Shift 70 :: CT::SWaM
Multi-channel sound works by
Sari Carel
Mike Bullock
Claudia Robles-Angel

Tickets HERE
Wednesday, April 19
8pm (7:30 doors)
411 Kent Ave., Brooklyn NY 11249
*Masks required*
to protect the vulnerable
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


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.

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.


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.



SEED 02:: Live Diffusion and Thresholds of Decentering
CT::SWaM is inviting you to participate in this 1-day workshop on Apr 20 2023, during which we want to explore live diffusion as a sound spatialization technique and a wider theme. There will be an idiosyncratic multi-channel (probably 8, possibly more) speaker system spread out through the space. The mixing board will be our main instrument. Daniel Neumann will introduce various techniques and invite participants to explore their own, with their own materials.
Live diffusion in its basic form means taking a preexisting stereo track, duplicating it to 8 faders on a mixing board and then using those faders to send the signal dynamically to 8 loudspeakers that are spread around the room. This technique was first established by the community of French composers around the Acousmonium and musique concrète. (The Germans called it sound projection.)
Anyhow, the workshop will result in a group presentation for which we will collectively develop a larger overall structure as part of the activities. For this development we’ll experimentally use concepts of Decentering (taking on multitudes of perspectives; the ability to consider multiple aspects of a situation; any of a variety of techniques aimed at changing one’s centered thinking to openminded thinking).
Sign up HERE or
Get in touch: contact@ctswam.org
Participation fee: $25
[CT::SWaM sponsored scholarships are available, if the fee poses an entry barrier.]
[Donations are welcome.]
At 8pm (7:30 doors) there will be a public presentation.
Free admission.
411 Kent Ave., Brooklyn NY 11249


CT::SWaM presents “#VRstilllistening” – a first ever venture into Virtual Reality for us, a space for spatial sound works, featuring Merche Blasco, Richard Garet, Lee Gilboa, Neil Leonard, Cecilia Lopez, Daniel Neumman, DM R, Michael J. Schumacher, Bora Yoon and Yifeat Ziv.

The CT::SWaM #VRstilllistening quadrant is part of pavilion 58 in the large Wrong Biennial which describes itself as “a collaborative effort harnessing the potential of the internet, shaped as a decentralized global art biennale & tv channel”. Thank you Matthew D. Gantt, George Vitale, Jeffrey Grunthaner and Synthesis Gallery for inviting us to join. 

Please note:: Our pavilion no. 58 was officially open Nov 2021 – Mar 2022.

#VRstilllistening was also shown at MEET Digital Culture Center in Milan Sep – Oct 2022.


CT::SWaM Broadband Echos


CT::SWaM Broadband Echos is an online radio show connected to CT::SWaM [Contemporary Temporary:: Sound Works and Music] – an artist-run series focusing on spatial sound works, based in New York City. Episodes feature a combination of works from the CT::SWaM archive, new performance formats, discussions and artist interviews. Theories and approaches to spatial sound composition are explored, while also addressing the complexity and subjectivity of translating spatial works to the radio format and reflecting on the ways in which our relationship and interaction has changed by the enclosed social reality of the current day.

Hosted on CKweb, Bogota and available in English and Spanish.

Listen HERE

Production:: Daniel Neumann, Lee Gilboa / Traducción: Nicolás Quintero

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