Multi-channel sound works by
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Sari Carel
Mike Bullock
Claudia Robles-Angel
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$15
Tickets HERE
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Wednesday, April 19
8pm (7:30 doors)
411 Kent Ave., Brooklyn NY 11249
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*Masks required*
to protect the vulnerable
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Accessibility:: SHIFT is a first-floor space and is accessible by wheelchair. Seating (chairs + pillows) will be provided. The performers request that all audience members wear masks. If you have any access-related questions or request, please contact contact@ctswam.org
CONCERT DETAILS::
SARI CAREL: The Shape Of Play, six-channel sound and sculpture installation*, 2020
[*for this evening Sari will present the soundscape element of this piece – a concert version]
The Shape of Play, an outdoor public art installation commissioned for the city of Boston, invited visitors to reflect on the connections between play and the universal search for freedom. An engaging multi-media work on view at Waterfront Park, The Shape of Play beckoned audiences to listen, question, and explore the connections between play, creativity and a personal sense of freedom through sculpture and sound.
For this piece Sari visited playgrounds across Boston, approaching their structures as giant instruments. Capturing each playground’s material resonance, the work reframed these overlooked civic-spaces as sites brimming with aesthetic possibility, channeled through the medium of sound.
This work was conceived and developed before Covid 19. But by the time it opened to the public at the height of the pandemic, the city’s playgrounds where shut down and padlocked. In this new reality The Shape Of Play offered a place to be together safely and a reminder of how sound touches us all and helps us connect.
The Shape of Play was commissioned by JARTS, Boston and curated and produced by Now & There
Bio:: Based in Brooklyn, New York, much of multi-media artist Sari Carel’s work focuses on translation from one modality to another. Her projects consider interspecies communication, relationships between people and place, and how the senses inform our perception. Also an environmental activist, Sari is a sharp observer of ecosystems, be they natural or human.
Carel’s work has been exhibited and screened internationally in venues such as Artists Space, Dumbo Arts Festival, Nicelle Beauchene Gallery, and Gavin Brown’s Enterprise in New York; LAX Art and Young Projects in Los Angeles; Genia Schreiber University Gallery in Tel Aviv, and Haifa Museum of Art in Israel and Locust Projects in Miami. She has been awarded numerous fellowships and residencies, including AIR at the Stundars Museum, Finland; AIR Vienna; the Socrates Sculpture Park Artist Fellowship and the Lower Manhattan Cultural Council Residency on Governors Island, New York; and the Bundanon Residency, in Australia.
Recent exhibitions include The Sun Is A Mouth Of Blue at Melanie Flood Projects, Portland, OR and her upcoming outdoor installation Mud Songs For Anni is slated to open this May at the Schneider Museum Of Art in Ashland, OR
MIKE BULLOCK: Whip-poor-will, for 5 or more loudspeakers
Whip-poor-will is part of a series of pieces called Ephemerospheres: the spheres of temporary, fragile, non-human sound that occur outside of, and on the fringes of, human perception. Immersive storms of sound you can’t hear or don’t notice, that come and go in the course of a few weeks or a few hours. Whip-poor-will starts, as its source, with several ephemeral sound spheres of early summer in New England: the endangered little brown bat (Myotis lucifugus), who echolocates at 110 dB while foraging insects; several amphibians who are only heard for a few weeks in spring and summer, including the wood frog and spring peeper; and the whip-poor-will, a bird who sings only at night, but so continuously that the cessation of their onomatopoeic song makes your ears prick up.
Nature sound recording is often called an act of capture, invoking histories of colonization and resource abuse – historispheres that are sometimes invisible, sometimes censored, but not ephemeral. They endure and infect the spheres of the real, of ecologies and societies, of how we speak and how we understand, or resist understanding.
But “capture” is misleading: sound cannot be forced to hold still. Recording is an act of writing; a sound recording device is writing a story (in magnetism or math) of what the microphone hears, a story that it can read back aloud through a speaker. Making sounds by hand that parallel these stories (with instruments, objects, voice) can be an act of drawing; so Whip-poor-will also includes some of these sound drawings to accompany the story, all of them written and re-written through digital means, then spoken aloud through loudspeakers.
Bio:
Mike Bullock is a composer and environmental sound recordist based in Providence, RI. He has been creating electroacoustic and improvised music since the mid 90s, and has performed across North America and Europe. Bullock has received grants from the Pew Center for Arts & Heritage and the Foundation for Contemporary Arts. As Ears In Space, he also designs and builds wave field synthesis and other spatial audio arrays.
Bullock’s work has been presented at ISSUE Project Room, Experimental Intermedia, and the Park Avenue Armory in NYC; Fylkingen, Stockholm, Sweden; Instants Chavirés in Paris; Café OTO in London; The Philadelphia Museum of Art; the Goethe Institut Boston; and EMPAC in Troy, NY.
mikebullock.com
mikebullock.bandcamp.com
earsin.space
CLAUDIA ROBLES-ANGEL: Glockenwelt (world of bells), 7.1 audio, 2019 and Wandering in Morelia (2019)
Wandering in Morelia (2019)
This octophonic acousmatic piece was composed and produced during an artist in residence at CMMAS (Mexican Center for the Music and the Soundarts in Morelia, Mexico) using sounds recorded in the city. Although the composition features the original recorded materials, there are moments however, during which the recordings are transformed via diverse DSP processes, with the purpose of inviting the audience to immerse themselves into the imaginary universe of the composer.
Glockenwelt (world of bells) A multichannel composition that invites audiences to immerse in an imaginary subtle space filled by multiple and diverse bell sounds. The piece is mixed creating a unique and ethereal feeling environment, whereby sounds have been treated with diverse DSP processes.
BIO: Born in Bogotá (Colombia), living in Cologne (Germany). Composer, sound and new media artist, her work covers different aspects of visual and sound art, extending from acousmatic and audio-visual compositions to interactive performances/installations using biomedical signals and Artificial Intelligence.
She has been Artist-in-residence in several outstanding institutions around the globe. In 2022 was awarded with an honorary mention by the GIGA Hertz award at ZKM Center in Germany.
Her work has been performed and exhibited worldwide e.g. at ZKM Karlsruhe, ISEA Manizales, Durban and Gwangju; KIBLA Centre Maribor, CAMP Festival – 55 Venice Biennale Salon Suisse, ICMC Copenhagen and Utrecht; New York City Electroacoustic Music Festival; NIME Oslo; STEIM Amsterdam; Harvestworks Digital Arts Center NYC, Heroines of Sound Berlin; SIGGRAPH Yokohama, Audio Art Festival Cracow; MADATAC Madrid; Athens Digital Art Festival ADAF, CMMAS Morelia; Beast FEaST Birmingham; ICST ZHdK Zurich; RE:SOUND Aalborg; Electric Spring Festival Huddersfield; AI Biennal Essen; and more recently at the Centre for International Light Art Unna.
CT::SWaM 