[ STEIM ] STEIM at 40! Open Studio: Dragos Tara, Tom Boram & Dan Breen and Truus de Groot & Bosko Hrnjak

STEIM knock at steim.nl
Fri Oct 30 09:22:38 CET 2009


STEIM at 40! presents an OpenStudio with

Dragos Tara: Artefact
Tom Boram & Dan Breen: Snacks
Truus de Groot & Bosko Hrnjak: The Salton Sea

STEIM's OpenStudio presents current studio residents: a mixture between
performance, lecture and demonstration. Entrance is free and discussion is
encouraged.

Date: Wednesday November 4 2009
Venue: STEIM, Utrechtsedwarsstraat 134, Amsterdam
Time: 20:30 hrs.
Entrance: FREE


Dragos Tara: Artefact

Artefact was imagined by Dragos Tara as the result of his various
collaborations with the duet 1+1 (Anne Gillot on recorder and Laurent
Estoppey on saxophones). Instead of direct confrontation, communication
takes place through live electronics. The musicians face their own picture.
In this residency Dragos will focus on the electronic part, working with
MAX/MSP and position or movement sensors. He's intersted in using the
position of the musicians to control the main steps of the piece and
movement (or close distance) sensors.

Dragos will talk about his work and show his work in progress.

http://arte-fact.blogspot.com/
 

Tom Boram & Dan Breen: Snacks



Snacks is currently in the midst of a large digital film project, entitled
"GASA, Part !: Memory Overload". Combining B-movie styled fake violence,
frantic vaudevillian physicallity, Ballard/Gibson-esque cyberpunk
philosophy, food fetish ("sploshing") anti-eroticism, and claustrophobic
indoor set design, the film is essentially a "silent movie" using a
completely overdubbed score and sound design.  Snacks has a long-running
interest in sound as itself an abstract language, and is using the "silent
movie" format as a way of demonstrating sound as itself a carrier of
narrative. The loose story about two wretches (played by Snacks themselves)
who are unwittingly assimilated into a computer sub-routine intended to test
the bounds of human endurance for prolonged exposure to pleasure via
sado-masochistic "sploshing" is demonstrated without the use of conventional
storyboarding or known languages, but rather with a combination of abstract
vignette-type visual sequencing and a ridiculous, dense sound vocabulary,
combining feild recordings, recontextualized speaking, and purely electronic
synthesis.


Truus de Groot & Bosko Hrnjak: The Salton Sea
 
At STEIM we will create sounds for a multi-media art project about the
Salton Sea, conveying the area¹s surreal ambience and alien beauty.  The
audio compositions will provide the soundtrack for installations,
performance art, and other visual explorations of the region -- which sits
atop three shifting continental plates, making the ground literally alive
under your feet; otherworldly sounds emanate from mud volcanoes, escaping
geothermal gasses, industrial power plants, the surf, the wind, the birds
and humans.  We will draw these sounds from field recordings we¹ve gathered
over many years.   We will also originate new sounds using instruments we
created from found materials, which we scavenged during our explorations of
the region.  Truus will compose additional sound layers on the Crackle
Synthesizer (her affiliation with the Crackle Synthesizer and Michel
Waisvisz dates back to the 1970s).   The Crackle is conceptually the perfect
instrument for this project because it has an inorganic, man-made sound, but
when manipulated can also have an organic, natural quality -- much like the
juxtapositions one experiences at the Salton Sea.
 
About the Salton Sea

In 1905, nature hooked up with human greed to spawn a 378 square-mile,
sea-like lake in the middle of California¹s pristine desert.  Home to
hundreds of species of migratory birds displaced by California¹s rampant
development, the Salton Sea is serene, vast and indescribably beautiful.  It
was the second most popular tourist destination during America¹s postwar
boom ... but now it¹s used as a repository for agricultural waste water. 
The most polluted river in America flows into it, causing massive fish and
bird die offs.  Some of the poorest communities in California are found
there; by the 1970s people had abandoned the area in droves, which today is
largely inhabited by retirees, farm workers, and many who cannot make a life
anywhere else.  (To quote one long-time Salton Sea local, ³all the normal
people have left or died.²)  The juxtaposition of natural wonder, filthy
pollution and impoverished ghost towns of Mid-century Modern architecture
presents a surreal version of the American dream. 

www.saltonsink.com



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STEIM
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(studio voor elektro instrumentale muziek)

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