[SF USA][Fri Mar 28] Field Effects 10: four corners

[Aaron Ximm <ghede@xxxxxxxx>]

As always, apologies for the crossposting... -aaron

Self-promotion dept: Matt Davignon and I are performing the night
before this show, on Thursday March 27, at the Luggage Store, as
part of Sean Rooney's Detritus.net evening. The Luggage Store is in SF
at 1007 Market at Sixth Street; the show starts at 8pm and is $6-10.

----------[ Quiet American presents at 964 Natoma ]--------------------

Field Effects 10: four corners
Friday, March 28th
Doors 8pm
964 Natoma, San Francisco, CA (USA)

$6-10 requested sliding donation,
no one turned away for lack of funds.

----> Event Description <----------------------------------------------

The world makes music, remember to listen.

Field Effects 10 offers a night of field recording-based sound art.

The tenth in a series of concerts showcasing the use of found
materials and field recordings in media art, Field Effects 10 offers a
trip in four directions: a stop in four corners, where four artists
work in four very different ways with found sound.

Field Effects 10 features work by Bay Area artists:

  GX jupitter-larsen

    GX Jupitter-Larsen (The Haters, Survival Research Labs) will
    present field recordings of the Paris subway system he did last
    year during the making of his video 'Paris, April 22 2002.'

    In this piece, one can hear a live radio performance in addition
    to the actual subway ride to and from the radio station.

    The radio performance itself was a variation of 'Dirwyn' in
    which an amplified calculator is balanced on top of a small fan.

        http://www.jupitter-larsen.com

  kenneth atchley

    Kenneth Atchley suspends and erects fountains in netherworld plazas
    of sound art, noise, composed music, and installation. They range
    from laptop-generated synthetic abstractions to assisted
    installations of water; transducers; electric pumps; vessels
    constructed from combinations of metal, latex, plastic, and
    polyethylene; electronics; and responsive software. These assisted
    installations have been featured in venues ranging from US hardcore
    noise dungeons, to dance lofts in New York, to art gallery and
    performance cellar circuits in Europe. In 2002, he and computer
    music pioneer John Bischoff presented their New Urban Plaza Tour
    in Germany.

    For Field Effects 10, Atchley will present two works. '14251,'
    dedicated to Michael Contreras, he describes:

        'gunsmoke acanthus and blood spirals down morphine column of
        razor carved forearm; entasis--the middle ground of the world;
        base of compassion; commissioned by suffering; the architect
        anguish

	the latest in a series of fountains that the artist has created
	since 1998. The sound material of this particular work frames
	beats created by slowly ascending and descending tones of
	slightly different pitch, the tight harmonies of traditional
	Western Classical music, and the unamplified sound of fountain
	pump and water. The title represents a harmonic progression
	(I-IV-ii-V-I) outlined in an student excercise from Arnold
	Schoenberg's 1911 polemical textbook Theory of Harmony.'

    He will also present 'WHITE5,' which he describes:

    	'This work of synthesized noise, whitecaps of filters, oceanic
	fountains of software and circuitry crests to the plane of
	relentless unchanging.'

    Atchley studied music composition with Robert Ashley, David
    Behrman, Gordon Mumma and has learned from collaborations with
    artists including Ben Azarm, Tim Perkis, Brian Reinbolt, Mark
    Trayle, Sean Rooney, Kinji Hayashi and his association with the
    historic electronic music ensemble RotoLeague.

    Atchley's solo electro-acoustic works CD 'fountains' was released
    in 2002 by Auscultare Research. His work is featured on a number of
    compilations including the recent Gameboy release; a duet track
    will appear on John Bischoff's upcoming 23five release. His work
    will also feature in November in choreographer RoseAnne Spradlin's
    evening-length dance work 'under/world' at the Kitchen in New York.

	http://www.katch.com

  stephen ruiz (zygote)

    Stephen Ruiz (aka Zygote) uses the mechanized process of
    electronic music production and combines the expression of complex
    human feelings to create sound art. The tools of his output are
    computers, tape recorders, wires and other conduits of noise.
    His sound transcends the inhuman element of 'technologically
    enhanced' production methods so vital in the world of electronic
    music producers, and in its place submits raw and unfiltered
    emotion. While exploring the idea of personal expression through
    the cold exterior of machines, he takes the concepts of
    compositional indetereminancy, generative music and evolving
    cellular automata and humanizes them. The end result is populist
    music of emotional depth that illicits response via technology.
    Having trained in percussion and guitar, his compositional methods
    are rooted in structured narrative that are constantly being
    mutated under the pressure of new forms of expression.

    For Field Effects 10, Ruiz comments, 'my process is going to be
    the real-time manipulation of field recordings: the  recordings
    will be sounds from my [current] road trip. They will be used to
    emulate instuments. i.e. wind as a drum... water as strings.....'

    Stephen has releases on Under the Radar and Alectric Records
    (Canada), and is the founding organizer of the 'Under the Radar'
    experimental music and video events in San Francisco.

	http://www.geocities.com/zygotesf/

  jeremiah moore

    Jeremiah Moore is a media artist working primarily in sound. He
    started making and manipulating field recordings in 1992.

    Other interests include: perceptions and constructions of time,
    the relationship between humans and nature, muddling with
    obfuscation and transformation in the mass-media environment,
    addressing the repressed, reconnecting the disconnected.

    Moore has recently finished a stint as sound effects editor for
    a nationally broadcast cartoon series, and is returning to
    earlier compositional work with sounds recorded in the field.
    Aside from television, he works in theatre, film, radio, game
    sound, museum installations, and multimedia.  He has won awards
    for sound design. He is currently working on a series of video
    works entitled 'defused ads' which transform the source material
    of television ads into meaningless things of beauty.

    Moore will present 'lull', which he describes:

    	This piece is a lullaby for our unborn baby. It uses the
    	sounds in the world around our house and lives, interpreting
    	them through a set of lenses and filters to reveal as much
    	as possible what's beautiful there.

    (Congratulations to Jeremiah & Abby!)

	http://babyjane.com/timeweb/
	http://northstation.net/

The Field Effects series showcases artists who are interested in
framing the hidden beauty of the everyday world: beauty on the
surface, awaiting our attention. Beauty that must be delicately
extracted. And beauty in potential, awaiting juxtaposition,
collage, repetition and mutilation.

Seating mostly on futons to encourage comfortable deep listening
and viewing.

Depending on weather, hot or cold drinks will be available on a
donation-based honor system. Hopefully someone will make cookies.

----> Venue Info <----------------------------------------------------

964 Natoma
San Francisco, CA, USA

Between Mission and Howard, 10th and 11th street, south of market.
A few blocks from Civic Center BART, or the corner of Market & Van
Ness. Bike parking inside.

----> Additional Info <-----------------------------------------------

This message is not for print distribution or advertising.
This is a private event for friends, family and our community.

Questions? Write ghede@xxxxxxxxx

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