**H-I-T** [Interpenetration] Cop Tears und Continuum am 15.12. und Daichi Yoshikawa & Samo Kutin am 20.12. bei Interpenetration im chachamaru
chmafu nocords
chmafu at nocords.net
Di Dez 13 11:27:20 CET 2016
chmafu nocords (http://nocords.net) newsletters
Interpenetration
Konzertreihe (http://interpenetration.net)15.12.2016 (do)
Cop Tears
Continuum
in Zusammenarbeit mit KiG Kultur in Graz
茶々丸 @ Baustelle
Lagergasse 98A
8020 Graz
Einlass: 19:00
Eintritt: €2-6
---
20.12.2016 (di)
Daichi Yoshikawa & Samo Kutin
in Zusammenarbeit mit KiG Kultur in Graz
茶々丸 @ Baustelle
Lagergasse 98A
8020 Graz
Einlass: 19:00
Eintritt: €2-6
Aktuelle Informationen und Videos: http://interpenetration.net
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.
又ね
愛
Cop Tears
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.
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.
http://www.readinggroup.co/coptears.html
<a href="http://www.readinggroup.co/coptears.html" target="_blank">
</a>
Antez / Continuum
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.
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 :
.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”.)
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.
>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.
http://www.antez.org/
<a href="http://www.antez.org/" target="_blank">
</a>
Daichi Yoshikawa & Samo Kutin
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.
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.
Based in Berlin and London,
cyclist and artist Daichi Yoshikawa is interested in the spaces we
can construct together through the intensities of live
performance.
His practice is feedback.His work is the push and pull of
extremes: pitch, volume and gesture.
Interpenetration website
(http://interpenetration.net)
chmafu nocords auf youtube
(http://www.youtube.com/user/marufura)
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</a>
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