May 3rd
American Hardcore (as part of the Experimental Music Yearbook in SF)
ATA, San Francisco, CA
8pm
$6
Los Angeles-based artists Casey Anderson and Scott Cazan present new and recent live-electronic work as part of a series of events celebrating the Experimental Music Yearbook’s weekend of San Francisco events. Anderson will present new work interfacing custom circuitry/hardware with improvisatory, digital structures to explore the acoustical properties of musical and non-musical objects. Cazan will present new work involving the use of custom software/hardware feedback networks where misunderstanding, chance, and chaotic elements in algorithms serve to generate new audio and visual information.
May 5th
EMY in San Francisco
Center for New Music, San Francisco, CA
7:30pm
$5 (members) / $7 (others)
The Experimental Music Yearbook is pleased to present a concert at the Center for New Music (55 Taylor St. San Francisco, CA) featuring works from across the musical spectrum. Now entering its 5th year, the Experimental Music Yearbook (www.experimentalmusicyearbook.com) is a curated online repository of contemporary experimental music. Downloadable scores, along with audio from past performances, showcase the diversity of compositional techniques and performances practices that are in use today. This concert presentation will have a dual focus. The first half features work from 2012 guest editor Laura Steenberge and her colleagues at Stanford University. The second half will feature works from throughout the years of the Yearbook’s existence.
All of the pieces will be performed by the composers themselves and the EMY Players, a performance group dedicated to the realization of these works.
Program
Laura Steenberge – Dante’s Inferno
John Granzow – TBD
Eoin Callery – TBD
Michael Winter – scene++
Manfred Werder — 20091
hans w. koch – e.t. (l.a.)
EVOL – tape installation
March 22nd
II.3: Casey Anderson
Willow Place Auditorium (26 Willow Place, Brooklyn)
10pm
$FREE
New and recent work by Casey Anderson presented as a circus. In other words, a simultaneous performance of numerous works which can be executed simply by speaking, operating radios, or using other everyday objects.
In the words of Travis Just: “So Doug will open a door, I will pluck a guitar and Jason is reading Stalin.”
March 21st
Soundscape 003
the salon, Providence, RI
New and recent work by Casey Anderson and others (TBA).
Dear friends of theorization at large:
You are most cordially invited to an intimate preview benefit on Saturday, March 23 at Glasshouse Projects (246 Union Ave, Brooklyn) featuring a lecture by Dr. Gayatri Chakravorty Spivak, an excerpt of G. Douglas Barrett‘s Hence Where Labor performed by Fahad Siadat and Robert Ashley‘s Public Opinion Descends Upon the Demonstrators, performed by Varispeed. As part of this extraordinary evening, we invite you to contribute your written reactions, impressions, and notes from the lecture and performance to be sold at our silent auction at the end of the evening, allowing the ideas and events of the evening to circulate past the walls of the gallery.
This night benefits the production of Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater, a conference framed-as-performance that will culminate in September, 2013 in NYC. This experimental conference theorizes that performance is not just an artistic medium, it is also a vast and complex conceptual structure reaching into every atom of society. We will be raising funds to facilitate the development of performance projects by four “plenary” artist-theorists, Kikuko Tanaka (Japan/USA), Amapola Prada (Peru), Mike Taylor (NYC), and Reality Research Center (Finland).
For tickets click here.
More information here
March 10th
Ripe for Embarrassment: For a New Musical Masochism [a lecture] & Tomb of the Unknown Composer [a brief concert]
the wulf., Los Angeles
7:00pm
$FREE
featuring Matador Oven, Adam Overton, and possibly others soon to be announced…
“Ripe for Embarrassment: For a New Musical Masochism” is a manifesto—written by Matador Oven, translated by Adam Overton—proposing a new paradigm in composer/performer relations, wherein the composer is a masochist who uses score-based Cageian indeterminacy in hopes of being humiliated by a willing performer. It was published in February 2013 as part of the Experimental Music Yearbook 2012, and was first delivered as a lecture at Kristi Engle Gallery in January 2012. Keywords: masochism, scores, work to rule, malicious compliance, consenting adults.
Find the full lecture online here.
“Tomb of the Unknown Composer,” by Adam Overton (and cited in Matador Oven’s “Ripe for Embarrassment”) is concert featuring performances of re-named and mis-attributed scores. Unknown titles and composers are soon to be determined, and may feature a number of performers, also soon to be determined.
As we roll out issue 2012, we would like to remind those not already aware that the first Los Angeles concert for this issue will be taking place February 9th at the wulf. More info below:
February 9th
the wulf., Los Angeles, CA
8:00 p.m.
$FREE
The Experimental Music Yearbook presents a selection of works from the 2012 edition of the journal. Featuring works and installations by Jaap Blonk, Roc Jiménez de Cisneros, Christian Kesten, James Klopfleisch, Scott Cazan, and Laura Steenberge.
Performed by Casey Anderson, Scott Cazan, Eric KM Clark, Isaac Schankler, Laura Steenberge, Christine Tavolacci.
Los Angeles concert #2 is tentatively scheduled for March 10th, and will be entirely dedicated to the work of Adam Overton. More information soon.