Anniversary of E.A.T. Colloquium
Oct 13, 4:00pm Guerilla Girls The Artworld and Beyond (Wang Center Theater)
Oct 14, Colloquium: The Legacy of E.A.T. (Humanities Institute)
11 am Panel with select Musicians from Fifty years of Music and Technology, with: Phil Edelstein, Michelle Jaffe, Lauren Hayes, Izzi Ramkissoon, Troy Rogers, and Carla Scaletti. Dan Weymouth moderator
1 pm Georgina Born: Art/Music-Technology Interdisciplinarity: Perspectives from History and the Present. Respondents: Ben Tausig and Jacob Gaboury
2:30 pm Panel with select artists from Resound, with: Seth Cluett, Jess Rowland, Sougwen Chung. Lorraine Walsh moderator
4 pm Jimena Canales Memories of a Great Affair: Art, Science & Conflict on April 6, 1922, Respondents: Brooke Belisle and Robert Crease
5 pm Reception: Club Red, Simons Center for Geometry and Physics
Oct 27, 1 pm Andrew Sorenson: An Introduction to Live Coding: Applications Across Art & Science (Simons Center for Geometry and Physics Auditorium)
Fiftieth Anniversary of E.A.T. Concert
Oct 14, 8:00pm Fifty years of Music and Technology, From Sin Waves to Robots (Staller Recital Hall). Featuring: Seth Cluett, Michelle Jaffe and Phil Edelstein, Lauren Hayes, George Lewis, Izzi Ramkissoon, Troy Rogers, and Carla Scaletti
October 16, 2016
From the press release:
A collective exhibition on the work and legacy of Max Neuhaus
October 9 – December 30, 2016
Artists in the Exhibition
Seth Cluett, Trisha Donnelly, Nina Katchadourian, Myriam Lefkowitz, Simon Ripoll-Hurier, Sébastien Roux, Matthieu Saladin, Oleg Tcherny, Olivier Vadrot and Max Neuhaus.
Curated by: Daniele Balit
Second part of the exhibition
Mix Feed, with Samon Takahashi at the Institut Supérieur de Beaux Arts de Besançon, from November 10, 2016.
About the exhibition
Max Feed is the first collective exhibition drawing on Max Neuhaus’s work and legacy. The exhibition celebrates his career, fifty years after LISTEN, his manifesto-work that marked the beginnings of his experimentation inviting the audience to listen to the post-industrial soundscape of New York. Regarded as the “father” of sound installation, Neuhaus gave up his career as a percussionist and performer in the mid-1960s to focus on creating “aural topographies” – a term referring to installations within both the public sphere and the neglected areas of museums and galleries, giving rise to “social situations” in dialogue with daily life.
Max Feed brings together some thirty studies and drawings, some of which are on display for the first time, as well as a substantial body of archival documents. The selected works relate particularly to Neuhaus’s activity in France. Visitors will also be able to discover two rarely activated sound works: Silent Alarm Clock, an alarm clock created in 1979 that wakens the sleeper with silence, and Five Russians, a sound work originally designed in 1979 for the Clocktower Gallery in New York, reconstructed for the first time following only once before at the Outpost Gallery in 2015.
Max Feed seeks to address Neuhaus’s art, over and above the conventional practice of resorting to his drawings. Nine artists have therefore been invited to resonate with his pioneering work, mostly with new productions. This involves questioning the idea of legacy, not in the sense of an unequivocal transmission, but rather as a releasing of multiple processes, giving rise to a transformative and retroactive action. Indeed, the exhibition’s title touches upon the notion of feedback, taking the name from a device created by Neuhaus in 1966 (the Max-Feed) for experimenting at home with the effects of feedback on radio and television broadcasts.
Thus, Myriam Lefkowitz probes the listening body in greater depth with the aid of choreographic pulses, while Olivier Vadrot guides that body through the language of design and scenography. Trisha Donnelly silently explores the aural garden principle, while Nina Katchadourian reorients the experience of the urban environment by playing on the fragile boundary between natural and artificial sounds. The pieces by Seth Cluett are an invitation to set oneself likewise at the border between two areas, exterior and interior, by focussing on the translational relationship between territory, architecture and sensory experience. Oleg Tcherny slips into the folds of a seemingly motionless time in order to sway perception. Simon Ripoll-Hurier has us listen to listening itself; Sébastien Roux adds a further layer of refractions between different mediums and languages, and Matthieu Saladin casts doubt on what is fitting to the act of listening.
Through a multiplicity of sensorial experiences and mediums, Max Feed is an invitation to foster the ability to reorient attention. The exhibition is a commitment to a mindful practice acting on ordinary experience – whether in the transformation of perceptive landscapes or in the greater awareness of individual acts within a community.
October 9 – December 30, 2016
Hours: Wednesday–Friday 2–6pm,
T +33 3 81 87 87 40
October 5, 2016
Moving Image and Alt Art Space Istanbul
Opening reception: Thursday, September 22, 18:00-20:00
Exhibition dates: Sept 23, 24 and 25, 2016
Opening Hours: Friday and Saturday, 13:00-21:00; Sunday 11:00-19:00
Alt Art Space hosts Moving Image Immersive Media’s special exhibition New Realities, featuring an international group of artists creating works in virtual reality (VR) and augmented reality (AR), referred to together as “immersive media.” Addressing concerns such as how we perceive the world around us and what it means to choose one’s own reality, the artists in New Realities are at the forefront of a new fine art medium. As such they are collectively defining the emerging metaphors, vocabularies and ethics involved, but doing so by showing the viewer amazing new worlds or new ways to see and think about what “reality” means.
The artists in the exhibition (plus the medium of their work) include: Claudia Hart (AR), John Craig Freeman (AR), Salvador Loza & Gibrann Morgado (VR), Christopher Manzione & Seth Cluett (VR), Will Pappenheimer & Zachary Brady (AR), Rachel Rossin (VR), Jakob Kudsk Steensen (VR), and Deniz Tortum (VR). The works in the exhibition include a range of immersive technologies, from geo-located AR works to motion-sensing VR works that respond to the viewers’ body movements. Many of the works have been created or modified specifically for this exhibition, including Bomonti and AR, by John Craig Freeman which works only in the bomontiada courtyard.
WEIRD REALITIES: Head-mounted Art && Code
Carnegie Mellon University
October 6-9, 2016 on the campus and vicinity of Carnegie Mellon University in Pittsburgh.
WEIRD REALITY: Head-Mounted Art && Code is a symposium dedicated to exploring new and independent visions for virtual, augmented and mixed realities. We aim to showcase independent and emerging voices, creative approaches, diverse and oftentimes marginalized perspectives, and imaginative and critical positions on VR/AR/MR that depart from typical tech fantasies and other normative, corporate media. The symposium features artist talks, speed presentations, technical workshops and demonstrations, discussion panels, a participant-driven unconference, and a free-to-the-public “VR Salon” exhibition which is presented in close cooperation with the concurrent 2016 VIA Festival.
iDEAS Exhibition 2016
14th Annual International Digital Media and Arts Association (iDMAa) conference
October 5th – Oct 8th on the campus of Winona State University in Winona, Minnesota.
iDEAS 16 is an international exhibition which explores current ideas and processes in hybrid form, digital art, design, and new media. The iDEAS exhibition coincides with the fourteenth annual International Digital Media and Arts Association (iDMAa) conference
iDEAS is dedicated to exhibiting a wide range of both emerging and established artists to engage in lively exchange which reflects our times and helps to shape our culture. This year’s conference theme is Interface: The Digital and The Human. See “call for Papers” for more information on our theme.
September 14, 2016
OpenICE 2016 Season Launch: Objects in Stillness
September 17, 2016 | 8:00pm
Abrons Arts Center
466 Grand Street (at Pitt Street)
New York, NY 10002
FREE (with reservation)
The 2016-17 OpenICE season launches September 16 – 18 at the Abrons Arts Center with a celebration of vastly different styles of performance. OpenICE invites the audience to participate in the creative process through open rehearsals and discussions, where questions about the works and the collaborations are welcome and encouraged. Be sure to join us for meet-and-greet receptions over the course of the weekend!
Saturday evening’s event in the Playhouse features the first 2016-2017 selection from our ICEcommons call for scores and public archive of contemporary music: Seth Cluett’s Objects in Stillness.
Seth Cluett: Objects in Stillness for bassoon, viola, electric guitar, and percussion
Elliott Carter: Enchanted Preludes for flute and cello
Liza Lim: Invisibility for cello solo
Vicente Hansen: B L U R for saxophone and bassoon
Alice Teyssier, flute
Daniel Lippel, guitar
Ross Karre, percussion
Wendy Richman, viola
Mike Nicolas, cello
Rebekah Heller, bassoon
Ryan Muncy, saxophone
Free ticket reservations: https://web.ovationtix.com/trs/pe.c/10118440
September 14, 2016
9 Evenings + 50
September 16-24, 2016
Co-produced by Julie Martin and Fridman Gallery.
Curators: Julie Martin, Regine Basha and Daniel Neumann
Fridman Gallery will present a concert series, 9 Evenings + 50, by three generations of composers and performers. The series recognizes and celebrates the 50th anniversary of 9 Evenings: Theatre & Engineering – the music, dance and theater performances held in October 1966 at the 69th Regiment Armory on Lexington Avenue and 25th Street in New York City.
For the original 9 Evenings, 10 New York artists – John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor, and Robert Whitman – worked for 10 months in collaboration with 30 engineers and scientists from Bell Laboratories, to develop technical equipment for their performances.
9 Evenings is now recognized as a major event of the 1960s, representing both the culmination of a decade of extraordinary activity and innovation in art, dance and music, and the beginning of a new era in which artists explored the use of technology in their work.
Our program features 24 groundbreaking artists – those who were active in 1960s and the younger generations working in the same tradition, continuing to use new technologies to create new instruments, new scores, and new collaborations.
The series is presented in association with ISSUE Project Room and Wave Farm.
September 14, 2016
From their website:
Thursday, September 8, – Friday, October 28, 2016
Simons Center Gallery
Curated by Lorraine Walsh
with Margaret Schedel and Joo Yun Lee
Featuring the work of Memo Akten, Sougwen Chung, Seth Cluett, Yoon Chung Han, Carsten Nicolai, Jess Rowland
Opening Reception: Wednesday, September 14, 2016
5:00 pm: Wine and Cheese Reception, Simons Center Gallery and Lobby
5:45 pm: Guest Speaker: Dr. David H. Shoemaker, Realizing Einstein’s Dream: Observing the
Signature of Dynamic Space-time, SCGP 103
The Simons Center Gallery is pleased to present RESOUND, an exhibition artistically inspired by the recent detection of gravitational waves in space.
The Laser Interferometer Gravitational-Wave Observatory (LIGO) group, which is operated by researchers from Caltech and MIT with partner institutions worldwide, announced last February that they detected a gravitational wave vibration emanating from the collision and merger of two black holes a billion light years away. Translating the vibration into a sound, the scientists recorded a short chirp – a billion-year-old echo of the collision of those two black holes. This astonishing detection of gravitational waves confirms Albert Einstein’s prediction of ripples in the fabric of space-time in his 1915 general theory of relativity.
September 10, 2016
From the Wave Farm Website:
Sep 10, 2016: 12pm – 4pm
5662 Route 23 | Acra, NY 12405 | 518-622-2598
Seth Cluett leads a workshop on acoustics from the perspective of developing sound works situated in the landscape. Beginning with a basic overview of what sound waves are and how they move, the workshop will focus on the implications of acoustics from an artistic perspective. No prior technical training is necessary for full participation. Email email@example.com to register for this free workshop.
American artist and composer Seth Cluett explores everyday actions at extreme magnification, examines minutae by amplifying impossible tasks, and explores the working of memory in forms that rethink the role of the senses in an increasingly technologized society. Creating work ranging from photography and drawing to installation, concert music, and critical writing, his “subtle…seductive, immersive” (Artforum) sound work has been characterized as “rigorously focused and full of detail” (e/i) and “dramatic, powerful, and at one with nature” (The Wire). The recipient of grants from Foundation for Contemporary Arts Emergency Fund and Meet the Composer, his work has been presented internationally at venues such as The Whitney Museum, MoMA/PS1, Palais de Tokyo, GRM, and STEIM and is documented on Line, Sedimental, Notice, and Winds Measure recordings. In the fall of 2015 he joined the Music & Technology faculty at Stevens Institute of Technology in Hoboken, New Jersey.
June 16, 2016
Michael Bullock, Sarah Hennies, and Seth Cluett perform at the Erstwhile Records AEU Festival
About the performance:
“This will be an “open-ended installation/performance” with the three of us each planning a mix of acoustic and electronic sounds, as well as mobile/spatial sound projection. The core of the event will be a two-hour trio improvisation, which will include other sound projections by all three of us to create an environment. So an element of installation as well, or at least of creating an environment-within-environment, which in turn houses the ensemble.”
287 Spring Street, New York, NY
Saturday June 18th, 2016
2pm – $8 – Tickets available [ HERE ]
for more info see the AEU Festival facebook page [ HERE ]
April 3, 2016
I’m headed out West for some concerts and talks, follow the links for details for each event:
4/5 – Solo and with Tim Perkis Center for New Music, San Francisco
4/6 – Colloquium at CCRMA at Stanford
4/8 – Solo at Volume Projects at South of Sunset, Los Angeles
4/10 – Collaborations at The Wulf: Dual simultaneous compositions with Michael Pisaro and an improvised set with Pisaro and current and former Cal Arts students, Isaac Aronson, Ben Levinson, Luke Martin, and Andrew Young.
4/11 – Talk at Cal Arts Experimental Sound Practices Forum
March 22, 2016
Space Between the Skies replaces the physical space of apexart with multiple virtual landscapes, either created from imagery collected at real world sites or from 3D constructed spaces. Hacked architectural and video game imagery, algorithmic collages, documentary footage of Wuhan, China, and dynamically enhanced audio/visual 360-degree responsive forest environments serve to transport the viewer beyond the limits of the physical gallery space.
By allowing viewers to occupy several environments simultaneously, these works experiment with cultivating multiple landscapes within the same physical space. Generated with 3D scanning technologies such as LIDAR/Photogrammetry, 3D modeling, and 360° recordings, these transposed landscapes question the supposed dichotomy between the real and the virtual.
Featuring work by:
John Craig Freeman
– See more at: http://apexart.org/exhibitions/manzione.php
January 5, 2016
Peabody Institute of The John Hopkins University
Thursday January 7th, 2016
8pm – Free with Festival or Festival Day pass
for more info see the New Music Gathering website: [ here ]
November 1, 2015
A new radio work about auditory memory airs on the Radia network of experimental radio stations.
About the piece, I grew up rurally in the foothills of the Berkshire mountains on the eastern border of New York state and the states of Vermont and Massachusetts. Though I was at the periphery of three minor cities, each had colleges and local radio programming, leaving me at the center of the overlapping zones of their respective radio broadcast regions. When the whether would shift, the access would change; the pattern of expected scheduled programming was tethered to the randomness of the weather within the loose pattern of the four seasons. The material presented in this work represents common sound memories to each of the places I’ve lived in the last 7 years: the city of Troy in the state of New York, the city of Paris in France, the borough of Hightstown in central New Jersey, and the town of Oxford in the southwest corner of Ohio. Sirens, bells, rain, snow, wind, birds, footsteps, and traffic represent substantial areas of overlap between the soundscapes of each home. The work ebbs and flows between these geographic markers with the randomness of weather, finding pattern in the blurry boundaries of memory recorded as sound.
October 12, 2015
Clocktower Radio presents my long-form work for amplified paper, oscillators, field recordings, and prepared zither. Recorded December 2014 at Experimental Intermedia Foundation in New York City.
August 11, 2015
“… the field recordings are so delicate—it is hard to imagine the impact of snow on dried leaves would create a distinct sound in itself. His recordings are even poetic and very attune to the delicate rumblings of nature. Reading the recordings he used was completely different than listening to the recordings themselves—when I read “walking on the sand” I am nostalgically drawn to a pastime in my own life.” READ MORE
July 23, 2015
99 Objects: Seth Cluett on 4th wall: 24 lines from the center, 12 lines from the midpoint of each of the sides, 12 lines from each corner by Sol LeWitt
Thurs, Aug 20, 2015 8 PM
Location: Floor Five
Seth Cluett, artist, will address 4th wall: 24 lines from the center, 12 lines from the midpoint of each of the sides, 12 lines from each corner, 1976 by Sol LeWitt (1928–2007).
Named in honor of the Whitney’s new address, 99 Gansevoort Street, 99 Objects is a series of in-gallery programs focusing on individual works of art from the Museum’s collection on view in America Is Hard to See. Speakers include artists, writers, Whitney curators and educators, and an interdisciplinary group of scholars. Programs take place daily.
Free with Museum admission.
July 14, 2015
Thursday, July 16
Doors open at 7:30pm, performances begin at 8pm sharp.
For more info: http://www.fridmangallery.com/#!sphere/cm23
M.V. Carbon is a Brooklyn based composer and sound artist who is recognized for her non-traditional approach to music. She plays stringed instruments through electronics, and uses tape machines, vocals, electronic processes, analog synthesis, frequency, tone and imagery to induce physical commotion. Her current work references magic, interchangeability, and telekinesis.
Performing from the center of the breathing sphere, Seth Cluett will perform a sound work where controlled breathing is used to vocally produce long pure wave sine tones. Accompanied by electronically produced sine tones whose frequencies are derived from room acoustics measurements, the vocal sine tones create a companion activation of acoustic space that operates both within and against the breath induced changes of the light of the sphere.
The work of the American artist and composer Seth Cluett explores everyday actions at extreme magnification, examines minutae by amplifying impossible tasks, and explores the working of memory in forms that rethink the role of the senses in an increasingly technologized society. Creating work ranging from photography and drawing to installation, concert music, and critical writing, his “subtle…seductive, immersive” (Artforum) sound work has been characterized as “rigorously focused and full of detail” (e/i) and “dramatic, powerful, and at one with nature” (The Wire). The recipient of grants from Foundation for Contemporary Arts Emergency Fund and Meet the Composer, his work has been presented in thirteen countries on five continents at venues such as MoMA/PS1, The Kitchen, GRM, and STEIM and is documented on Line, Sedimental, Notice, and Winds Measure recordings. Cluett is an Assistant Professor of Music and Technology at Stevens Institute of Technology in Hoboken where he teaches courses in electronic music and experimental sound practices.
June 3, 2015
28 May/06 June 2015
Reial Cercle Artístic de Barcelona
Curated by Barbara Held and Yapci Ramos
A project by LOOP 2015 and Hangar in collaboration with the Orquesta del Caos
[Beyond the Image: Sound]
LOOP Barcelona 2015, the Reial Cercle Artístic de Barcelona, Hangar, Eyebeam, PHONOS [Universitat Pompeu Fabra de Barcelona] and the Museo de la Naturaleza y el Hombre de Tenerife present ‘Senses of Place’ a large programme of exhibitions, screenings, performances and workshops curated by Barbara Held and Yapci Ramos that takes over the spaces of the historical building of the Reial Cercle Artístic to create a collective environment by artists channeling their work through sound, expanded cinema and new media. ‘Senses of Place’ will also be accompanied by 2 workshops at Hangar by artists Daniel Neumann and Wolfgang Gil.
An Immanence of Nature | Collective exhibition with the artists Richard Garet, Barbara Held and Yapci Ramos | Gallery Space
In this exhibition, artists use technology to collect and present images and sounds that re-contextualize how we see the world. Through close-listening, focused sight, and careful attention to perception, these artists have created a microhabitat that rewards active exploration and encourages thoughtful contemplation of how we understand the world around us through our senses of sight and sound. [Seth Cluett, text from the catalogue of the exhibition]
Winter | sound installation by Richard Garet, 2008 | Blue Zone
This surround 4.0 sonic construction focuses on winter as a subject. This interpretation was made from aural material recorded during December 2007 and March 2008 within the same 16-foot perimeter location in Astoria, Queens, NY.
Dark Before Dawn | video by Blake Carrington, sound by Soundwalk Collective | Hall
‘Dark Before Dawn’ explores the subjective choreography of sound and image, the feedback loop between the two that informs and shapes what we think we see and what we think we hear. It takes the viewer through a slowly shifting, minimal and foggy color space that follows the contours of the album ‘Ulysses Syndrome’ by Soundwalk Collective. The piece was commissioned by Soundwalk Collective for their album ‘Ulysses Syndrome’.
Acoustic Imaging the Hudson | video by Melissa F. Clarke | Hall
‘Acoustic Imaging the Hudson’ shows a subsoil, underwater topography and past glacial movement; a particular profile of deep time and space history reaches the surface through sound signals and transmitted image data. The installation shows the relationship between sound and image, water and sound, and with the sediments beneath.
Color Tones | sound installation by Wolfgang Gil | Courtyard
‘Color Tones’ is a site-specific, generative sound installation that produces its sonic content in response to the sounds occurring in the space in which the piece is installed. Comprised of slowly shifting tones and textures diffused over a multichannel sound system, the installation invites the audience to enter into a meditative dialogue with the listening space. The piece is punctuated by periodic silences, during which it listens to the room and produces new content.
Recollections | video by Seth Cluett | Courtyard
A single, unedited, wide-angle shot of the edge of a forest, this video contains monaural audio of the sound of a person walking from the left to the right of the screen. The visual occlusion of the forest combines with audio, in which the close-mic’d detail provides no cues for locating the position of the walker. The viewer is forced to search, knowing that there must be a connection between hearing and sight, but is compelled to rely on scanning the video carefully in search of alternative clues as to the location of the sound source.
May 15, 2015
AVANT.org presents: SONIC RESEARCH: Psychoacoustics Session I
An experimental symposium in dialogue, performance, and installation. Hosted by ALLGOLD at the ALLGOLD MoMA PS1 Print Shop.
:: Saturday, May 30, 2014
:: ALLGOLD MoMA PS1 Print shop
:: 22-01 Jackson Ave, Long Island City, New York 11101
:: 4:00 – 10:00 PM
:: $10 door
Sonic Research is a recurring program series that couples emerging sonic art practices with contemporary acoustic research. For this event, Psychoacoustics Session I, we present diverse perspectives on research into the maturing field of psychoacoustics by taking sonic cognition as a framework for delineating common aesthetic and epistemic modes of creation and interpretation of aural experience. This program features an evening of curated installations, artist talks, and performances that, together, characterize aural cognition as a domain of consonant artistic and scientific investigation. Conceived as an experimental symposium on contemporary sound and its apprehension, the program will offer contributions by sound artists, musicians, and researchers.
Psychoacoustics Session I is foregrounded by a rich history of sonic experimentation as an instrument of somatic research. The connection between sound and body has long been the fascination of sound artists, who have explored sound as a discursive medium for over six decades. However, the primary concern of such engagements has been with spatialization, where terms like sound sculpture and sound installation are used to isolate sound in material space. In contrast, this program will employ psychoacoustics as a paradigm for creating and understanding sonic art, situating sound within both body and mind. Contributors will consider sound beyond its spaciality, expanding upon sonic art, and its comprehension, as physiologic, psychologic, and physio-lingual material.
Talks, Presentations, Installations, and Performances by:
— Seth Cluett
— Ron Kuivila
— Sophie Landres
— C. Lavender
— Josh Millrod
+ More TBA
Charles Eppley is an art historian, musician, and sound enthusiast from Brooklyn, NY. Charles is a PhD candidate at Stony Brook University, where he researches the role of sound in modern and contemporary art. He publishes art and music criticism and teaches at Pratt Institute and Stony Brook University. Charles is an editor and programs director at AVANT.org.
Sam Hart is a scientist, publisher, and artist living in New York. Sam works as a bioinformatician at the Sloan Kettering Institute where he studies the genetic basis of neurological disease. He is also Editor-in-Chief of AVANT.org, an online publication for critical, cross-disciplinary writing.
AVANT.org is an online publication for critical thought with practical connection across time, scale, system, and discipline. Articulating nuanced concepts through cross-disciplinary writings, interactive web projects, and events, AVANT.org promotes forms of reason that aim to address whole-systems.
March 7, 2015
Sunday, March 15 (matinee) at 3:00 pm
Tucker Dulin / Ben Owen
Seth Cluett / Tim Feeney
440 Broadway #2L
Brooklyn NY 11211
This is a free admission series of events in a private studio with limited seating space.
Please do not re-post this announcement on public lists.
Email firstname.lastname@example.org for more information.
March 5, 2015
the deformation of figures
Tim Feeney and Seth Cluett
8pm March 7, 2015
ICEBOX Project Space
1400 N American St, Philadelphia, PA 19122
for info contact:
ICEBOX Project Space at Crane Arts and Philadelphia Sound Forum are excited to present percussionist Tim Feeney performing a new work for large bass drum, electronics, and actuators by composer and artist Seth Cluett.
‘the deformation of figures’ is an hour-long focused work for solo bass drum and live electronics commissioned by the University of Alabama for Tim Feeney.
The work explores the embodied experience resulting from the interaction between the performer and the responsive feedback provided by the membrane of the drum head. Considering the bass drum as an architectural space, the work explores the acoustics of the interior of the drum, the nodes and anti-nodes of the drum head, and the resonances of the instrument as a whole.
Using custom hardware employing devices capable of actuating the resonant response of the instrument as well as measuring the activities of the performer (both gesturally and acoustically), the work creates a delicate dialog between the sensuous touch of the human hand and a heightened tactile response of the instrument. Rather than emphasize the technological or the purely sonic, the electronics create an amplified electronic extension of the natural response of the instrument to actions of the performer.
In this new work, Cluett uses an actuator that creates an environment, or instrumental “weather,” with which Feeney interacts. The actuator generates sound, alters the spectral characteristics of the resonance from the membrane, dampens the head at specific locations, and alters the pressure within the shell of the drum. These factors encourage or inhibit Feeney’s techniques of sound production, resulting in the emergent behavior of an unpredictable sonic landscape.
Before moving on to Alabama and New York respectively, Feeney and Cluett both worked within a community of improvisers in Boston during the late 1990s and early 2000s, interested in hypnotic and static sound textures that became termed “lowercase” music in journals such as The Wire and Signal to Noise. These interests have extended to their collaborative work with other composers and interpreters. Cluett’s new piece explores stasis and the mundane, asking Feeney to perform repetitive actions that intersect with cycles of activity from his electronic and acoustic actuators.
Tim Feeney has performed as an improviser with musicians including thereminist James Coleman, cellist/electronic musician Vic Rawlings, tape-deck manipulator Howard Stelzer, trumpeter Nate Wooley, sound artists Jed Speare and Ernst Karel, saxophonist Jack Wright, pianist Annie Lewandowski, and the trio ONDA. As an interpreter, Tim was a founding member of the quartet So Percussion, the duo Non Zero with saxophonist Brian Sacawa, and the ensemble LotUs. He has toured throughout the United States, including notable performances at Boston’s Institute of Contemporary Art, New York’s The Stone, the Center for New Music and Audio Technology at UC-Berkeley, the Stanford Art Museum, Mills College, Princeton University, and Oberlin College. His recordings appear on the Sedimental, Soul on Rice, Audiobot, Homophoni, Full Spectrum, and Brassland labels.
Tim is currently Assistant Professor of Percussion at the University of Alabama. Previously, he was a Lecturer in Music and the Director of Percussion at Cornell University.
Video samples of Tim’s performances:
January 26, 2015
Ears Back, Eyes Forward: Video shorts from musicians and other listeners
A video reel curated by Mike and Linda Aubry Bullock
February 6 – March 1
319 North 11th Street
Philadelphia, PA 19107
Ears Back, Eyes Forward brings together 11 artists whose video works engaged us in the past year. Most of the artists represented have strong sonic roots and branches in their highly varied outputs. Even those who may not consider themselves sound artists produced pieces with a canny ear for detail and timing. And throughout, they use sound and silence to take a listen back onto memories of communication, loss, and transition.
Featuring works by:
Seth Cluett [Montclair, NJ]: Recollection
Malcy Duff [Edinburgh, Scotland]: Snowcone
Camille Escudero [Brussels, Belgium]: Vacillements de Rétine and Selfie Board On
Bonnie Jones [Baltimore, MD]: Untitled (in memory of Cynthia Gray)
Dina Kelberman [Baltimore, MD]: Colors Movie
Mazen Kerbaj [Beirut, Lebanon]: Inkology (in four movements)
Vic Rawlings & Jeff Silva [Easthampton & Boston, MA]: Excerpts from 215 Dead End Road
Naomi Yang [Cambridge, MA]: Furrows Again (music by Richard Youngs)
C. Spencer Yeh [Brooklyn, NY]: Landscapes and Subtitles
Neil Young Cloaca [Turners Falls, MA]: Impractical Palynology
Total time: 56 min. 33 sec.
January 4, 2015
Direct link to m3u playlist – [here]
From the website (english below):
Que ce soit le fait de tracer une ligne, d’imprimer chimiquement de la lumière sur du papier ou recueillir un son à travers un microphone , tous ces actes mimétiques liés à l’enregistrement – qui font entrer des traces du monde dans l’indice de la mémoire culturelle et personnelle – ne constituent pas en eux mêmes toute la mémoire , mais ils sont de puissants catalyseurs pour l’imagination . Comme la pluie qui tombe donne forme aux toits ou comme les flots sculptent la pierre sur laquelle ils roulent, la persistance des objets enregistrés semble tendre vers une forme de permanence ; elle revendique et érode l’espace, tout en gravant un script dans la pensée.
Les pièces réunies ici pour webSYNradio sont des documents inédits issus de l’écheveau de mon travail réalisé ces dix dernières années. La playlist s’ouvre par deux œuvres incluant la participation du public et des cycles de comptage circulaires . Puis deux pièces en direct plus longues, avec des boucles effectuées sur des matières amplifiées, alternent avec de courts enregistrements pris à partir d’une installation sonore.
Ces enregistrements sont des enregistrements proches du son d’un dessin de 100 cercles dans trois permutations différentes . Il y a un certain nombre d’ autres pièces de cette série, mais elles sont silencieuses … sauf si vous comptez le son en écho dans l’esprit de l’auditeur . S.Cluett
Whether the mark of a drawn line, the chemical imprint of light on paper, or the gathering of sound through a microphone, the mimetic act of recording – of entering traces of the world into the index of cultural and personal memory – is not itself memory, but a catalyst for imagination. Like a procession of raindrops carving away at a roof or a stream impressing itself on stone, the persistence of recorded objects seems to strive towards permanence, both claiming and eroding space and etching a form of script on the mind.
The pieces gathered here are unreleased documents of a thread of ideas that has wound its way through my work over the last ten years. The playlist is bookended by two scored works using audience participation and circular counting cycles. Then two long form live pieces involving performed circles on amplified materials alternate with short recordings taken from an installation. These recordings are close recordings of the sound of drawing 100 circles in three different permutations. There are a number of other pieces in this series, but they are silent… unless you count the evoked sound in the mind of the listener. Seth Cluett
December 13, 2014
please join me for the presentation of a new long-form work for amplified paper, field recordings, oscillators, and a prepared zither
The Twenty-fifth Annual Festival with no fancy name, Part One (or A)
224 Centre Street at Grand, Third Floor, N Y 10013
(212) 431-5127 or (212) 431-6430
October 24, 2014
I will be giving a performing a public concert in the Bucknell University Gallery concert series on October 24, 2014. Come by if you can, details can be found
[ HERE ]
October 14, 2014
LINE is proud to present a second recording by American sound artist Seth Cluett, following his beautiful 2011 release Objects of Memory (LINE_048).
Forms of Forgetting is a studio construction investigating memory/forgetting and attention/inattention as catalysts for formal development in long-duration sound work. An extension of Seth Cluett’s gallery-based practice and created out of a sequence of materials developed for performance, the piece is the culmination of two years of in-situ live experimentation. Part site-specific performance, part modular, mobile form, this work employs techniques that aim to explore the fallibility of sound memory as a component of saturated, immersive listening over substantial elapsed time.
“It is then no longer oblivion that materiality begets, forgetting by the effacement of traces, but forgetting in terms of a reserve or a resource. Forgetting then designates the unperceived character of the perseverance of memories, their removal from the vigilance of consciousness.”
— Paul Ricoeur, Memory, History, Forgetting
in memory of Lee Hyla (1952-2014)
thanks: Susanna Bolle, Michael Bullock, Kyle Bruckmann, Richard Garet, Jennifer Eberhardt, Lawrence Kumpf, Paul Lansky, Justin Luke, Phill Niblock
available via iTunes: Forms of Forgetting – Seth Cluett
or the Line store: http://shop.lineimprint.com/categories/all-line-editions