<table style="width: 100%; text-align: left; margin-left: auto; margin-right: auto; background-color: white; color: black; font-family: Helvetica,Arial,sans-serif;" border="0" cellspacing="2" cellpadding="2">
<tbody>
<tr>
<td><br /> <span style="font-size: small;"><a href="http://nocords.net">chmafu nocords</a> newsletters</span><span style="font-size: small;"><br /> <span style="font-size: medium;"><big style="font-weight: bold;"><big>Interpenetration </big></big></span><br /> Konzertreihe</span></td>
<td style="width: 160px; text-align: right;"><a href="http://interpenetration.net"><img style="border: 0px solid; width: 374px; height: 37px;" src="http://chmafu.mur.at/newsletter/interpenetration-newsheader.png" alt="Interpenetration" /></a></td>
</tr>
<tr>
<td style="text-align: center;" colspan="2"><img src="http://politicalblindspot.com/wp-content/uploads/2014/05/c5d52100-d49d-11e3-a8b6-f3899ba1fc13_monks-breakdancing.png" alt="" /></td>
</tr>
<tr>
<td style="text-align: center; vertical-align: middle;" colspan="2">
<table style="text-align: left; margin-left: auto; margin-right: auto;" border="0" cellspacing="8" cellpadding="8">
<tbody>
<tr>
<td style="text-align: center; vertical-align: top; white-space: nowrap;"><span style="font-weight: bold;">15.12.2016 (do)</span><br /> <br /> <big style="font-weight: bold;">Cop Tears<br /> Continuum</big><br /> <br /> in Zusammenarbeit mit KiG Kultur in Graz<br /> <br /> 茶々丸 @ Baustelle<br /> Lagergasse 98A<br /> 8020 Graz<br /> Einlass: 19:00 <br /> Eintritt: €2-6<br /> <br /> ---<br /> <br /> <span style="font-weight: bold;">20.12.2016 (di)</span><br /> <br /> <big style="font-weight: bold;">Daichi Yoshikawa & Samo Kutin</big><br /> <br /> in Zusammenarbeit mit KiG Kultur in Graz<br /> <br /> 茶々丸 @ Baustelle<br /> Lagergasse 98A<br /> 8020 Graz<br /> Einlass: 19:00 <br /> Eintritt: €2-6<br /> <br /></td>
</tr>
</tbody>
</table>
<hr style="width: 100%; height: 2px;" />
<small><span style="font-size: small;"><br /> Aktuelle Informationen und Videos: <a href="http://interpenetration.net">http://interpenetration.net</a></span><br /> <br /> </small>
<hr style="width: 100%; height: 2px;" />
</td>
</tr>
<tr>
<td style="text-align: center; vertical-align: middle;" colspan="2"><br /> Viel passender könnte Interpenetration das jahr gar nicht beenden: Diesen Donnerstag die band mit dem wahrscheinlich besten namen ever... und mit John Cage programm... und dem auftrag, fragen zu stellen. Und nächsten Dienstag dann gäste aus Japan und dem süden. Mit anschliessender Winterschluss WeiFei für alle freundinnen der veranstaltung.<br /> <span class="st">又ね<br /> </span><span class="st">愛</span><br /> <span style="font-size: small;"><br /> </span> <br />
<p><strong>Cop Tears</strong></p>
<p>Cop Tears is a trio of Derek Baron, John Andrew Wilhite, and Cameron Kapoor. CT plays exploratory improvised music as well as interpretations of chamber music from the American canon in the interest of troubling and questioning that canon.</p>
<p>Thirteen Harmonies is a selection from John Cage’s 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage’s Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an “apartment
house” among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the ‘multiplicity of centers’ of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty 4-track on bled-through tape in Cameron’s apartment house in Queens, New York.</p>
<p><a href="http://www.readinggroup.co/coptears.html" target="_blank">http://www.readinggroup.co/coptears.html</a></p>
<p><a href="http://www.readinggroup.co/coptears.html" target="_blank"><br /> </a></p>
<p><strong>Antez / Continuum</strong></p>
<p>The roots of this performance is to play the sympathetic resonance of the room structure, individually sculpted according to its architectural singularity, and which the plot of the show remains permeable to the immediate moment, using exclusively acoustic methods of production and governed by motions which implicate the full motor capabilities of the body.</p>
<p>My first challenge to produce a continuous sound wiht a percusif musical instrument, evolved through an investigative process of the acoustic gifts of the performance space. A large drum is used as a vibrational amplifier, with varied implements rubbed on the skin to activate its vibrational potential. These implements are positioned beforehand around the drum for access in my circular walk. After having personally developped this technique for eight years, I’ve highlighted three key elements in the interrelationship :</p>
<p>.The atmospherique conditions of the space volumes for their influence to the vibration propagation. .The regularity of the ground leveling .The specific nature of audience and the energy which emanates from the venue. ( Energy in the etymological sense of the word “force in action”.)</p>
<p>Today my knowledge of materials and shapes allow me to produce sound vibrations that are often compared to some particular sound of synthesizers. However, the physical perceptions of my sounds, have nothing similar to those issued by a speaker. We are no longer in that frontal relation with the sound wave emitted by the menbrane. The immersion phenomenon in the sound material is no longer dependent on the power of sound system, but by the resonance of surrounding structures.</p>
<p>From larger through to smaller scales, all turns around an axis. Mine, during the performance it’s the horizontal drum. The focus of my rotations is consciously refer to ancetrals rituals used by numerous culture and civilization and called circumambulatoin sinistrocentrique.</p>
<p><a href="http://www.antez.org/" target="_blank">http://www.antez.org/</a></p>
<p><a href="http://www.antez.org/" target="_blank"><br /> </a></p>
<br /> <strong>Daichi Yoshikawa & Samo Kutin</strong><br />
<p>Samo Kutin, born in 1982, is known for his use of unconventional instruments, be it instruments that have already disappeared from everyday use or sound-making contraptions that feature strings, wood, pumpkins, stone, glass and waste material. One of the traditional instruments in his repertoire is the Hungarian medieval stringed instrument hurdy gurdy, which he can be seen playing on the streets of Ljubljana or at events of experimental and improvised music. He organises children’s workshops, makes music for storytelling and theatre performances and is a member of a number of formations, including Samo Gromofon, Salamandra salamandra, Najoua, Horda grdih, Širom.<br /> When it comes to non-idiomatic improvisation, Samo has been exploring at length in recent years the sound and noise potential of the
hurdy gurdy. He has been using effective accessories with the instrument and amplifying it in a convincing manner with intentional roughness with the help of contact microphones and acoustic resonators such as springs and water tanks. One could say that it is above all the use of contact microphones that helps him scan and bring to the surface the processes taking place in the “guts” of the instrument, while the direct physical methods allow him to cause and locate previously unknown frictions.</p>
<p>Based in Berlin and London,<br /> cyclist and artist Daichi Yoshikawa is interested in the spaces we can construct together through the intensities of live performance.<br /> His practice is feedback.His work is the push and pull of extremes: pitch, volume and gesture.</p>
<br /> <br /> <span style="font-size: small;"><br /> </span>
<hr style="width: 100%; height: 2px;" />
<br /></td>
</tr>
<tr>
<td style="text-align: center; vertical-align: middle;" colspan="2"><br /> <span style="font-size: small;"><a href="http://interpenetration.net">Interpenetration website</a><br /> <br /> <a href="http://www.youtube.com/user/marufura">chmafu nocords auf youtube</a> </span><br /> <br /> <a href="mailto:office@dieeintrittskarte.at"><br /> </a>
<hr style="width: 640px;" />
<p style="text-align: center;"><small>Available in many colors and styles:</small></p>
<p style="text-align: center;"><img class="alignnone" style="width: 160px; height: 149px;" title="Interpenetration T-shirt" src="http://chmafu.mur.at/interpenetration_t-shirt.png" alt="" /></p>
<p style="text-align: center;"><small>Bio and Fair Trade!<br /> Printed at <a href="http://www.siebdruckeria.at/" target="_blank">Siebdruckeria</a></small></p>
<p style="text-align: center;"><small>If you want one, come to our shows or <a href="mailto:interpenetration@nocords.net">write an email</a>.</small></p>
<p style="text-align: center;"><a href="http://nocords.net/"><img style="border: 0px solid; width: 500px; height: 44px;" src="http://nocords.net/wp-content/uploads/chmafu_webheader4.png" alt="New on chmafu nocords" /></a></p>
<p style="text-align: center;"><a href="http://nocords.net/shop/cd/688-2/"><img style="border: 0px solid; width: 64px; height: 64px;" src="http://nocords.net/wp-content/uploads/frontcover-64x64.jpg" alt="))))(((( - {}" /></a> <a href="http://nocords.net/shop/cd/susanna-gartmayer-aouie/"><img style="border: 0px solid; width: 64px; height: 64px;" src="http://nocords.net/wp-content/uploads/AOUIEcoverCD1-64x64.jpg" alt="Susanna Gartmayer - AOUIE" /></a> <a href="http://nocords.net/shop/cd/daniel-lercher-missa-brevis/"><img style="border: 0px solid; width: 64px; height: 64px;" src="http://nocords.net/wp-content/uploads/daniel_lercher-missa_brevis-front_cover-64x64.jpg" alt="Daniel Lercher - Missa Brevis" /></a></p>
<a href="http://nocords.net/shop/2xcd/unbehagen/"><img style="border: 0px solid; width: 64px; height: 64px;" src="http://nocords.net/wp-content/uploads/unbehagen-1-64x64.jpg" alt="Unbehagen" /></a> <a href="http://nocords.net/shop/chmafu/le-flange-du-mal-carrion-my-wayward-son/"><img style="border: 0px solid; width: 64px; height: 64px;" src="http://nocords.net/wp-content/uploads/le-flange-du-mal-64x64.jpg" alt="Le Flange Du Mal" /></a> <a href="http://nocords.net/shop/chmafu/deepseafishk-offshore-zone/"><img style="border: 0px solid; width: 64px; height: 64px;" src="http://nocords.net/wp-content/uploads/deepseafishK-64x64.jpg" alt="Elisabeth Schimana – Virus" /></a><br /> <br /></td>
</tr>
</tbody>
</table><hr /><p><a href="http://interpenetration.net/news/subscribe.php?addr=hit@mur.at">Unsubscribe</a> from this newsletter. Powered by <a href="http://gutuma.sourceforge.net">Gutuma</a></p>