SIGNAL PATH: The Present and Future of SOUND and NOISE [or, Fury]

turbulence

‘Focusing and defocusing of a signal passed through a random turbulent atmospheric medium.’

SIGNAL PATH: The Present and Future of SOUND and NOISE [or, Fury]
Friday, May 30, 9 AM- 5PM
T. Lang Conference room, 55 West 13th Street, second floor, New York City
Free and open to the public

SPEAKERS / PERFORMERS
Elliott Sharp, Perry Hall, Joe Ravo, Eldritch Priest, Marc Couroux, Quinn Dougherty,
Brendan Byrne, Joe Saavedra; Danil Nagy, Lisa Ekle, Yuval Borochov;
Punctum Records Artists: Roger Sellers, Topher Sipes, Andrew Stevens

[speaker bios: https://www.facebook.com/events/475157329283875/permalink/484687074997567/ ]

ORGANIZERS/HOSTS
CTM: Ed Keller;  Punctum Records/Books: Eileen Joy, Dan Rudmann
SYMPOSIUM OVERVIEW
What is the signal path- the ‘information flow’ through ‘instruments’? What models and disciplines might be useful to invoke when asking this question?  Looking to computation, the way that memory is articulated is illustrative of the specific challenges faced when we contrast a more static form of storage, such as a flipped bit [or a printed page]- against a more dynamic form, such as delay line memory, a 1950s technology that used sound waves propagating through tubes of mercury. These examples underscore what might be at stake when we translate theories of noise to the sonic disciplines, and musical and sonic concepts to disciplines as diverse as geology, economics, material science, architectural design, and geo-politics.

This symposium offers an invitation to explore the space of research and practice in sound that is keenly attuned to the value of ‘noise’.  The intention is to reveal approaches both pragmatic as well as platforms theoretic,  across the political/arts/sciences spectrum. We ask: what kinds of exchange exist between these domains, and what evidence can be offered to ‘prove’ the existence of those exchanges? How can we re-imagine our concepts and definitions of ‘noise’ to suit the unique geo-bio-political situation we find ourselves in today?

SUGGESTED THEMES [a partial list]
Pragmatics: evidence from designers, builders, software makers, players, composers working with      noise.
Noise and various forms of cryptomorphology situated against the potentially monotonic nature of various forms of temporality/capital [see Pasquinelli's work on entropy]
• Models of different kinds of noise/time to re-situate sound practice, performance, composition
• Role of noise in cybernetic models of emergent and complex systems
Theoretical component- study of examples [both inside and outside music] who are thinking this through.
Parallels [apophenias] between concepts found in the discipline of cryptography, and sounds and patterns in the resonant world.
How does sound and noise manifest through geologies and geographies- thinking the post human;  large time scales in relation to sound; deep time recording and industrial landscapes [Andy Weir].

VENUES
The New School T. Lang Center, 13th Street: SIGNAL PATH all day event
https://www.facebook.com/events/475157329283875/

Wollman Auditorium, 11th Street, Punctum Records evening event
https://www.facebook.com/events/640671442654124/

 

mercury

CHALLENGE CONCEPT [an OBLIQUE STRATEGY]:

“To give the statement life and colour, let me anticipate what will be explained in much more detail later, namely, that the most essential part of a living cell- the chromosome fibre may suitably be called an aperiodic crystal. ” Schrodinger, ‘What is Life?’, 1944

“The principal internal storage in the Univac I system is the 1000-word acoustic delay-line memory, consisting of 100 10-word mercury registers. Twelve additional 10-word registers function as intermediate storage for input and output; six more are spares. With modified circuitry, seven more channels control the temperature of seven mercury tanks, and one more channel is used for the 10-word Y- register. The total of 126 mercury channels is contained in the seven mercury tanks mounted on the backs of sections MT, MV, MX, NT, NV, NX, and GV. Each tank is divided into 18 channels. Physically, each of the 10-word register circuits is made up of three sections:

_ The acoustic delay, consisting of a channel in a column of mercury, with receiving and transmitting crystals mounted at opposite ends.
_ An intermediate-frequency (i-f) chassis, electrically connected to the receiving crystal, and containing amplifiers, a detector, and a compensating delay. The i-f chassies are mounted on the shell of the mercury tank which they serve.
_ A recirculation chassis, containing a cathode follower, a pulse former and retimer, a modulator, which drives the transmitting crystal, and input, clear, and memory-switch gates. These chassies are mounted in the sections adjacent to the mercury tanks.”
http://ed-thelen.org/comp-hist/vs-univac-mercury-memory.html

ABOUT THE EVENT
On May 30 2014, CTM presents two events engaging sound in both the performative and theoretical dimensions.

_ ‘SIGNAL PATH- The Present and Future of Sound and Noise [or, Fury]‘, a one day symposium
_ ‘The Lost Weekend’, an evening of performances with Punctum Records

The SIGNAL PATH symposium is part of a year long CTM series, ’The Future of Guitar and Instrument Design’, that has brought internationally renowned luthiers, designers, builders, materials innovators, composers, performers, theorists, and sound designers together to explore points of connection between the traditions of musical instrument design and sound production. A full day symposium will include scholarly presentations, research papers, and instrument demonstrations; informed by materials science, emergent materials, parametric design, the internet of things, physical computing, networked sound, and ultimately considering the politics of ‘noise’.

‘The Lost Weekend’, an evening event with Punctum Records. will provide an opportunity for performance by symposium participants, and showcase some of Punctum Records’ artists:
Marmalakes, Taft, Battle Bend, Bridges, Roger Sellers, and David Moss; for the full ‘Lost Weekend’ lineup and program/venues: http://www.punctumrecords.com/lostweekend/
CTM and Punctum Books/Punctum Records formed an imprint/event partnership in 2013.
For more information on the books and recordings published and forthcoming, and the CTM
Future of Instrument Design lecture/performance series, please visit:
http://ctm.parsons.edu/the-future-of-guitar-and-instrument-design/
http://futureguitar.tumblr.com/
http://ctm.parsons.edu/publications-2/publications/
http://punctumbooks.com/imprints/
http://ctm.parsons.edu/a-rogue-frequency-book-and-record-launch/

 

Evan Calder Williams: The Sabotage of Life

fantomas humanity beautiful puppet show

 

MANUAL OVERRIDE: THE SABOTAGE OF CAPITAL
4 Lectures by Evan Calder Williams
LECTURE 4: THE SABOTAGE OF LIFE

MAY 14th, the ‘GLASS CORNER’, room E206, 25 East 13th Street, 7.00 PM – 10PM

The last in the series, this lecture tackles the last aspect of sabotage responsible for the century’s worth of attacks on it: its negation of the centrality of “life” as an ideal to organize around and in defense of. Contrary to many of its most recent advocates, sabotage does not suggest the surge of an irrepressible human vital urge against “deathly” mechanisms of capital and state. Instead, it produces a crack in the assumed bond of human-life-work, insists on dangerous collaborations with mechanisms both inhuman and “against life,” and reminds us that only those who insist on the primacy of life itself could support one so unlivable.

Topics include: the birth strike, Neo-Malthusian and otherwise; hostile objects; material feminist urban design; slapstick; unwaged time.

Williams will be in conversation by theorist and artist Hannah Black.

Free and open to the public. Seating is limited, please register on Eventbrite.

http://www.eventbrite.com/e/evan-calder-williams-the-sabotage-of-space-manual-override-lecture-4-tickets-11588885669?aff=efbevent

For more information on Calder Williams’ 2013/14 lectures:
http://ctm.parsons.edu/events/lecture-series/2013-14-fellows-lectures/

 

 

Evan Calder Williams: The Sabotage of Space

gun crazy train smoke lens flare2

MANUAL OVERRIDE: THE SABOTAGE OF CAPITAL
4 Lectures by Evan Calder Williams
LECTURE 3: THE SABOTAGE OF SPACE

APRIL 28, the ‘GLASS CORNER’, room E206, 25 East 13th Street, 7.00 PM – 10PM

 

The qualities that made sabotage one of the twentieth century’s bad words – its cunning, conspiracy with complex apparatuses, invisibility, and “time-release” effect – are not qualities it invented. Rather, they are found in the basic coordinates of that century’s spatial system. If, as the previous talk explored, the history of sabotage is one of drift and diffusion, moving from a specific practice in wage-centered struggles through legal and military codification to a general concept of subterfuge and hostility, it is so only as an index of real changes happening to and through the material networks of capital. This talk considers those networks and changes through the lens of sabotage, focusing in particular on two histories: the Metropolis, both as the large city and as the process of expansion that dissolves the coherence of the city/country divide, and pollution, as an idea giving the West nightmares for a good two millennia and now showing itself inseparable from daily life. Topics include: Kiev’s ice barricades; Doreen Massey’s feminist geography; miasma, blocked signals, and the birds of Antigone; recent digital animation; Deepwater Horizon and the burning ocean; floods of work and water; Piranesi’s serpents; Günther Anders and Massimo Cacciari; the earth’s crust.

The talk will be followed by a response by, and conversation with, Sabu Kohso, a theorist and translator currently researching and writing on the aftermath of Fukushima.

Free and open to the public. Seating is limited, please register on Eventbrite.
http://www.eventbrite.com/e/evan-calder-williams-the-sabotage-of-space-manual-override-lecture-3-tickets-11410835115

For more information on Calder Williams’ 2013/14 lectures:
http://ctm.parsons.edu/events/lecture-series/2013-14-fellows-lectures/

 

Post Planetary Capital Symposium

logo
Sunshine, Boyle

Post Planetary Capital Symposium
Monday, March 24, 2014 from 9:00 AM to 9:30 PM (EDT)
Schedule of panels TBA
Wollman Hall 66 West 12th Street 5th floor   New York, NY
Free and open to the public. Seating is limited-please register:
https://www.eventbrite.com/e/post-planetary-capital-symposium-tickets-10521234295

As the dull glow of nationalism and cold war politics has faded from governmental space programs it is little surprise that space exploration has undergone widespread privatization.
Yet it is only recently that potentially massive profitability has accelerated off-planet projects, replacing narrower and perhaps unrealistic dreams of space tourism with asteroid mining (purportedly a multi-trillion dollar industry) and long term Mars colonization. Such projects present an odd combination of new technologies (especially advanced robotics) and lower cost older technologies (rocket propulsion) deployed in unfamiliar and lawless territory.

While much has been said regarding the internal limits of capital, much yet remains to be said about how capitalist imperatives can be taken off-world, questioning whether capital[ism] has external limits as it begins to spread across the solar system and out into space. Is the fact that asteroid mining extends an old logic of environmental degradation rendered moot by its non-terrestrial location? Does off-world colonization by non-governmental entities lay troubling ground work for the advent of mega-corporations and unregulatable capitalism?

Furthermore, the complicity between capitalist expansion and space exploration which centers upon large-scale collective action potentially questions stock oppositions between capital and ecological betterment, technological progression and radical politics, as well as space travel and non-national collectivity. This one day symposium aims to address the potential strategies and claims surrounding these issues.

- Ben Woodard, Ed Keller

PARTICIPANTS
Julieta Aranda [artist / editor of eflux journal]
Amanda Beech [CalArts]
Kai Bosworth  [UMN]
Benjamin H. Bratton [DGP/UCSD]
Ed Keller [CTM/Parsons]
Deneb Kozikoski [Columbia]
Carla Leitao [RPI/Pratt]
Geoff Manaugh [Gizmodo/BLDGBLOG]
Rory Rowan [Wageningen University, The Netherlands ]
Keith Tilford [New School]
Ken Wark [New School]
Ben Woodard [University of Western Ontario]
Kazys Varnelis [Columbia Univ. GSAPP]

Additional speakers TBA

Encoded Matter: Ezio Blasetti lecture

encoded

Encoded Matter, Ezio Blasetti
March 17, 6.30 PM
Klein Conference room [510], 66 W 12th St, New York, NY

This lecture will reflect upon computational craft that creates consistency and precision within formal explorations.  Material constraints can be consciously redefined through pattern and code, which incubate a search for progressive manufacturing methods. Pure algorithmic design encapsulates the potential for new patterns, which manifest around generative procedures and scripted logic. This abstract material logic embodiment enables an engagement with the complexities of organizational space. ‘Encoded matter’ attempts to draw a parallel between material behavior, emergence in simple software and spatial narratives.

Ezio Blasetti, registered architect TEE-TCG, is the co-founder of maeta design (2011), ahylo studio (2009), apomechanes (2009) and algorithmicdesign.net (2008). Ezio’s recent collaborations include new-territories, biothing, acconci studio, a|Um studio and serge studio. He has taught generative design studios and seminars by means of computational geometry at Pratt Institute, the Architectural Association, Sciarc, RPI, UTS, PennDesign and Columbia University. In 2004 he co-founded otn studio, a young design-build practice and completed several projects in Greece. His work has been exhibited and published internationally and is part of the permanent collection of the Centre Pompidou.

Free and Open to the Public- seating is limited, please register at Eventbrite
http://www.eventbrite.com/e/ezio-blasetti-encoded-matter-future-of-guitar-design-lectures-tickets-10754002511?aff=efbevent

Function: Decomposition, Localization, Abstraction- Brassier & Negarestani

functions_small
Function: Decomposition, Localization, Abstraction

Speakers: Ray Brassier, Reza Negarestani
March 25, 2014, 6:30pm

Although principally associated with a thesis in the philosophy of mind, functionalism has wide-ranging ramifications. The concept of “functional role” or “functional organization” ties together a metaphysical problem about the basis of the distinction between matter and form, an epistemic problem about how to distinguish semantic content from physical information, and an engineering problem about the relation between structural and functional properties.

This workshop will try to unravel the metaphysical, epistemic, and engineering aspects of functionalism by developing themes from the work of philosophers including William Bechtel, Robert Brandom, Wilfrid Sellars, and William Wimsatt.

Date and Time: March 25, 2014, 6:30pm
Location: Wollman Hall, The New School
66 West 12th Street  New York, NY 10011

This is a free event and open to the public.
Seating is limited: please order tickets via Eventbrite.

MANUAL OVERRIDE: THE SABOTAGE OF CAPITAL

pale-flower-clock2

MANUAL OVERRIDE: THE SABOTAGE OF CAPITAL
4 Lectures by Evan Calder Williams

Lecture 2: THE SABOTAGE OF TIME
March 10, 7 PM – 10PM
E206 Glass corner conf. room  25 East 13th street, 2nd floor
Free and open to the public. Seating is limited: please register on Eventbrite.
https://www.eventbrite.com/e/evan-calder-williams-manual-override-lecture-2-the-sabotage-of-time-tickets-10660867943

This lecture examines one of sabotage’s central qualities and a primary cause of its frequent demonization throughout the last century: its peculiar timescale. This is a mode of time fundamentally opposed to the identity of subject and act that underpins any representational politics, be it voting or street protests. In place of that, sabotage suggests making use of the very paths and delays of circulation. By the time the damage is discovered, no one source can be found, because the commodity, technique, or idea has already routed through the world in the name of capitalizing on uneven zones of wealth and resource. It is a failure without an author. Running counter to the very idea that one should stand up and be counted, sabotage hijacks the time of circulation and arms it against itself. Topics considered include: friction, feedback, and hoards; Veblen on competition and dog-owning; Castoriadis, Simondon, and Stiegler on technical time; steamship ruins in the Bermejo River; supply chains; Ballard; cunning and speed; pipes that go nowhere.

_____________

An overview of all four of Calder Williams’ talks: 

http://ctm.parsons.edu/events/lecture-series/2013-14-fellows-lectures/

 

The Future of Guitar and Instrument Design

2013-14 CTM Lecture, workshop and performance series
TrueTemp

In 2013-14, CTM presents a series of lectures, workshops, & performances focusing on the cutting edge present and future of guitar and instrument design. Organized and coordinated by Ed Keller, and co-sponsored by Mannes School of Music, the series functions as a platform to build cross divisional collaboration at The New School, and opens exclusive external collaborations. Internationally renowned luthiers, designers, builders, materials innovators, composers, performers, theorists, and sound designers come together to explore points of connection between the traditions of musical instrument design and sound production, and new forms of design thinking facilitated by materials science, emergent materials, parametric design, the internet of things, physical computing, networked sound, and the politics of ‘noise’.

In the spring of 2014, our guests include guitarist/teacher/technologist Joe Ravo, architect, designer and coder Ezio Blasetti, luthier Michihiro Matsuda, luthier Florian Vorreiter, and more TBA.  Guest performances and workshops will be linked to the lecture series via our spring Collab course ‘The Radical Future of Guitar‘.

In the fall of 2013, our first guests in this project included some of the most internationally recognized and innovative guitar designers of recent decades: Ken Parker, Ned Steinberger, Ola Strandberg, and Gary Lee. Each lecture was accompanied by panel discussions, performances and demonstrations by internationally acclaimed artists including Allan Marcus, Charlie Hunter, Fred Hand, Charles Yang, Barry Salmon, Dom Minasi, & Ratzo Harris. Theorists and performers speaking on the current and future envelope of instrument design join these events; Martin Rosenberg was our guest in December in this capacity.

SPRING 2014 EVENT DATES:
Joe Ravo: March 3, 6.30PM, Klein conf. room 510, 66 West 12th Street, NY NY
Ezio Blasetti: March 17, 6.30PM, Klein conf. room 510, 66 West 12th Street, NY NY
Michihiro Matsuda: date TBA
Florian Vorreiter: date TBA

 

LECTURERS and GUESTS in the series:

ezioEzio Blasetti, registered architect TEE-TCG, is the co-founder of maeta design (2011), ahylo studio (2009), apomechanes (2009) and algorithmicdesign.net (2008). He has taught generative design studios and seminars at Pratt Institute, the Architectural Association, Sciarc, RPI, UTS, PennDesign and Columbia University.  His work has been exhibited and published internationally and is part of the permanent collection of the Centre Pompidou.

 

joe-ravo
Joe Ravo
A native New Yorker, Joe has performed with jazz greats Dave Brubeck and Stanley Turrentine and worked in the orchestras of various hit Broadway shows including, A Chorus Line, 42nd Street, Secret Garden, City of Angels, and Dancin’. As the guitarist of Johnny Rodgers Band (JRB), Joe has toured around the globe as a cultural ambassador for the United States. When MIDI (Musical Instrument Digital Interface) was introduced, Joe exploited his engineering background to develop software for Korg USA as a contract programmer. As well as serving as director of technology for Mannes College the New School for Music since 2000, Joe is currently on the faculties of the music conservatory’s preparatory and extension divisions.

 

matsudaJazzGtr

Michihiro Matsuda
Pairing traditional woodworking skills with an innovative sense of design and construction, Matsuda builds around ten to twelve guitars each year at his lutherie studio in Oakland California. His instruments integrate fine materials with organic shapes and graceful lines.

 

 

 


florian

Florian Vorreiter
The emphasis in Florian’s work is on traditional construction methods and state-of-the-art knowledge from research as well as elaborate measuring procedures (Chladni-modes, FFT-Analysis, deflection measurements). The unique sound of Vorreiter-Instruments is accomplished by combining intuition and scientific procedures.

 

 

 

 

KenAndYoYoFINAL

 

Ken Parker Currently building world class, innovative jazz archtop guitars in his personal shop Ken Parker Archtops, Parker was the founder of Parker guitars in 1991, a company which developed radically innovative electric guitars utilizing cutting edge manufacturing and materials.

 

 

 

 

ned

Ned Steinberger Today designing and building both electric classical bowed instruments and electric guitars and basses with his company NS Design, Steinberger was renowned in the 1980s for his use of carbonfiber in his eponymous Steinberger ‘headless’ guitars and basses from that period.

 

 

 

 

ola

Ola Strandberg’s line of ergonomically designed instruments extrapolate the design ideas seen in other ‘headless guitars’, and his innovations in neck profile design, CNC milling, materials, fanfret and tempered fretboards- as well as Creative Commons licensing much of his design work- make him one of the most exciting designers/builders today. CTM & Parsons will be partnering exclusively with Strandberg in Spring 2014 in a collab course studying the ‘Radical Future of Guitar’.

 

 


Gary Lee
Trained as a research scientist with a Ph.D. in biochemistry,
in 2007 Gary launched Lee Guitar Works and the transition to building guitars full-time. Gary’s research background inspires creativity, thoughtful design and exacting execution. His handcrafted classical guitars incorporate the best of traditional design with contemporary features such as adjustable-action necks, elevated fingerboards, double top laminate soundboards, bridges with 12-hole tieblocks, and rigid sides with solid linings for excellent projection.

 

As part of the series, CTM  presents theorists and performers speaking on the current and future envelope of instrument design.

Martin
Martin E. Rosenberg wrote his dissertation on the cultural work across the arts of the scientific concept of “emergence,” beginning with Henri Poincaré, Henri Bergson, and Marcel Duchamp, and ending with Gilles Deleuze and Félix Guattari, Ilya Prigogine, Francisco Varela and Thomas Pynchon.   He recently published on emergent behaviors, visible in music notation, in jazz improvisation and composition, and currently researches the cognitive neuro-science of improvisers. Originally trained in jazz composition at the Berklee College of Music, he has returned (after thirty years) to performing in the Pittsburgh area.

 

 

What Is At Stake With Ergonomics in Guitar Design

Rosenberg

What Is At Stake With Ergonomics in Guitar Design:
Fretboard Cognition, Embodiment, Collective Intelligence

Kellen Auditorium, Parsons The New School for Design
66 Fifth Avenue, New York, NY
Monday, December 2, 2013       7.00pm until 10.00pm
Free and Open to the Public
Seating is limited: Please register on Eventbrite
http://www.eventbrite.com/event/9125818569/efbevent

Dr. Martin E. Rosenberg
Ratzo Harris–Bass     Dom Minasi–Guitar
Ed Keller, Director, CTM—Respondent

This talk seeks to use as a point of departure the question of ergonomics in guitar design, or, how the body couples with an instrument, to reflect on the neuroscience of musical performance during improvisation.  By shifting attention away from the instrument to the player, we can reflect on how processes within the brain and body enable the performance of music on the guitar.  I wish to focus on jazz improvisation, because the specific training in spontaneous composition required for it, which can be applicable to other musical genres, places the greatest demands upon the player.  Contemporary research in cognitive science, and more specifically in the neuroscience of musical listening and performance, give us new ways to think about fretboard cognition as both top-down and bottom-up cognitive performance.  Paradoxically, practicing and performing jazz requires both unerring precision and maximum flexibility.  During preparation, it requires meticulous visual mapping of pathways onto the fretboard, which, through diligent practice, form internal schema and proprioceptive memories involving fretting and plucking strings, to instigate performance.  During performance, it requires precipitous decisions beneath the threshold of awareness by which one of any number of internal schema and corresponding proprioceptive actions might be enacted from one instant to the next.  I call these two stages top-down “Projective Apprehension” and bottom-up “Proprio-Sentience.”  Finally, while examining the emergent neuronal behavior within the individual during the performance of jazz, we must also confront how the feedback loops between the individual and the ensemble during performance can alter the individual’s choices as well as the ensemble’s musical trajectory. This reciprocity mimics emergent neuronal behavior at a larger scale.  The guitar fretboard, and its cognition, becomes the circumstance by which we may inquire into an embodied form of collective intelligence at work.  With the help of guitarist Dom Minasi and bassist Ratzo Harris, we will demonstrate both “projective apprehension” and “proprio-sentience,” and offer “conventional” and “free” jazz performances that will, through a concluding panel discussion, enable us to muse on the relationship between embodiment and collective intelligence that begins with the cognition of pathways onto the fretboard of a guitar cradled in the arms of a player.
* * *

Martin E. Rosenberg wrote his dissertation on the cultural work across the arts of the scientific concept of emergence, beginning with Henri Poincaré, Henri Bergson, and Marcel Duchamp, and ending with Gilles Deleuze and Flix Guattari, Ilya Prigogine, Francisco Varela and Thomas Pynchon. He recently published on emergent behaviors, visible in music notation, in jazz improvisation and composition, and currently researches the cognitive neuro-science of improvisers. Originally trained in jazz composition at the Berklee College of Music, he has returned (after thirty years) to performing in the Pittsburgh area.

Ratzo Harris, one of the worlds few six-string upright bassists, has had a stellar career as a jazz performer, composer, educator and journalist. His forty-year career as a performer includes recording and touring with Joe Henderson, Kenny Werner, Mose Allison, Joe Lovano, Bobby Hutcherson, Charles Lloyd, Jim Pepper, Bob Moses, Joanne Brakeen, Arturo OFarrill, Betty Carter, Karl Berger, Lee Konitz, Jane Ira Bloom, Dave Liebman, and many, many others. His compositions have been recorded by pianist Kenny Werner, trombonists Bob Brookmeyer and Ed Neumeister, and guitarists Bruce Arnold and Royce Campbell, among others. Additionally, he has many performances and composing credits in film and television, as well as dance recitals. Harris has taught at many colleges and universities in Europe and the United States, including Rotterdam University and the University of Ludwigsburg, the New School for Jazz, New York University, the Manhattan School of Music, Berklee College of Music, Indiana University and Rutgers University. Although a high school dropout, he earned his Masters Degree from Rutgers in Jazz History under Coltrane biographer Lewis Porter, and is now considered an important emerging scholar. He currently writes a widely-acclaimed blog for NewMusicUSA, which appears every Friday: http://www.newmusicbox.org/articles/a-bird-uncaged/.

Dom Minasi has been a professional jazz guitarist, educator and composer for fifty years. Largely known as an avant-gardist who leans outside, Minasi began his career as a mainstream jazz guitarist who worked with such luminaries as Arnie Lawrence, George Coleman, Frank Foster, Jimmy Heath and Dave Brubeck, and recorded several albums as a leader with Blue Note Records. Parallel to his performing career, Minasi has taught thousands of students, published a number of music education books for both guitar and voice, and, in conjunction with his work teaching song writing to youngsters through Young Audiences New York, has composed over three hundred children’s songs. Inspired by the work of Roger Kellaway, Minasi began serious study of composition, contributing significantly to M.I.C.E. (Manhattan Improvisational Chamber Ensemble), which specialized in “through-composed” music with improvisation. He continues to compose all the music for his various current ensembles. He and his wife Carol Mennie formed CDM Records, and Minasi became a fixture in the avant-garde community with his acclaimed album Takin The Duke Out: Live at the Knitting Factory (2001), which was followed by several others. In 2006 his most ambitious release in two discs, The Vampires Revenge, was highlighted by a number of European and American journalists as one of the best recordings of 2006. Since 2006, he has released albums on re:KonstruKt Records: Dissonance Makes The Heart Grow Fonder (2009), The Bird, The Girl and the Donkey (2010); followed by a solo effort Looking Out/Looking In. Nacht Records released Synchronicity (2011), with Creative Music Studio founder Karl Berger on vibes and piano, and he awaits the imminent release of a double disc of improvisations with Anthony Braxton, called A Moment in Time.

In 2013-14, CTM presents a series of lectures, workshops, & performances focusing on the cutting edge present and future of guitar and instrument design. Co-sponsored by Mannes School of Music, functioning as a platform to build cross divisional collaboration at The New School, and opening exclusive external collaborations, this series will bring internationally renowned luthiers, designers, builders, materials innovators, composers, performers, theorists, and sound designers together to explore points of connection between the traditions of musical instrument design and sound production, and new forms of design thinking facilitated by materials science, emergent materials, parametric design, the internet of things, physical computing, networked sound, and the politics of noise.

In the fall of 2013, our first guests in this project include some of the most internationally recognized and innovative guitar designers of recent decades [with more guests TBA for Spring 2014]:
Ken Parker, Ned Steinberger, Ola Strandberg, and Gary Lee. As part of the series, CTM presents theorists and performers speaking on the current and future envelope of instrument design.

A Rogue Frequency: book and record launch

Yume Cyan, Last Dance of the Fairies, Nagoya City, Japan (June 2013)

punctum and the Center for Transformative Media, Parsons The New School for Design are co-hosting A Rogue Frequency on Saturday, September 28th, from 5:30-8:00 pm @Kellen Auditorium, Sheila C. Johnson Design Center (66 Fifth Avenue), to celebrate the launch of punctum records and to feature a reading/sound/music mashup with musical artist Taft, plus Katherine Behar + Emmy Mikelson, Jamie “Skye” Bianco, Andreas Burckhardt (author of punctum’s A Sanctuary of Sounds), Rachel Cantor, Oliver Kellhammer, Léopold Lambert, Marget Long, Dominic Pettman, Allen W. Strouse (author of punctum’s forthcoming My Gay Middle Ages), and Marina Zurkow. Books will be available for purchase and there will also be a reception. The Facebook page for the event is HERE.