Sunday
Sep062015

In Press:

Diverse Ecologies I am delighted to be guest-editing the next issue of Soundscape; The Journal of Acoustic Ecology. The issue, Sounds emergent: Diverse Ecologies, considers how we work with and define notions of ecology and to illustrate the variety of diverse approaches within and around recent sound practice and scholarship.  The issue will feature an new interveiw with celebrated sound studies author Jonathan Sterne as well as a special guest essay by cultural theorist and one of today’s leading writers on ecology, Timothy Morton. Additional essays by the writers and artists Leah Barclay, Hethre Content, Sarah Lewison and Stephan Moore.

Moving Sounds  Phylis Johnson and I are Co-editing a new book with McFarland Press titled Moving Sounds: A Cultural History of the Car Radio. We are excited about the variety of perspectives and are hoping to develop a companion radio series as well. 

 

Upcoming Performances and Exhibitions 2016

Premiere of Radio Piano 

I'll be performing my new work Radio Piano as a part of the Outside the Box Festival of Contemporary Music at Southern Illinois University on April 2nd. Radio Piano is a work for extended piano, a composition that involves the use of discrete micro-FM transmissions from within and around a grand piano. 

In the early 1970's, I placed a radio next to the old upright piano in our basement and it really felt like a studio to me at that point, a creative place for sound and music. I discovered a way to place my head onto the black enameled surface in order to hear the resonances of the piano more acutely. When I did this, I heard the wooden strides of the action amid the soft counter rhythms of the felts as I played. The piano was damaged; it had missing keys and its tuning was singularly memorable. Knowing that the instrument was fallible, perhaps repairable, and full of unrealized potential kept me playing. As I was born with an acute hearing loss in my right ear, my early recollections about sound, art, and communication involved listening with deep intent while remaining open to new impressions. In many ways, my troubled hearing allowed for a kind of concentration of my auditory senses, setting me on a monaural path to becoming a media artist who specialized in sound. Due to recent medical advancements, I have been able to regain hearing in my right ear for the first time since 1985.

Melvin Severy and George Sinclair's 1916 patent documents for the Choalcelo provided inspiration, not for the technical extension of the piano, but for what the fluid graphism of the circut becomes, a wildly futurist map of the unseen. 

For the April 2nd performance, I'll be utalizing many portable radios, various handmade electronics and a good deal of revivied technology clustered around the piano on the stage of Shryock Auditorium. Rob Spahr, Todd Birdsong and Mike Maxwell will also perform.

 

 

 

 

Curator and fellow collaborator Eric Leonardson curated a selection of radio works for radioCona in Ljubljana Slovenia.

Chantal Dumas 86400 Seconds – Time Zones

Christopher DeLaurenti To The Cooling Tower, Satsop                                                                       

Jay Needham Listening at the Border

Anna Friz Collecting Clocks and Losing Time 

Novi_sad Neuroplanets 

From Eric’s curatorial statement:

“I selected five works dedicated to the Earth’s orbit around the Sun, and its audible manifestation in rich metaphors that spring forth when we listen in the dark. By withdrawing from the rhythms of daylight, we are drawn to the deeper, more primal nature of our soundscape…”

 

Monday
Mar232015

Performances and Exhibitions 2015

Selections from my work from the neotropical rainforests of Panama were a part of a new augmented reality project by Leah Barclay titled Rainforest Listening that took place in New York's Times Square during Climate Week in New York City. Additional venues included Austin City Limits Festival and SXSW Eco (Austin). The piece will expand as a part of the United Nations Conference on Climate Change (COP21) in Paris.

May - I was invited to Riga for Museum Night on May 16 with my colleague Dr. Andrew Carver by the Noass gallery and museum. We screened The Ground Falls Away, part of our ongoing works with The April Group, set against the backdrop of Old Riga along the banks of the Daugava.  Artist Kurt Fleckenstein (DE), Paul Roth and Ian Douglad Moore (USA/DE) and Hanns Holger Ruta (AT) were also on the program for Noass's 2015 launch.   

Outdoor screening at Noass on the Daugava river in Riga Latvia.  JN 2015

 

 

April - Antarctic collaborators Carolyn Philpott and Doug Quin and I curated a concert for the Balance Unbalance confernece and festival held at ASU in Tempe Arizona. Many Thanks to Garth Paine for his hard work to create an amazing series of events. 

Sonic Reckonings is a 60-minute concert of contemporary music about Antarctica. As the only continent that is governed by a treaty between nations, Antarctica is both a space of scientific and creative inquiry, a source of inspiration and forecast for the late Holocene. The program combined live performances by Doug Quin and Jay Needham, as well as a selection of outstanding works for tape by some of the world’s leading “polar” sound artists, including Philip Samartzis, Lawrence English, and Cheryl Leonard. The performance included a special edition of program notes authored by music theorist and musicologist Dr. Carolyn Philpott. She has a particular interest in musical responses to Antarctica and she regularly contributes to the Bachelor of Antarctic Studies program offered through the University of Tasmania’s Institute of Marine and Antarctic Studies (IMAS). 

Rock marker on Deception Island, South Shetland Islands. JN 2009.