in process…
for Movement Research’s Open Performance on Tuesday, June 13th, Lindsay Benedict will be in collaboration with Luisa Fernanda Trigo Mendoza, Aylar Roufa-Trigo, Kyung Jeon-Miranda, Ennio Miranda-Jeon, and Simone Langston Benedict researching themes around Madras Solo Una and maternal durability. Eden’s Expressway in SoHo at 7pm. Wheelchair accessible.
http://www.centerforthehumanities.org/programming/the-vibrating-world-soundscapes-and-undersongs
Join us for “The Vibrating World”, the annual English Student Association Graduate Student Conference exploring sound and song with keynote speakers Joseph Straus, Distinguished Professor of Music, The Graduate Center, CUNY, and David Rothenberg, author of Why Birds Sing, composer, and musician. If we take seriously Jacques Attali’s claim that the world is “not legible, but audible,” what scholarly shifts are possible by turning our focus to acts of listening and representations of sound? Sound has long been represented in literature, philosophy, art, and science, but we are only now encountering a ‘sonic boom’ in critical and theoretical writings on sound in the humanities and social sciences. If we scramble our notions of language, what other sounds, voices, musics, or understandings might become legible or audible to us? We will consider the spaces between words, pauses between calls and responses, and the breaths and rests that produce multidimensional rhythms, harmonies, discordances, resolutions, and meanings, the undersong that carries the burden of a song, the chorus, the refrain.
Keynote Lectures:
Joseph Straus, Distinguished Professor of Music, The Graduate Center, CUNY, and author of Extraordinary Measures: Disability in Music.
David Rothenberg, author of Why Birds Sing, composer, and musician.
CONFERENCE SCHEDULE
Redefining Literacy: Silence, Empowerment, and Intersectional Identity in Janet Mock’s Redefining Realness
Anna Zeemont, CUNY Graduate Center
Daring to Speak: Expressions of Female Desire in “The Tale of Apollonius of Tyre”
Jennifer Alberghini, CUNY Graduate Center
“God Save the USA”: Rock Against Bush and the Punk Negation of Anti-Politics
Stefano Morello, CUNY Graduate Center
Public spaces, everyday sounds: experiencing Alameda’s acoustic environment
Margarita Cuéllar and Ana Garay, Universidad Icesi
Site-Specific Music Composition and the Soniferous Garden
Barry R. Morse
“But What Can Unassisted Vision Do?” Attendant Sounds in Robert Bloomfield’sThe Farmer’s Boy
Sean Nolan, CUNY Graduate Center
Reading Moby-Dick as a Sonic Novel
Paul Hebert, CUNY Graduate Center
Breaking Nature’s Silence: The Traumatic Effects of Anthropogenic Sound
Sarah Hildebrand, CUNY Graduate Center
The Resonance of the Soviet War Song “Dark Nights”
Amy Emery Kraizman, CUNY Graduate Center
Tinnitus and the Soundscapes of Trauma: Toward a Politics of Masking
Micheal Angelo Rumore, CUNY Graduate Center
Landscapes of Nation and the Ungrievability of the Multilingual Subject
Nicholas Glastonbury, CUNY Graduate Center
Queer Resonances: Music, Sound Science, and Homoerotic Desire in Fin-de-siècle British Fiction
Shannon Draucker, Boston University
Listening With William Cowper
Charles W. Rowe, CUNY Graduate Center
The Acoustics of Bare Life in Kafka’s Late Stories
David Copenhafer, Bard Early College
TBA
On your own
Lecture and Performance in Segal Theatre, First Floor
A Musical Epistemology for the Social Sciences
Matthew Devine, CUNY Graduate Center
Thought Tormented Music: The Dead and the Silence of Literary Song
Dan Jacobson, CUNY Graduate Center
The Mute and the Confidence Man: Herman Melville’s Phenomenology of Silence
Bradley Nelson, CUNY Graduate Center
“Conversation is a game of Circles”: Emerson and Rorty, Rorty and Emerson
Austin Bailey, CUNY Graduate Center
Wordsworth’s Symphonic Landscapes: Romantic Cymatics and “Ingenious Nonsense.”
Rasheed Hinds, CUNY Graduate Center
“hard to imagine a country”: Neighbors, Gossip, Friends, and Empathy in David Antin’s “Talking” and “Talking at the Boundaries”
Elizabeth Bidwell Goetz, CUNY Graduate Center
What is the Music of the Language of the Color?
Andrew Demirjian, Hunter College
“I’ve never seen a magazine played this professionally before!” Cable Access’s “TV Party” and Carnivalesque Resistance
Seth Graves, CUNY Graduate Center
Audio Archives in a Digital Era: Approaching Recorded Materials in New American Poetry
Mary Catherine Kinniburgh, CUNY Graduate Center
“Not a Sound but an Emotion”: Rudolph Fisher’s “Common Meter,” Bessie Smith, and the “St. Louis Blues”
Aidan Levy, Columbia University
Not What The Siren Sang: Sound Poetry in the Archive
Zack Brown, University at Buffalo
Close-Listening Charles Olson’s “The Kingfishers”
Cherrie Kwok, New York University
TBA
Lecture in English Department Lounge, Room 4409
English Department Lounge, Room 4409
For more information, visit the conference website here.
Cosponsored by the English Student Association, The PhD Program in English, and the Ecocriticism Working Group
Curated by Phyllis Rosenzweig
Press Release and Directions: http://www.
Bronx Art Space
305 E 140th Street #1 Bronx, NY 10454
March 17-April 15
Gallery hours: Wednesday – Friday 12-6:30 pm, Saturday 12 – 5pm
ROULETTE presents Mixology 2017, February 22 – 25
Roulette’s powerful 12-channel soundsystem is the common denominator of this year’s Mixology Festival. Each evening groups artists with a roughly similar approach, each offering a unique perspective on sonic space. The theme in all cases is immersion; participation through active, physical engagement with the medium::
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On Friday, February 24, 7pm:: Reshaping Roulette with Kenneth Kirschner, Daniel Neumann, Anne Guthrie, Mario de Vega, Ben Manley
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Daniel Neumann will be performing FROM WITHIN A FIELD #06, which is an ongoing electroacoustic live performance for multichannel speaker systems that uses loudspeakers and room response as an instrument to form a spatial sound field.
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The full program of the festival::
Wednesday, February 22: Olivia Block, Jason Lescalleet, Mario de Vega (Installation), Cecilia Lopez (Installation), and a Jim O’Rourke project
Thursday, February 23: Greg Fox, Eli Keszler, Mario de Vega (Installation)
Friday, February 24: Kenneth Kirschner, Daniel Neumann, Anne Guthrie, Mario de Vega (Installation), Ben Manley (Installation)
Saturday, February 25: Liz Gerring Dance Installation with Michael Schumacher / Leila Bordreuil / Ursula Scherrer
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Roulette
30 Third Avenue
Brooklyn, NY 11217
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7p doors
8p start
http://us5.campaign-archive2.com/?u=be581afd1a6dd0cd937171197&id=e60578c752&e=bac95aa7dd
Freeform Radio LIVE
Feb 10-13, 2017
Listen to a new frequency at Work x Work On Air, four days of curated programming celebrating the art of storytelling, podcasting, and experiential audio. (Friday through Sunday, Wythe Hotel, FREE)
Feb 11 at Trans Pecos with Antartigo Vespucci, Worriers, Ian Graham and Weird Skin. All Ages, $10 tix.
| “The art world’s economy is sustained by underpaid or free labor across many of its sectors, from the production of art to the construction and maintenance of museums. This is manifest through the dual expectation that cultural producers work for exposure whilst institutional staff and contracted laborers work for less than a living wage. Arts-activist campaigns like W.A.G.E. and Gulf Labor have strategically focused on correcting certain inbuilt inequalities, but neither have yet incorporated a discussion of the economic underpinnings of white supremacy in the art system, despite it regularly being cited as one of the least diverse professional sectors. To cite one question, can solely economic factors account for the highly racialized split between producers, on the one hand, and ground staff, on the other?
Decolonize This Place has operated on a maintenance economy that is more germane to movement-building work than the professional compensation structure of the established art world. How can such projects—which, like much movement work, rely on a political and personal commitment that is rarely remunerated—be promoted and sustained when they so evidently fall outside of art’s established commodity system of display and discrete consumption? To what degree can wider movements for reparations inflect upon the art world? In the years to come, with a Trump presidency likely to be hostile to the lifeblood of free and critical expression, movement art will be needed more than ever. Who’s going to be paying for it?” – MTL+ For more information click here This event is part of Decolonize This Place, a three-month project by the collective MTL+ on invitation of Common Practice New York hosted at Artists Space Books & Talks. For the purposes of this project, 55 Walker Street has been converted by MTL+ into a movement space action-oriented around the issues of De-Gentrification, Indigenous Struggle, Black Liberation, Free Palestine and Global Wage Workers. Views and opinions expressed in this project are not necessarily those of Artists Space or members of Common Practice New York. For more information and a schedule of weekly readings, screenings and art assemblies happening at Decolonize This Place visit decolonizethisplace.org |
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Nitasha Dhillon
Lise Soskolne (W.A.G.E.)
Mabel Wilson
David Joselit
A Museum Worker
A Gallery Intern
Conversation
Saturday, December 10, 2016, 6pm
Artists Space Books & Talks
55 Walker Street
Free Entrance
http://artistsspace.org/programs/wages-of-whiteness-in-the-art-economy
Lawrence Abu Hamdan to present at MoMa on Monday, November 21st, 7pm.
MoMA presents the US premiere of an “audio essay” by Beirut-based Jordanian-British artist Lawrence Abu Hamdan, whose work attempts to trace and highlight the relationship between the act of listening and politics, human rights, international law and borders, testimony, and truth. Using audio documentaries and essays, as well as audiovisual installations, Abu Hamdan expresses his fascination with different types of listening at work in today’s legal and political forums. MoMA has recently acquired three important works dealing with similar themes: The Whole Truth, Conflicted Phonemes, and The Aural Contract Audio Archive.
In this new audio essay (a term the artist prefers to “lecture-performance”), he focuses on Saydnaya prison, near Damascus. Working with Forensic Architecture, Amnesty International, and the survivors of Saydnaya, Abu Hamdan captures “ear-witness accounts,” as detainees reconstruct events and the architecture of the prison they experienced through sound. The work raises pivotal questions about the politics of the field known as “forensic listening.”
The artist will be joined for a conversation by Ana Janevski, Associate Curator, Department of Media and Performance Art.
Lawrence Abu Hamdan is a 2015–17 Vera List Center Fellow.
https://www.moma.org/calendar/events/2526?locale=en
http://lawrenceabuhamdan.com/blog/
Pop and rock music has long been an important forum for experimentation with gendered performance, audience identification, and different models of authorship and collaboration. What happens, we ask, when the complex affective and social dynamics of popular music cultures are put into a dialogue with more rarified notions of audio cultures or sound art? Taking the issue of sexual difference and sexuality as its central concern, this symposium brings together an international group of artists, writers, educators and curators to address the gendered complexes of “music cultures,” “audio practices,” and where these two realms intersect in contemporary art. Presentation topics include the feminist sound archive Her Noise, women in early punk, the voice, and the soundscape. The symposium will end at 5pm with a performance of a composition by Annea Lockwood performed by Kristin Norderval, followed by a reception at 6pm in the James Gallery with a set byJD Samson.
Organized by:
Valerie Tevere (Mellon Humanities Fellow, the Center for Humanities; Media Culture, the College of Staten Island/CUNY)
Siona Wilson (Program in Art History, The Graduate Center, CUNY; Performing and Creative Arts, the College of Staten Island, CUNY.
http://www.centerforthehumanities.org/programming/sexing-sound-music-cultures-audio-practices-and-contemporary-art
RADICAL NETWORKS
November 4-6, 2016
Chemistry Creative, 315 Ten Eyck Street, Brooklyn NY
Three days of speakers, panels, workshops, and an art exhibit designed to introduce the community to DIY networking. Learn how to create your own offline networks, portable web servers, mesh networks or internet gateways in hands on workshops. Attend panels where you can discuss your visions for how a localized network could support your school, your community, or your cause. Listen to speakers talk about the future of computer networks and why it’s important to understand how networks work in this age of hyper-connectivity.
The conference will be organized around the following questions and themes: