id="post-376" class="post-376 post type-post status-publish format-gallery hentry category-artists tag-mem1 post_format-post-format-gallery" Mem1

Mem1 seamlessly blends the sounds of cello and electronics to create a limitless palette of sonic possibilities. In their improvisation-based performances, Mark and Laura Cetilia’s use of custom hardware and software, in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called “a perfect blend of harmony and cacophony” (Forced Exposure).

Founded in Los Angeles in 2003, Mem1 has traveled extensively, performing at Issue Project Room, Roulette, REDCAT / Disney Hall, Los Angeles Contemporary Exhibitions, Electronic Church (Berlin), the Laptopia Festival (Tel-Aviv), the San Francisco Electronic Music Festival, and the Borealis Festival (Bergen). They have taken part in residencies at Harvestworks in New York, STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their collaborative works with media artists Kadet Kuhne and Liora Belford have been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Throughout their career, they have collaborated with a variety of artists including the Penderecki String Quartet, Steve Roden, Jan Jelenik, Frank Bretschneider, and Stephen Vitiello. Age of Insects, a full-length album with Vitiello, will be released in May 2011 by Dragon’s Eye Recordings. Together, Mem1 curates the experimental music series Ctrl+Alt+Repeat and the record label Estuary Ltd.,  on which they released their fourth full-length album, Tetra.

id="post-377" class="post-377 post type-post status-publish format-gallery hentry category-artists tag-mimosa-moize post_format-post-format-gallery" Mimosa | Moize

mimosa|moize is the minimal music project of artists Lucia H. Chung (Taiwan) and Martin J. Thompson (UK).

Their ongoing relationship with sound is one shared both with perceivers and each other. Through exploring their experiences with sound as it is perceived, they wish to convey sound as a language, expressing to the other a sharing of a moment where sound becomes more than just sounding.

mimosa|moize has released with Mumur Records (JP) and Dragon’s Eye Recordings (USA).

id="post-378" class="post-378 post type-post status-publish format-gallery hentry category-artists tag-mise_en_scene post_format-post-format-gallery" Mise_En_Scene

Mise en scene is Shay Nassi from the city of Tel-Aviv in Israel.

Shay (1977) began to study the art of sound engineering at Jordan Valley College in the north of Israel, where he gained a degree in Practical Sound Engineering.

The skills obtained there are clearly visible in the quality and acoustic depth of his production and sound design.

Shay produces an experimental sound which is built from different layers such as wavetones, noise, field recordings, and live instrument recordings which when manipulated create a cohesive work of minimal, ambient drone sound.

id="post-2792" class="post-2792 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-jake-muir post_format-gallery" Jake Muir

Jake Muir is a sound designer and artist currently residing in Seattle, Washington. Armed with a keen ear for textural environments and haunting aural landscapes, Muir creates ghostly soundscapes from field recordings, reinterpreted vinyl rips, and radio segments. This source material is processed digitally to further place these found sounds into a new context.

Muir released his debut album, Muara, under the moniker, Monadh, on Further Records in 2016. Muaradrew from experiences and trips around the Pacific Northwest, evoking the deep ties to location and mood in Muir’s approach to microscopic manipulation in the sound composition process.

In addition to his musical applications of sound, Muir draws from an extensive background of formal audio production in radio and studio environments, having trained alongside professional sound recordists Chris Watson, Jez Riley French, and Gordon Hempton.

id="post-379" class="post-379 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-yann-novak post_format-gallery" Yann Novak

Yann Novak is an artist, composer, and curator based in Los Angeles. His work is guided by his interests in perception, context, movement, and the felt presence of direct experience. Through the use of sound and light, Novak explores how these intangible materials can act as catalysts to focus our awareness on our present location in space and time. Novak’s diverse body of works – audiovisual installations, performances, architectural interventions, sound diffusions, recording, and prints – ask participants to reclaim the present moment as a political act.

Novak’s work has been experienced through exhibitions and performance at the Armory Center for the Arts, Pasadena; The Broad, Los Angeles; California Museum of Photography, Riverside; Commonwealth & Council, Los Angeles; de Young Museum, San Francisco; Getty Villa, Pacific Palisades; Hammer Museum, Los Angeles; The Henry Art Gallery, Seattle; Human Resources, Los Angeles; Los Angeles County Museum of Art, Los Angeles; Mutek Festival, Montreal; Norton Simon Museum, Pasadena; San Francisco Museum of Modern Art, San Francisco; Soundfjord, London; Susanne Vielmetter LA Projects, Los Angeles; Tanya Bonakdar Gallery, New York; and The Stone, New York, among others. His recorded sound works have been published by Crónica, Porto; Dronarivm, Moscow; Farmacia901, Berlin; Hibernate, Leeds; Home Normal, London; LINE Imprint, Los Angeles; Tigerbeat6, Los Angeles; and Touch, London, among others.

As a curator, Novak focuses on creating opportunities for artists and audiences to build communities that otherwise might not exist. This began in 2005 when he re-launched his father’s imprint Dragon’s Eye Recordings with a new focus on limited edition releases by emerging and mid-career sound artists, composers, and producers. Since its re-launch, Dragon’s Eye Recordings has published over 70 editions and has received critical acclaim internationally. In 2012, he became a member of VOLUME, a curatorial collective dedicated to presenting time-based work by emerging and established artists engaged in sound-based practices through performances, concerts, exhibitions, screenings, workshops, and publications.

Novak has participated in numerous artists residencies including the The Jental Artist Residency, Sharidan, Wyoming; The Mountain School of Arts, Los Angeles; The Taliesin Artist Residency, Spring Green, Wisconsin; and The Touch Mentorship Programme, London, among others.

In recent years, Novak has collaborated through select installations, performances and recorded works with Johanna Breiding, Rebecca Bruno, Richard Chartier, Robert Crouch, Rafa Esparza, Taisha Paggett, Fabio Perletta, and Alex Schweder, among others.

id="post-2661" class="post-2661 post type-post status-publish format-gallery hentry category-artists tag-attilio-novellino post_format-post-format-gallery" Attilio Novellino

Attilio Novellino is an Italian sound artist born in 1983.

By using analog and digital instruments, field recordings, harsh distortions, samples and white noise, he aims to build a psychoacoustic and chaotic dimension around the subtle perception of the “feel”, that has been called a “dronegaze”.

Over the last years, Novellino has released solo albums for Valeot (Au) and Small Doses (USA) and he has contributed to many projects focuses on drone, ambient and field-recording from a range of international labels, such as Crònica (POR), Basses Frequences (Fr), Consouling Sounds(Be), Futuresequence (USA).

His new LP will be released by IDEA Records (USA) during 2016. He has promoted collaborative works focused on field recording, soundscape composition – Ephre imprint (UK), Crónica (Por), Oak (It) – and on avant/electronic sounds, recording albums with amazing musicians like Rob Mazurek, cornetist-improviser, founder of Chicago/Sao Paulo Underground, Tim Barnes, a widely recognized drummer-percussionist-art curator and The Great Saunites, heavy-psych italian band.

Novellino has performed solos set in places like Rhiz in Wien, Madame Claude in Berlin and The Burlington in Chicago, Dal Verme for Thalassa Festival, Palazzo Ghisilardi in Bologna for IMAGO Festival, parco di Guidino for Les Digitales Festival,

L’Asilo (Naples) with Saverio Rosi as a duo, Flussi Festival (Avellino), Farm- Interferenze (Tufo), Zanne Festival (Ctatania), and with Aips Collective at Cafè Oto (London), O’ (Milano), Palazzo Strozzi (Firenze).

He has joined Alberto Boccardi’s project Sanlupo, for choir, cello and electronics, in collaboration with Nicola Ratti, Matto Bennici and the Antonio La Motta Chorus , that premiered on November the 17th, 2012 in the unique setting of the former Oratory Sanlupo, Bergamo, for the “Invisible Show” series.

He has released two studio album as Sentimental Machines, on Laverna (It) and Dronarivm (Rus). In 2103, the jury of PIARS – Sonic Arts Award – composed by David Toop, Gunter Muller, Rhodri Davies has awarded the first prize to Novellino/Panico/Rosi for the experimental music composition “Black Sand”. “Black Sand” was also transmitted at the Sweet Thunder Music Festival in San Francisco on April 2014 curated by Tom Erbe, one of the most sought after and respected sound engineers for contemporary music and the programmer of the “SoundHack” software.

From October the 5th to November the 30th Novellino’s work Lost Days has been used for sound installation, through a wireless headphones diffusion, into art space called Cecilia in Tito (PZ).

From 2013 to 2016 Novellino has run Discreetrecords, a label focused on free electronic, avant end improv sounds. and he is member of AIPS (Archivio Italiano Paesaggi Sonori), a collective of Italian sound-scapers. He is co-coordinator for AudioPath, electro-acoustic italian musicians’ community.

id="post-937" class="post-937 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-fabio-perletta post_format-gallery" Fabio Perletta

Fabio Perletta (b. 1984) is a sound/installation artist and curator living and working in Berlin, Germany. He creates immersive auditory fields which engage listeners to experience intimate and meditative states. He uses sound as a vehicle for conceptual investigation and sensorial stimulation, exploring the intersection between different yet complementary areas such as science, psychology and human perception. Through an extensive study of Zen practices and quantum physics’ theories, he combines notions of minimalism/limit, presence, entropy and visible/invisible. His research delves into the inter-relationship between noise and silence, revealing a complex approach to the sound matter.

His works have been exhibited across Europe, Asia, North/South America and Africa at electronic music festivals and art spaces through live performances, sound diffusions, sound/light installations and audiovisual concerts.

In September 2014, the audiovisual project Mirror Neurons initiated with sound artist France Jobin and xx+xy visuals was screened as a world premiere at A×S / ak-sis / Festival 2014: Curiosity in Pasadena (US), as part of the Synergetica Screening curated by Robert Crouch. In October 2014, he was invited by BlueProject Foundation (Barcelona, ES) to present the work Field: Atom(s) Entropy in a solo exhibition, curated by Renato Della Poeta, including a series of prints and a multichannel audio-video installation. The sound piece Interstitial Spaces [4.1 version] was presented in the group exhibition “Escuchas / Una selección de arte sonoro actual”, curated by Miguel Isaza at the Museum of Modern Art — Lab3 in Medellín, Colombia, between December 2015 and March 2016. In 2015, he started an ongoing collaboration with Japanese Butoh dancer and contemporary body artist k.a.n.a (Kana Nakamura), featuring the sound works Interstitial Spaces and 秋 不可視 爽やか (aki fukashi sawayaka) in her improvised performances at the legendary Kid Ailack Art Hall in Tokyo, Japan.

Perletta continues to exhibit and perform worldwide. His work has been presented at SoundFjord Gallery (London, UK), Café OTO (London, UK), O’ (Milan, IT), Acud Macht Neu (Berlin, DE), Kissa Sakaiki (Tokyo, JP), 90dB Festival (Rome, IT), E-fest Cultures Numériques (La Marsa, TN), Flussi Festival (Avellino, IT), roBOt Festival (Bologna, IT), Area Gallery (Paris, FR), Museolaboratorio / Ex Manifattura Tabacchi (Città Sant’Angelo, IT), Acusmatiq Festival (Ancona, IT), Krake Festival (Berlin, DE), Auditorium Parco della Musica (Rome, IT), Raum (Bologna, IT), Spazio Cerere (Rome, IT). Over the years, he has collaborated as a curator/musician and shared the stage with the likes of Vladislav Delay, Mark Fell, AGF/Antye Greie, Giuseppe Ielasi, Celer and others.

Perletta’s solo and collaborative recordings have been published by Dragon’s Eye Recordings (US), Yugen Art (IT), Arboretum (DE), Éter Editions (CO), Farmacia901 (IT), Murmur Records (JP), Nephogram (IT), Oak Editions (IT), Ripples (IT), Taâlem (FR) and Stroboscopic Artefacts (DE).

In 2008, he formed his imprint Farmacia901, releasing sound works ranging from experimental electronics to sound art and microsounds. Since its establishment, the label has received critical acclaim and released works by German electronic music pioneer Asmus Tietchens, influential reductionist sound artist Richard Chartier, sound and visual artist Yann Novak and Prix Ars Electronica’s 2014 Golden Nica winner Nicolas Bernier. In 2014, he launched the “Quark: How Does The Invisible Sound?” project in collaboration with Ennio Mazzon. Over 40 sound artists were invited to participate including Marc Behrens, Ken Ikeda, TeZ, Sebastien Roux, @C and Pjusk.

Since 2013, he has been co-working on the Lux project along with Marco Marzuoli, Rossano Polidoro and Carla Capodimonti. They curated several solo and group exhibitions including: “Melancholia: Short Films of James Elaine and William Basinski”, “Topografia del Vuoto” by Thomas Köner and Christina Vantzou’s videos for CODE Festival 2015 at Museolaboratorio / Ex Manifattura Tabacchi (Città Sant’Angelo, IT); “Scalar Field (9a00ff, ff6600, ff0066, fe0000)” by Yann Novak at Dancity Festival 2015 (Foligno, IT); “Interior Field” by Richard Chartier at Parlatoio delle Clarisse for CODE Festival 2015 (Città Sant’Angelo, IT), “Blue.Hour” by Yann Novak at Santa Chiara Church for CODE Festival 2014 (Città Sant’Angelo, IT).

He runs Mote, a Berlin-based interdisciplinary studio co-founded with Davide Luciani in 2014, which operates in the field of visual and sound art. Mote released the art object “frequencies (sound quanta)” by Canadian artist Nicolas Bernier, and continues to design graphic works for noted artists such as Oren Ambarchi, Massimo Pupillo and many more.

He’s a member of AIPS (Archivio Italiano Paesaggi Sonori), where he curates the sound art practice alongside Franz Rosati.

In October 2015, he was artist in residence as part of “Aqua Matrix”, a project initiated by Flussi Festival and hosted by Irpinia Madre Contemporanea. Another residency includes EMS Elektronmusikstudion in Stockholm on December 2015.

His latest collaboration with Japanese sound designer for Pioneer Haruo Okada, titled Genkai 限界, is released by the prestigious LINE imprint.

id="post-380" class="post-380 post type-post status-publish format-gallery hentry category-artists tag-steve-peters post_format-post-format-gallery" Steve Peters

Steve Peters (b. 1959) makes music and sound for various contexts and occasions using field recordings, found/natural objects, electronics, assorted instruments, spoken text, and explorations of acoustic phenomena. His work is primarily engaged with issues of place, presence, perception, attention, and duration. Since 2000 he has concentrated on site-specific installations for galleries, museums, and public spaces, either alone or in collaboration with visual artists. Having retired from solo performance in 2002, he appears occasionally with the Phonographers Union, a loose collective that improvises with unprocessed field recordings. Since 1989 he has been the Director of Nonsequitur, a non-profit org currently presenting concerts of adventurous music and sound art at the Good Shepherd Center Chapel in Seattle.

id="post-381" class="post-381 post type-post status-publish format-gallery hentry category-artists tag-tomas-phillips post_format-post-format-gallery" Tomas Phillips

Tomas Phillips (b. 1969) is a composer, novelist, and teacher whose sound work focuses on improvisational performance and minimalist through-composition. He began composing electronic music in the early 1990s, releasing limited edition cd-rs, most notably under the moniker Eto Ami (with Dean King), and has since created music for installations and collaborations in dance and theatre. Labels to release his music include Trente Oiseaux, Line, Non Visual Objects, and Koyuki. Tomas has taught in the disciplines of literature and fine arts at various universities in the US, Québec, and Finland. Having completed an interdisciplinary PhD at Concordia University in Montréal, he currently lives in the US, where he teaches literature at North Carolina State University.

id="post-701" class="post-701 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-pinkcourtesyphone post_format-gallery" Pinkcourtesyphone

Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier.

He is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and Neo-Modernist. Chartier’s minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself.
Pinkcourtesyphone is a more emotional, dare one say musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached.

Pinkcourtesyphone has collaborated with the likes of  Cosey Fanni Tutti, Kid Congo Powers, harpist Gwyneth Wentink, AGF, William Basinski, and Evelina Domnitch. Pinkcourtesyphone’s work has been released internationally on labels including: LINE (US), Editions Mego (Austria), Important Records (US), Dragon’s Eye Recordings (US), Champion Version (UK), Farmacia901 (IT), Boomkat (UK), and IO Sound (Canada).

Chartier’s sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism.

id="post-382" class="post-382 post type-post status-publish format-gallery hentry category-artists tag-tyler-potts post_format-post-format-gallery" Tyler Potts

Tyler is currently working on his masters thesis in architecture at the University of Washington. He is most interested in the events that occur in public space and the history of sounds as they relate to the interpretation and memory of place. The music he makes does not come from a desire to create specific songs but from an impulse to record and document creative expression. There are times when he makes no music at all and times when he makes a song a week.

id="post-708" class="post-708 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-steve-roden post_format-gallery" Steve Roden

Steve Roden is a visual and sound artist from Los Angeles, living in Pasadena. His work includes painting, drawing, sculpture, film/video, sound installation, text and performance.

Roden’s working process uses various forms of specific notation (words, musical scores, maps, etc.) and translates them through self invented systems into scores, which then influence the process of painting, drawing, sculpture, and composition. These scores, rigid in terms of their parameters and rules, are also full of holes for intuitive decisions, failures and left turns. The inspirational source material becomes a kind of formal skeleton that the abstract finished works are built upon.

In the visual works, translations of information such as text and maps, become rules and systems for generating visual actions such as color choices, number of elements, amounts of time and form building.

In the sound works, singular source materials such as objects, architectural spaces, and field recordings, are abstracted through humble electronic processes to create new audio spaces, or possible landscapes. The sound works present themselves with an aesthetic Roden has described as lower case – sound concerned with subtlety and the quiet activity of listening.

Roden has been exhibiting his visual and sound works since the mid 1980′s, and has had numerous solo and group exhibitions internationally, including: Mercosur Biennial Porto Alegre Brazil, Centre Georges Pompidou Paris, San Diego Museum of Contemporary Art, UCLA Hammer Museum Los Angeles, Museum of Contemporary Art EMST Athens Greece, Singuhr-Horgalerie in Parochial Berlin, Center for Book Arts New York, The Kitchen New York, Pomona College Museum of Art, La Casa Encendida Madrid, Susanne Vielmetter LA and Berlin Projects, Studio la Citta Verona Italy, and others. In 2010, curator Howard Fox organized the exhibition “steve roden / in between: a 20 year survey”, which opened at the Armory Center for the Arts in Pasadena, and was accompanied by a full color catalog.

Roden has performed his soundworks at various arts spaces and experimental music festivals worldwide including: Serpentine Gallery London, San Francisco Museum of Modern Art, Walker Art Center, Minneapolis, DCA Dundee Scotland, Redcat Los Angeles, Crawford Gallery Cork Ireland, as well as performance tours of Brazil and Japan. Recent performances include John Cage’s Cartridge Music with composer Mark Trayle at the Norton Simon Museum in Pasadena, and a tribute to Rolf Julius at the Hamburger Banhof Berlin. Since 1993, Roden has released numerous CDs under his own name as well as under the moniker “in be tween noise” on various record labels internationally.

Recent has created numerous site-specific sound works for spaces such as MOCA at the Pacific Design Center in response to a group of paintings by Mark Rothko, the Henry Art Gallery’s James Turrell Skyspace, the Mak center for Art and Architecture/Schindler House in Los Angeles, a live collaboration with Stephen Vitiello in a room of 50 pieces of sculpture by Donald Judd at Chinati, Daniel Libeskind’s Run Run Shaw new media building at City University of Hong Kong, a sound/sculpture/drawing installation for Thomas U. Walter’s 1848 building at Girard College Philadelphia for the Hidden City festival, and a permanent public artwork at Hayvenhurst Park, in West Hollywood California.

In 2008, the Getty Research Center, the Museum of Contemporary Art Los Angeles (MOCA) and Los Angeles Contemporary Exhibitions (LACE), commissioned Roden to direct a reconstruction/reinvention of Allan Kaprow’s seminal performance “18 Happenings in 6 Parts”. Collaborators and participants included: Michael Ned Holte, Simone Forti, Rae Shao-Lan Blum, Steve Irvin, Flora Wiegmann, Stephanie Smith, Elonda Billera, Skylar Haskard, Roy Dowell, Renee Petropoulos, Justin Lowman, Elizabeth Leister, Fran Siegel, Brad Eberhard, Mark Dutcher, Doug Harvey, Steve DeGroodt, David McDonald, Paul McCarthy, Vaughn Rachel, Corel Kaprow, Carol Stakenas, and Martin Kersels

In 2011, the Atlanta based record label Dust to Digital published Roden’s  “I Listen to the Wind that Obliterates My Traces” – a 250 page hardback book containing hundreds of music related photographs from 1860-1930, along with 2 discs of rare recordings of early American music culled from Roden’s archive, and an essay on archives, collecting and listening. The book has received praise from the Los Angeles Times, Chicago Reader, Record Collector, Pitchfork, and others.

From 1979-82 Roden was the lead singer of the Los Angeles Punk band “Seditionaries”. The band performed at numerous clubs and non-club spaces in the Southern California area including the Troubador, Cathay de Grande, T-Bird Rollerdome, Godzillas, HJ’s, LA Press Club, and numerous garages. The band performed with many immortals such as the Damned, TSOL, Sacharine Trust, Minutemen, Alley Cats, 45 Grave, Urban Gorillaz, Social Distortion, Circle Jerks, Adolescents, DOA, Mau Maus, etc.

Roden received his MFA from Art Center College of Design in Pasadena, CA in 1989, and his BFA from Otis Parsons in Los Angeles in 1986. Over the past 15 years he has taught both graduate and undergraduate courses at numerous Southern California institutions including: UCLA, Art Center College of Design, Otis College of Art, Claremont Graduate University, UC Santa Barbara, Cal State Long Beach, and others. He has lectured and/or been a visiting artist at numerous universities including: Harvard, Columbia College NY, University of Illinois Chicago, University Southern California, Cal Arts, San Francisco Art Institute, University Texas Austin, Virginia Commonwealth University, and others.

Roden’s works are in the permanent collection of the following institutions: The Los Angeles County Museum of Art, Los Angeles, CA; The Museum of Contemporary Art San Diego, San Diego, CA; The Museum of Contemporary Art, Los Angeles, CA; The Henry Art Gallery, Seattle, WA; The Blanton Museum of Art at the University of Texas, Austin, TX; The Palm Springs Museum, Palm Springs, CA; The Pomona College Museum of Art, Pomona, CA; The ASU University Art Museum, Tempe, AZ; The National Museum of Contemporary Art, Athens, Greece.

Roden’s artwork is currently represented through Susanne Vielmetter LA Projects, Los Angeles; and CRG Gallery, New York.

id="post-384" class="post-384 post type-post status-publish format-gallery hentry category-artists tag-kamran-sadeghi post_format-post-format-gallery" Kamran Sadeghi

Kamran Sadeghi (aka Son of Rose) is an artist, composer, and performer who creates sensory environments at the intersection of sound, light, acoustics, and technology. Sadeghi draws from these elements to accentuate time and space, and to play with the awareness that can materialize between their physical properties and the human perception.

Sadeghi has used prepared piano, 12 string guitar, found objects, electronics and sound reactive light and video during performances and gallery exhibitions. Sadeghi describes his sound and video works as “animated graphical scores” in which image and sound are created in tandem through a finely tuned generative process, leaving both sources with the capacity to dictate the outcome of one another. His ongoing work with contemporary dance has made use of the spacialization of sound by playing through up to 12 speakers individually. In 2008 Sadeghi used the inside of a defunct nuclear cooling tower as a resonant chamber, amplifying and reshaping his sounds for a final composition.

Kamran Sadeghi’s work has received critical acclaim in publications such as The Wire Magazine, Signal To Noise, e/i and several international online publications. Sadeghi’s performances, collaborations and installations have been experienced at the Henry Art Gallery (Seattle), ICA (Boston), Diapason Gallery (New York), 4Culture (Seattle), Staalplaat (Berlin), Decibel Festival (Seattle), DTW (New York), Corcoran Gallery of Art (DC), RAM (Rome), SICMF (Seoul) and others. Kamran Sadeghi currently lives and works in New York City.

id="post-2685" class="post-2685 post type-post status-publish format-gallery hentry category-artists tag-sec_ post_format-post-format-gallery" SEC_

SEC_ is one of the new talents of italian electro-acoustic music. Improviser and composer, he tries to drive the musique concrète in a new dimension, open to the darkest power electronics as well as to the research on feedback devices. His main instrument is the reel-to-reel recorder Revox, that he uses to warp different sound materials, creating unpredictable and grotesque joints, full of cuts, blasts and deep sounds. Continuously trespassing the borders between analog and digital, structured and improvised, narrative and abstract, SEC_ is rather interested in the relation between physicality of sound (and the generation of it) and what we can maybe still call “musicality”.

SEC_ runs active collaborations with musicians like Jerome Noetinger (“Testacoda” LP), Mario Gabola (Aspec(t) duo), Dave Phillips (“Medusa” CD), Olivier Di Placido (“Rainbow Grotesque” LP), Ken Vandermark (Rara Avis band), Dario Sanfilippo (“Fame D’Aria” CD), Andrzej Zaleski (“Droga” CD), Andy Guhl, Francisco Meirino, Evil Moisture, Scott Sinclair (releases upcoming). He has played concerts all around Europe in many kind of venues as well as in festivals such as: L’Audible (Paris), All Ears (Oslo), Cable (Nantes), Flussi (Avellino), Akouphene (Geneve)…

He has released five solo albums and many collaboration albums and has received commissions for works from L’Audible festival (Paris), CSW (Warsaw) and Kunstradio broadcast (Wien). His piece “Outflow” has been rewarded with the PIARS prize in 2013.

id="post-383" class="post-383 post type-post status-publish format-gallery hentry category-artists tag-shinkei post_format-post-format-gallery" Shinkei

David Sani (Shinkei) was born in 1968 in the heart of Tuscany, Siena. In 2000 he started Microsuoni, mail-order and distribution of sound-art, focused mainly on minimalism in all its forms. After the encounter with composer Luigi Turra in 2008, they founded the Koyuki label, devoted to publish lowercase and minimal sound compositions in limited edition cds or digital downloads.

The debut of the label coincided with the first Shinkei cd release “Binaural Beats” a split with canadian artist Philip Lemieux. Other recent works are “Biostatics” for the Transparent Radiation series on Bremsstrahlung, “Hidamari|Metrics” a split release with FOURM, and the first collaboration with Turra, YU for the austrian NonVisualObjects label.

id="post-2504" class="post-2504 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-geneva-skeen post_format-gallery" Geneva Skeen

Geneva Skeen is an interdisciplinary artist working in Los Angeles. Influenced heavily by écriture féminine, alchemical metaphors, and a mix of musical traditions ranging from holy mysticism to industrial, Skeen composes primarily with field recordings, digital presets, and mixed voice and instrumentation. Her current work is focused on the contrast between facing the finite resources of the physical landscape and its infinite digital representations. Her solo and collaborative works have been performed or presented at the Los Angeles County Museum of Art, on the rooftop of The Standard Hotel in downtown Los Angeles, and on the façade of the Armory building in Long Beach, California, amongst others. She recently released her debut on Dragon’s Eye Recordings (Dark Speech) and will produce new projects for Land And Sea editions and Crystalline Morphologies in 2017. She is a member of VOLUME, a curatorial collective focused on sound-based practices.

id="post-557" class="post-557 post type-post status-publish format-gallery hentry category-artists tag-son-of-rose post_format-post-format-gallery" Son of Rose

kamran sadeghi’s son of rose project began in 2000 by combining traditional instruments with real-time computer synthesis. the latest releases “all in” and “divisions in parallel” were recorded live using resonant frequencies from a grand piano along with live electronic manipulation. son of rose has performed through out the united states as well as shows in canada and europe. the son of rose live performances are generally unique to each concert setting. recordings and performances have received critical acclaim in publications such as the wire, signal to noise, and e/i.

id="post-385" class="post-385 post type-post status-publish format-gallery hentry category-artists tag-sublamp post_format-post-format-gallery" Sublamp

Sublamp is los angeles based artist ryan connor. Born in 1979, ryan was raised by scientist parents living in and amongst various national parks before settling in the rocky mountains. This early connection with nature and science led to a fascination with the textures of growth and decay, and with the cognitive abilities and instincts of animals (including humans). This is evident in his sound work, which explores an intuitive and emotional response to sound and the concept of consciousness without language. Relocating to los angeles to attend the california institute of the arts in 2000, ryan also began to experiment with short video work exploring recursive image generation (video rescan) and the relationship of images to sound.

id="post-386" class="post-386 post type-post status-publish format-gallery hentry category-artists tag-luigi-turra post_format-post-format-gallery" Luigi Turra

Luigi Turra (b. 1975) is a composer and graphic designer. His main interest is in the aural balance between silence and tactile perception of sound.

Trough the manipulation of concrete and acoustic sources, he develops acoustic paths in which listeners experience continuous pauses and subtly abrasive sound tensions. Starting from the capture of small sounds and noises, Luigi Turra creates pieces of music, that are references to beauty of the imperfection.

His work is published from labels such as Non Visual Objects (AT), and/OAR (US), Koyuki (IT), White Line (UK), LINE (US), Dragon’s Eye Recordings (US), Trente Oiseaux (DE) and Farmacia901 (IT).

id="post-387" class="post-387 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-stephen-vitiello post_format-gallery" Stephen Vitiello

Stephen Vitiello is an electronic musician and media artist. His sound installations have been presented internationally including the 2002 Whitney Biennial, the 2006 Biennial of Sydney (with Julie Mehretu), the Marfa Sessions (with Steve Roden) and on the High Line in NYC. CD releases include Bright and Dusty Things (New Albion), Listening to Donald Judd (Sub Rosa), Four Color Sound (Texas Gallery), Box Music (with Machinefabriek) (12k), The Gorilla Variations (with Molly Berg) (12k), Stephen Vitiello – Soundtracks DVD (SMTG) and The Sound of Red Earth (Kaldor Public Art Projects). Originally from NY, Stephen is now based in Richmond, VA where he is on the faculty of Kinetic Imaging at Virginia Commonwealth University.

id="post-2580" class="post-2580 post type-post status-publish format-gallery has-post-thumbnail hentry category-artists category-featured tag-wndfrm post_format-gallery" wndfrm

wndfrm is Tim Westcott, a musician and sound artist currently based in Portland, Oregon. Tim’s atmospheric soundscapes are characterized by heavily processed field recordings, tones, drones, abstract percussive elements, a wide dynamic range and an inquisitive, patient ear.  His recordings have been shared on a handful of boutique imprints over the last few years including Home Normal, Prologue and Truth Or Consequences.

id="post-357" class="post-357 post type-post status-publish format-gallery hentry category-artists tag-simon-whetham post_format-post-format-gallery" Simon Whetham

Simon Whetham has been capturing and composing with field recordings since taking part in a research trip to Iceland in 2005.

Since then he has been gaining a steadily increasing profile: exhibiting in Iceland; recording in the Amazon Rainforest of Brazil; performing at a large number of festivals and events, both nationally and internationally; having work accepted for release by labels Trente Oiseaux, 1000fussler, Mystery Sea, Entr’acte, Install, Lens and Gruenrekorder; commissioned by Creative Labs to build a surround sound installation to demonstrate their equipment and software; commissioned by painter Kathryn Thomas to compose a surround soundtrack to accompany her ‘Lightyears’ series of exhibitions; producing radio works for Resonance FM, and Kunst Radio Austria; commissioned to install new work ‘disPLACE’ at The Big Chill festival 2010; and invited to participate in two residencies at the Art Container in Tallinn, Estonia, the second to compose new work, collaborate with other artists using sound and run deep listening, field recording and composition workshops.

This residency has resulted in ‘Active Crossover’, a touring exhibition and exchange project which has been hosted by the Arnolfini in Bristol and The Grey Area in Brighton, incorporating a large scale sound installation in two sonically treated chambers. The exhibition also features performances by Simon and a number of invited guest artists, such as John Grzinich, Iris Garrelfs, Jez riley French, Douglas Benford, Daniel Jones and Dylan Nyoukis, as well as presentations and workshops.

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