Performance with Pauline Oliveros for 9 Evenings + 50 at Fridman Gallery 9/24 at 8pm

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.

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RESOUND at the Stony Brook Simons Center for Geometry and Physics 9/14-10/28

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.

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Workshop on Outdoor Acoustics at Wavefarm 9/10/16 12-4pm [ FREE ]

September 10, 2016

From the Wave Farm Website:
Sep 10, 2016: 12pm – 4pm

Wave Farm

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 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.

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Performance at Erstwhile AEU Festival 6/18 at 2pm

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.”

Fridman Gallery
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 ]

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West Coast events 4/5-4/11

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

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two new works in Space Between the Skies opening 3/23/16 at apexart in NYC

March 22, 2016

space between the skies













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:
Seth Cluett
John Craig Freeman
Ricky Graham
Christopher Manzione
Nicholas O’Brien
Rachel Rossin

Organized by:
Christopher Manzione

– See more at:

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tim feeney performs an excerpt from The Deformation of Figures at New Music Gathering

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 ]

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new radio work created for wave farm presented on the radia network

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.

Listen here:

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2014 performance at Experimental Intermedia airs on Clocktower Radio

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.

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review of Avant’s Sonic Research event for ALLGOLD at MoMA/PS1 in Sci Art in America

August 11, 2015

cluett-moma-ps1-allgold“… 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

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new piece presented at the Whitney Museum of American Art 8/20 8pm

July 23, 2015

cluett lewitt whitney



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.

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performance at Fridman Gallery 7/7 at 8pm

July 14, 2015




Thursday, July 16

Doors open at 7:30pm, performances begin at 8pm sharp.
For more info:!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.

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video, new work for instruments and video performer at LOOP Festival, Barcelona 5/28-6/6

June 3, 2015

senses of place - loop festival 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.


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performing and speaking at ALLGOLD in the MoMA/PS1 Printshop 5/30

May 15, 2015

allgold 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

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, an online publication for critical, cross-disciplinary writing. 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, promotes forms of reason that aim to address whole-systems.

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New York premiere of ‘the deformation of figures’ with Tim Feeney at Fotofono 3/15

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 for more information.

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premiere of ‘the deformation of figures’ for tim feeney at Crane Arts in Philadelphia 3/7 at 8pm

March 5, 2015


the deformation of figures

Tim Feeney and Seth Cluett

8pm March 7, 2015
ICEBOX Project Space
Crane Arts
1400 N American St, Philadelphia, PA 19122
$10/$7 students

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:

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new video work in Ears Back, Eyes Forward at Vox Populi Gallery in Philadelphia 2/6 to 3/1

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
3rd Floor
Philadelphia, PA 19107
215-238-1236 Tel


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.

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collection of work presented on WebSYNradio 12/25/14 to 1/8/15

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


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solo performance at experimental intermedia foundation in new york on december 18th at 9pm

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

Experimental Intermedia

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


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performing/speaking at Bucknell University on October 24, 2014

October 24, 2014

solo performance

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 ]


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forms of forgetting out now on line

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:

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performing with Johnny Chang at Studio8 in Berlin on June 8, 2014

June 3, 2014




#017 : Sunday, June 8th 8:00pm
(music begins on time)

Seth Cluett

Johnny Chang

Studio Acht
Grüntaler 8
Berlin-Wedding 13357

bar opens at 19:00
music begins at 20:00 (on time!)

entrance: 3 – 5€

U8 and S-Bahn to Gesundbrunnen

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new essay out in LP release with Sebastien Roux on Future Audio Graphics

June 3, 2014

















Inevitable Music #1: Variations on Sol LeWitt’s Wall Drawing #260  will be released on May 20th, 2014.

Inevitable Music #1 is a collection of sonic translations of Sol LeWitt’s Wall Drawing #260 composed by Sébastien Roux. Composer and writer Seth Cluett provides the critical text.

Gatefold LP, limited to 350 copies

Mastered by Rashad Becker at Dubplates & Mastering, Berlin

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new short reflection in catalogue for PLATFORM 2014: Diary of an Image by DD Dorvillier

May 20, 2014












Catalogue for the Danspace Project Platform, PLATFORM 2014: Diary of an Image by DD Dorvillier. Edited by Jenn Joy & DD Dorvillier. Contributors include: Katerina Andreou, Boaz Barkan, Oren Barnoy, Seth Cluett, DD Dorvillier, Danielle Goldman, Ishmael Houston-Jones, Trajal Harrell, Judy Hussie-Taylor, Heather Kravas, Jennifer Monson, Jenn Joy, Zeena Parkins, Amanda Piña, Quim Pujol, Noémie Solomon, Elizabeth Ward. Please note this catalogue comes in three colors: turquoise, pink, and yellow. You will have the option to choose which color you would like when you purchase.

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review of Persistence of Traces exhibition in Studio International

May 12, 2014













“The Persistence of Traces includes stand-alone pieces, projection, sound and drawing, and, although the work is fixed in place, a sense of the ephemeral fills the space. Cluett’s work is fleeting yet satisfying. The stripped-back audio is like catching a passing scent of blossom in the park, while the visuals are reminiscent of walking past the same tree time and time again….” read more

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solo exhibition at Audio Visual Arts in NYC – opening April 13th

February 5, 2014

the persistence of traces
April 13 to May 11, 2014
Opening April 13th, 12 to 6 (4 to 6 reception with the artist)

Audio Visual Arts
34 East 1st Street
New York, NY 10003


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lecture and performance as part of the SMFAs Intonarumori Artist Lecture Series – March 31st from 12:30 – 2pm

February 5, 2014

SMFA’s Sound area brings a series of visiting artists to share and discuss their work with the SMFA community. “Intonarumori” collaborates with Harvard University’s “Hearing Modernity” seminar series to bring groundbreaking visual artists and scholars in the field of sound to students at both institutions.

All talks are from 12:30-2 pm in the Alfond Auditorium at the Museum of Fine Arts, Boston. Attendees must obtain free tickets from a kiosk or ticket desk at the MFA to gain admittance.



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Olivia Block and the Bullock/Cluett/Dulin Trio at the Goethe-Institut Saturday – March 8, 2014

February 5, 2014

Non-Event and Sedimental records present
an evening of music and video with

OLIVIA BLOCK performing The War of the Ghosts

Goethe-Institut Boston
170 Beacon Street
Boston, MA 02116
8 p.m.
Advance tickets: $10 / $8 for students with ID
At the door: $15 / $10 for students with ID


About the artists

OLIVIA BLOCK creates original sound compositions for concerts, site-specific multi-speaker installations, live cinema, and performance. In a recent feature article in the April 2011 issue of The Wire magazine, Julian Cowley describes Block’s compositions as “finely nuanced textures of environmental material and occasional surges of sonic power blended with an elegant instrumental architecture.” Her compositions often include field recordings, musical scores, and electronic textures. Additionally, she performs her own partially improvised compositions for inside piano and electronics, and objects.

She has performed, premiered and exhibited her work throughout Europe, America, and Japan in tours in festivals including Sonic Light (Amsterdam), Kontraste (Krems), Dissonanze (Rome), Archipel (Geneva) Angelica (Bologna), Sunoni per il Popolo (Montreal), and many others. Additionally, she has presented work at the ICA (London), MCA (Chicago), La Biennale di Venezia 52nd International Festival of Contemporary Music, The Kitchen (NYC), ISSUE Project Room and Experimental Intermedia (Brooklyn). She has completed residencies and premiered works at Mills College of Music and The Berklee College of Music. Block has presented talks at additional universities in film, music, and media arts departments, including Yale University and Indiana University.

Her most recent release Karren on Sedimental was named one of the top albums of 2013 by Art Forum, Pitchfork, and the Wire.

MIKE BULLOCK is a composer, media artist, and porcelainist with over a decade of international activity. His work encompasses electroacoustic improvisation, installation, live video, contrabass, and synthesizer. Bullock performs across the US and in Europe, collaborating with a huge range of artists including Bertrand Gauguet, Andy Guhl, and Mazen Kerbaj, Pauline Oliveros, Bhob Rainey, Steve Roden, Keith Rowe, and Christian Wolff.

Bullock’s music has been released by numerous labels including Sedimental, Intransitive, Important, Winds Measure, Sedimental, Grob, 1.8sec, al Maslakh, and Homophoni. He holds a PhD from the Arts Department at Rensselaer Polytechnic Institute in Troy, NY, and has taught and lectured in the US and Europe on field recording and improvisation. With Linda Aubry Bullock he is the co-founder of the art-edition label Shadowselves.

SETH CLUETT (b. Troy, NY) is an artist, composer, and performer whose work ranges from photography and drawing to video, 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, Meet the Composer, and the Andrew W. Mellon Foundation, Cluett has published articles for BYPASS, Shifter, Intransitive, The Open Space Magazine, Leonardo Music Journal, 306090, Earshot, and the Journal of the Acoustical Society of America. He has presented at venues such as MassMoCA, The Kitchen, GRM, Palais de Tokyo, STEIM, and Dundee Contemporary Arts and work is documented on Line, Radical Matters, Sedimental, Notice, and Winds Measure recordings. In the fall of 2012, Cluett joined the faculty of Contemporary Arts at Ramapo College of New Jersey where he teaches courses in audio engineering as well as electronic and experimental sound practices.

A native South Carolinian, Brooklyn-based trombonist TUCKER DULIN attended music school at the University of Southern Mississippi, New England Conservatory, and The University California, San Diego. He has recently enjoyed the privilege of performing with Bryan Eubanks, Cat Lamb, Andrew Lafkas, Barry Weisblat, Ben Owen, Jason Brogan, Radu Malfatti, Stuart Dempster, Gust Burns, Seth Cluett and more. Some of Tucker’s other interests are web development and endurance training.

About Olivia Block’s The War of the Ghosts

The War of The Ghosts is a video and live sound performance by Olivia Block, thirty minutes in length. The title of the piece refers to a famous 1932 study on reconstructive memory by psychologist Frederic Bartlett. The video footage, recorded on a low-end consumer model “GoPro” HD camera, is a mountain sunset in northern New Mexico. The uninterrupted recording darkens naturally as the sun recedes, leaving less light for the camera to utilize. The lack of light causes the image to pixelate into a decaying mass of moving bits, as if the camera struggles to recreate or confabulate a memory of the previous picture.

The sound portion of the piece originates from two main sources. Field recordings taken from a forest near the mountain in the video are mixed and processed live. Additionally, cassette tapes from historical anthropological fieldwork of native American language transcriptions are played, obscured and treated in various ways. The performance includes the utilization of various methods of acoustic decay, including detritus from cassette tapes and digital distortion. Over time, the sounds of the forest and other concrete sounds, including the birds and wind, subtly transform into a wash of white noise that blends with the room. Ultimately, the sounds decompose into acoustic textural distortion, revealing only glimpses of the original intact field recordings and pieces of language. The War of the Ghosts investigates memory, language and confabulation, transcription and recording, duration and perception of time, and representations of nature.

– See more at:

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lecture/workshop on sound art curating/archiving @ Bard Center for Curatorial Studies – February 19th, 11am

February 5, 2014

presenting excerpts from my recent book chapter ‘Ephemeral, Immersive, Invasive: Sound as Curatorial Theme 1967-2013’ from Multisensory Museum: A Cross-disciplinary Perspective on Multiple Modalities of a Museum Experience, edited by Nina Levant and Alvaro Pascual published by AltaMira, 2013



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duo performance with Richard Garet at Eyebeam, NYC – February 17th @ 8:30pm

February 5, 2014

CT-SWaM (Contemporary Temporary – Sound Works and Music)
February 17th, doors @ 8:30pm
Eyebeam Art & Technology Center
540 W 21st St. New York, NY 10011

Maria Chavez/Audrey Chen, duo
Seth Cluett, solo
Richard Garet, solo
Cluett/Garet, duo


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exhibition essay for bioderivas exhibition (garet, held, ramos) at Museo de la Naturaleza y el Hombre, Canary Islands

December 15, 2013


13 December, 2013 to 14 February, 2014
Museo de la Naturaleza y el Hombre
Calle Fuente Morales, s/n
38003 Santa Cruz de Tenerife


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performing with David Watson for the Duets In the Dark Festival at Firehouse Space

December 15, 2013


curated by David Linton

Start:December 15, 2013 – 7:00 pm
$7 for each set or $12 for both sets

New Friends and Old Strangers alike engage – One on One – in Sonic Communion…with the lights out…


7pm –

Jim Coleman, Phil Puleo, Wolfgang GilGill ArnoJohn KingLukas LigetiDavid WatsonSeth CluettZeena ParkinsAndrea Parkins

10pm –

Bradford Reed, Kyungmi Lee (encore performance!)Jeanann Dara, Dary John Mizelle, Bonnie KaneSandra SprecherChris CochraneDavid FirstMarcia Bassett, Andrew Lafkas

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out now: sound, or its absence – CD companion to the MIT Press Leonardo Music Journal Issue 23: Sound Art

November 24, 2013

















From Nic Collins: Art is getting noisier every day. Whether made by sculptors, video artists, composers, printmakers or installation artists, there’s no question but that “Sound Art” is a genre ascendant. The Turner Prize went to a Sound Artist last year, Phonography has revived an interest in R. Murray Schafer’s Soundscape theories, and critical writing is beginning to proliferate on the topic. LMJ23 gives this field a closer look by highlighting artists and composers from around the world who address the role of sound in art that wouldn’t necessarily be called “music.” LMJ23 includes an accompanying CD, “sound—or its absence,” curated by Seth Cluett and featuring tracks by James Webb, Catherine Béchard & Sabine Hudon, Maia Urstad, Tania Candiani, Keith and Mendi Obadike, Tetsuya Umeda, Pascal Broccolichi, Hong-Kai Wang, Benedict Drew, and Nina Katchadourian. Find out more

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out now: wound of this deep blue. on Notice Recordings

November 24, 2013

cluett - notice recordings














( Notice #26 ) — Seth Cluett : “ wound of this deep blue. ”
The multifaceted work of composer Seth Cluett has garnered wide praise for, among other things, its attention to detail and organic sense of order. Cluett often explores sound in its ability to create or construct a listener’s sense of place, memory and time, using such sonic detail to wring the specific and personal out of the abstract.

At the same time, on wound of this deep blue., Cluett limits his own control over this process: he mixes seven tapes recorded on a cassette dictaphone from live performances between 2005 and 2013, but without adding any other processing or edits. Within this framework, the resulting two pieces unfold subtly, inviting the listener to engage deeply to penetrate them. However, far from inviting a guessing game of identifying sound sources, Cluett’s compositions pull back veils of sonic richness that are both concretely and abstractly engaging.

– Type II Chrome tapes
– Letterpress printed by Fitzgerald Letterpress
– Artwork by Michael Bullock and E. Lindorff-Ellery
– Edition of 100

For larger artwork, click here.
Sound samples for both can be heard here.






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interview with zeena parkins out now in the Movement Research Performance Journal

October 22, 2013



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performing opposite Jason Lescalleet and Graham Lambkin at Issue Project Room on 9/28/13

September 21, 2013

Sat, September 28, 2013 – 8:00pm
ISSUE Project Room, 22 Boerum Place, Brooklyn

Graham Lambkin and Jason Lescalleet by Kate Bones

Graham Lambkin and Jason Lescalleet began their collaborative endeavors back in 2008 with the release of their much acclaimed The Breadwinner— a work which cracked open the artistic potential of mundane and commonplace circumstance, part of their triptych on Erstwhile including Air Supply, and the September release of Photographs— a monolithic reappraisal of formative place and event. Pairing Lescalleet’s renowned architectural rendering of sound-as-physical form with Lambkin’s skittish, oft-bizarre approach to stage performance, this duo have pushed the aesthetics of their collaboration to extremes.

Using sung and electronically generated sine tones, room acoustic phenomena, and recordings, Seth Cluett’s live performance challenges boundaries between personal and communal listening. Exploiting the extreme juxtaposition of small bare loudspeakers and large subwoofers, this new work is tensely suspended between full body immersion and brittle, sparse timelessness.

Ten Years Alive on the Infinite Plain– a two-month festival celebrating ISSUE Project Room’s 10th anniversary– revisits seminal past projects and initiates new relationships with over 60 artists working across disciplines of sound, dance, performance, and literature. Presented as a series of 24 evenings of provocative double billings, Ten Years Alive blurs the boundaries between divergent disciplines and practices and celebrating the vibrancy of the Brooklyn experimental arts community.

Jason Lescalleet‘s sound world occupies a space between noise, contemporary composition, and minimal electronics. Using decidedly primitive tactics and equipment (e.g. antiquated reel-to-reel recorders, damaged tape, etc.), his work focuses on extreme frequencies and microscopic audio detail. He’s been a member of Due Process, performed and recorded with Keith Rowe, Joe Colley, Jason Kahn, John Hudak, Bhob Rainey and Greg Kelley (both separately and as Nmperign), and most recently Graham Lambkin in their Breadwinner project which has yielded unprecedented and glorious results in the electroacoustic music of today. Lescalleet lives and works in the state of Maine.

Graham Lambkin has been a unique presence in underground culture for the past twenty years. As a musician he first came to attention through the work of his band The Shadow Ring, blending DIY folk, noise, abstract electronics and surreal poetry into strikingly original forms. For the past decade Lambkin has enjoyed a solo career, releasing a string of memorable LP’s/CD’s including 2007’s highly acclaimed Salmon Run, as well as a fruitful collaboration with New England sound artist Jason Lescalleet, the first results of which were issued in 2008 as The Breadwinner by Erstwhile. Lambkin is also respected as a visual artist, designing cover art and merchandise for The Dead C, Double Leopards, Harry Pussy and Blessure Grave to name but few.

Seth Cluett is an artist, performer, and composer whose work ranges from photography and drawing to video, sound installation, concert music, and critical writing. His “subtle…seductive, immersive” (Artforum) work has been characterized as “rigorously focused and full of detail” (e/i) and “dramatic, powerful, and at one with nature” (The Wire). Exploring the territory between the senses, Cluett’s works are marked by a detailed attention to perception and to the role of sound in the creation of a sense of place, the workings of memory, and the experience of time. His research interests and critical writings investigate the media history of the loudspeaker, the history and documentation of sound in art, archival practices for media art, and architectural acoustics.

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