Daniel Perlin: Visiting Fellow talks

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Daniel Perlin
CTM Visiting Fellow 2015

Workshops: Listening Exercises
Free and open to public

May 4, 7.30-9.30PM
room A510, The New School, 66 West 12th Street, NY

March 12, 7.30-9.30PM
room A404, The New School, 66 West 12th Street, NY

How do we listen? What do we listen to? Why should we listen? When?
Listening to how we listen. Learning to see with our ears. Listening with our bodies. Sound is waves. Waves are everywhere. Like any muscle, like any skill, we can learn to listen better, alone and together. Listening exercises are sessions to address these questions and increase our abilities to listen better to ourselves, others and the worlds around us.

Listening exercises will be structured as such:
First part, a brief overview of the histories, trajectories and strategies of listening.
Second part: Group and individual exercises
As a reference for exercises (second part) please see this publication by princeton architecture of the exercise:
http://attention.princeton.edu/issues/on-attention/daniel-perlin

———————-
Daniel Perlin likes making experiences, and believes that the best way to make good things is by listening closely. Daniel got his start making work with things that make sound such as music, film, objects and sometimes spaces. After some years spent in Rio de Janeiro, where he worked in film and made work, he returned to New York where he attended NYU’s ITP program and the Whitney Independent Study program. During that time, he began Perlin Studios in Brooklyn.

Daniel is an artist and designer who believes in listening closely. He has had the privilege of making things that cross many disciplines including sounds, interactive designs, objects, installations and performances. Recent work has included a solo performance at MoMA for the Lygia Clark Exhibition, an installation for the Costa Rica Pavillion in the Venice Biennial of Architecture, interactive work for Toyota’s Hydrogen Fuel Cell Vehicle and a kinetic speaker in São Paulo.

He has worked with such people, places and things as Google, Vito Acconci, Maya Lin, Errol Morris, Todd Solondz, IBM, Domus Magazine, The Whitney, PS1 the Cooper Hewitt and The New Museums. Currently, Daniel is the Director of UX at Droga5, an agency in New York, and runs Perlin Studios in Brooklyn. Daniel is also an artist fellow at the Center for Transformative Media at Parsons, a graduate program in media and design.

In addition, sometimes Daniel teaches a class or sits on panels where he likes to talk about people, design, sound and cities. He occasionally makes mix-tapes and DJs for the Storefront for Art and Architecture, Domus and and Pin-Up. He currently lives in downtown Brooklyn and likes to ride his new red bicycle.

Daniel can be found at
http://danielperlin.net/about/
twitter.com/djnron

Hacking Feminism: May 9 & 10, 2015

hacking feminism

Hacking Feminism

A two-day symposium on Saturday May 9, and Sunday May 10, 2015, The New School (NYC)
Hosted by CTM The Center for Transformative Media (Parsons, New School) and co-sponsored by CTM, The Graduate Center (CUNY) and Punctum Books.  Co-organized by Patricia Clough (CUNY), Nandita Biswas Mellamphy (Western), Dan Mellamphy (Western), Svitlana Matviyenko (Western) and Ed Keller (CTM).

Participants List in alphabetical order
Anne Balsamo, School of Media Studies, The New School, USA
Shannon Bell, York University, Canada
Nandita Biswas Mellamphy, Western University, Canada
Zach Blas, University of Buffalo, USA
Sarah Choukah, University of Montreal, Canada
Patricia Ticineto Clough, CUNY, USA
Lucca Fraser, Dalhousie University, Canada
Alexander Galloway, New York University, USA
Nancy Gillespie, Independent Scholar (NY-FLAG)
Thyrza Nichols Goodeve, School of Visual Arts, USA
Margret Grebowicz, Goucher College, USA
Karen Gregory, CUNY, USA
Eileen Joy, Punctum Books, USA
Ed Keller, Parsons The New School for Design, USA
Svitlana Matviyenko, Western University, Canada
Dan Mellamphy, Western University, Canada
Luciana Parisi, University of London, UK
Jasbir Puar, Rutgers University, USA
Joshua Scannell, CUNY, USA
Oyku Tekten, CUNY, USA
McKenzie Wark, The New School, USA

 

To hack:

to cut with heavy blows in an irregular or random fashion;
to embarrass, annoy; to disconcert, confuse;
to cope with, manage, accomplish; to tolerate, accept; to comprehend;
to hesitate in speech; to stammer;
to break into a computer system by hacking;
to make a hack of, to put to indiscriminate or promiscuous use; to make common, vulgar, or stale, by such treatment;
to cut or chop up or into pieces, to chop off;
to make a clever, benign, and ethical prank or practical joke.

‘The body’ has been a central concept and site of power and subjectivity in the histories of feminism, and yet, in the age of ‘big data’ and ubiquitous computing, we are compelled to ask whether ‘corporeality’, ‘materiality’ and ‘embodiment’ have morphed into something beyond the conceptual boundaries of the ‘organic, fleshy, lived body’. Hacking Feminism seeks to gather together scholars and practitioners who are interested in exploring how the virtualization and informationalization of bodies have impacted —  even challenged — central feminist concepts and tropes such as embodiment, materiality, corporeality, affectivity, and experientiality.  How have widespread technical developments in Cybernetics and theoretical developments in Post-Humanism pushed feminist theorizations of the body away from the dialectics of individual phenomenological subjects and objects, towards multi-sensory design interfaces, trans-individual ecologies, and technically mediated embodiments? How is the rise of ambient and affective computing changing how bodies, especially ‘data bodies,’ are being measured?  Is there a ‘messiness’ that escapes the ‘measurability’ of bodies?  Or is this escapism itself a kind of romanticism? Can we still talk about a specifically feminist approach to theorizing both phenomenological (organic) and virtual (data) bodies?

 

SATURDAY MAY 9ᵗʰ: 66 West 12th street. Room 510, with alternate/spillover space in A404- check with front desk.

10.30  Seating open

10:45  OPENING REMARKS
—Ed Keller (co-organizer with D_Mellamphy, N_Biswas_Mellamphy, P_Clough and S_Matviyenko).

11:00–12:  AUTOMATION AND SEX
—Luciana Parisi (11:00–11:30), Nandita Biswas Mellamphy (11:30–11:50),
Q&A (11:50–12:20).

12:20–12:30  COFFEE BREAK

12:30–1:50  THE NON-HUMAN UNCONSCIOUS:
THE PSYCHE IN THE AGE OF DIGITAL TECHNOLOGY
—Patricia Clough (12:30–1:00), S Matviyenko (1:00–1:20),
Q&A (1:20–1:50).

1:50–3:00  LUNCH offsite.

3:00–4:20  CONTRA-INTERNET
—Zach Blas (3:00–3:30), Eileen Joy (3:30–3:50),
Q&A (3:50–4:20).

4:20–4:30  COFFEE BREAK.

4:30–6:10 THE LIVELINESS OF DATA
—Karen Gregory (4:30–4:50), Joshua Scannell (4:50–5:10),
Sarah Choukah (5:10–5:30),
Q&A (5:30–6:10).

6:10–6:30  COFFEE BREAK (performers prepare stage).

6:30–7:30  THE CHILDREN OF THE MERCY-FILES (performance).

8:00  DINNER.

SUNDAY MAY 10ᵗʰ: 65 West 11th Street, Wollman Hall, 5th Floor

12:00   Seating open.

12:30–1:50  INHUMANIST BIOPOLITICS:
PREHENSIVE GENDERING IN OCCUPATION
—Jasbir Puar (12:30–1:00), Alex Galloway (1:00–1:20),
Q&A (1:20–1:50).

1:50– 3:00  LUNCH offsite.

3:00–4:20  HACKING THE LACK
—Shannon Bell (3:00–3:30),  Nancy Gillespie (3:30–3:50),
Q&A (3:50–4:20).

4:20–4:30  COFFEE BREAK.

4:30–6:30  HACKING HARAWAY
—McKenzie Wark (4:30–4:50),  Margret Grebowicz (4:50–5:10),
Thyrza Goodeve (5:10–5:30), Anne Balsamo (5:30–5:50),
Q&A (5:50–6:30).

6:30-6:35  BREAK.

6:35–6:55  WRAP-UP OVERVIEW & SUMMARY, CLOSING COMMENTS—Ed Keller.

7:30  DINNER.

___
CONFERENCE SCHEDULE [pdf]: HACKING FEMINISM schedule

 

Perry Hall: Painting Far From Equilibrium

11088395_10152826126245945_1178770082172517695_nPerry Hall: Painting Far From Equilibrium –  Lecture
Auditorium A404, 66 West 12th Street, NY NY
Monday April 6
7.00PM – 9.00PM
Free and Open to the Public

Perry Hall approaches painting as a time-based medium similar to choreography or improvising music. He creates the traditional line form color surface but also adds painting behavior- ways in which paint transforms and moves over time. His artworks, which integrate painting and filmmaking, are created by using natural dynamic forces (turbulence, thermodynamics, magnetism, gravity, chemical reactions) instead of digital processes or “static” painting techniques. His ongoing project explores the relationship between painting, nature and technology.

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Perry Hall: Sound Drawings – Lecture
Klein Conference Room A510, 66 West 12th Street, NY NY
Monday April 20th, 7.00PM – 9.00PM
Free and Open to the Public

In his Sound Drawings, he channels sound from an electric bass into vessels containing paint and by changing the qualities of the sound he “plays” the paint like a musical instrument. The artist discusses his innovative work, which is a meditation on synesthesia, painting, technology and the dynamic systems found in nature. The talk will include a screening of Alive Violet Frequency, a collaboration with Parsons CTM fellow Elliott Sharp; the commissioned work, which combines sound drawings with live musical improvisation, recently premiered at the 2015 Adelaide Festival in Australia.

 

Perry Hall  2014-15  Artist/Fellow
www.perryhallstudio.com
Perry Hall’s unique painting films have been exhibited internationally in venues including the Smithsonian National Design Museum in New York, Artists Space in New York, The New World Symphony in Miami, The Tokyo Art Fair in Tokyo, Japan and are part of the permanent collection of the Centre FRAC in Orleans, France. His artwork can be seen in the Academy Award winning Robin Williams film What Dreams May Come and more recently in Scarlett Johansson’s eyes in Luc Besson’s motion picture Lucy. He is also a wildly imaginative electric bassist who has performed with drummer Matt Chamberlain (of Tori Amos / David Bowie fame), composer Paul Dresher, and written music for choreographer Margaret Jenkins. His sound and music has been heard at the United Kingdom’s Blinc Festival, the Smithsonian’s National Design Museum in New York, The American Museum of the Moving Image in New York, Theatre Artaud in San Francisco, The San Francisco Art Institute and in Sonified, a video camera which translates visual information into sound; Perry creates all the music for these projects entirely on electric bass. In his paintings he uses a set of experimental techniques that draw upon the organizing principles found in nature; his Livepaintings (time-based paintings) are created by stimulating paint with temperature changes, vibration, turbulence and various substances, transforming paint flows into compositions he captures onto film. In his Sound Drawings, sound waves from electric bass are channeled into a vessel containing paints, and by changing the qualities of the sound he “plays” the paint like a musical instrument and creates visual compositions. His innovative work is a collaboration with “material intelligence” and a meditation on the dynamics found in nature.

Previous CTM Fellows have included Nandita Biswas Mellamphy & Dan Mellamphy [2012-13]; Evan Calder Williams [2013-14]; and Elliott Sharp [2014-15].

* * *

In 2013-15, 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 College of Music, functioning as a platform to build cross divisional collaboration at The New School, and opening exclusive external collaborations, this series 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, 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’.

Guests have included Ken Parker, Charlie Hunter, Ned Steinberger, Charles Yang, Ola Strandberg, Allan Marcus, Perry Hall, Joe Ravo, Gary Lee, Fred Hand, and Ezio Blasetti.

Cinema of Ethics, Ethics of Cinema: Nadine Boljkovac

Boljkovac, Untimely Affects image
‘A Secret Called Happiness’:
Cinema of Ethics, Ethics of Cinema

Saturday, December 13 at 6:00pm – 8:00pm
T. Lang Hall, 55 West 13th Street, NY NY

‘And then the earth, present to the point of filming it up close, at root level. How many times do the characters confront the earth, the mud, the original clay of which they were made, from which they seem not yet to be free, and chose to bury themselves in it’. (Marker, One Day in the Life of Andrei Arsenevich, 1999)


‘Here we catch a glimpse of a future in which all mysteries are resolved. [. . .] this will come about because these readers, each working on his slice of universal memory, will lay the fragments of a single secret end to end, a secret with a beautiful name, a secret called happiness.’  (Resnais with ‘Chris and Magic Marker’, et al., 1956)

‘Forensic medicine,’ Claire Colebrook observes, ‘has its own functions and styles of inhuman observation.’ Prior to the 2015 paperback re-release of Untimely Affects, this presentation draws upon the text to undertake its own process of excavation and observation. It casts its gaze at relations between cinema and life – ethics, time and future, demarcations between material bodies (chemical, biological, social or political), and the production of affects – to speak of the unspeakable, ineffable, imperceptible and unthinkable.

Via traces that Chris Marker and Alain Resnais have left, ‘traces with which one can work, and contours to help draw up the map’ (Marker), this talk grasps at an interconnectedness among all assemblages of life, human and otherwise, to consider memory fragments in terms of the geography of a nomadic subjectivity. Such is to contemplate ‘the eternity of the lifeforces, not the perennity of death’ (Rosi Braidotti). Through multiple filmic excerpts and close readings, the talk will encounter foldings and doublings that engender subjectivities beyond the human. The excerpts will aid in an analysis of ‘beauty’ and an exploration of ways for seeing and thinking beyond destruction and extermination.

As it thereby attempts to trace what is beautiful and intangible, what is not in fact a ‘what’ but rather this, thisness, sign or ‘trigger’ (Steven Shaviro), the talk will obsess over ‘things that quicken the heart’ (Marker) … while questioning how temporal perceptions and sensations, as glimpsed through the moving image, affect ‘our’ perceptions, environments, and planet.
– Nadine Boljkovac

 

‘To think is to reach a non-stratified material, somewhere between the layers, in the interstices. Thinking has an essential relation to history, but it is no more historical than it is eternal. It is closer to what Nietzsche calls the Untimely: to think the past against the present—which would be nothing more than a common place, pure nostalgia, some kind of return, if he did not immediately add: “in favor, I hope, of a time to come”.’  (Two Regimes of Madness: Texts and Interviews 1975-1995, Deleuze)

 

Nadine Boljkovac (PhD, Cambridge) is Postdoctoral Fellow of Visual Culture & the Moving Image, Centre for Modernism Studies, UNSW. She was the Brown University 2012-13 Carol G. Lederer Postdoctoral Fellow, a University of Edinburgh 2010 Postdoctoral Fellow, and University of Aberdeen 2009-10 Film Teaching Fellow. Untimely Affects: Gilles Deleuze and an Ethics of Cinema (Edinburgh University Press, 2013) will be released in paperback in 2015. A second monograph in progress, Beyond Self and Screen, explores filmic instances of women’s self-portraiture.

Elliott Sharp: CTM 2014 Artist Fellow lectures

E# by Andreas Sterzing

Elliott Sharp: CTM 2014 Artist Fellow lectures

• Natural Models As Compositional Inspiration and Strategy September 18th
• Algorithmic and Self-Organizing Systems: Lecture/Demonstration Sept. 29th 7- 10 pm
• New Approaches To Graphic Notation October 9th 7- 10 pm
• Socio-Acoustics – Soundmaking in the Real World by Real People December 8, 7PM

All events are Free and Open to the Public 

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Socio-Acoustics – Soundmaking in the Real World by Real People
December 8, 7PM – 10PM
Kellen Auditorium, 66 Fifth Avenue
A complex of equations with many hidden variables make up human interaction when involved in the production and perception of music. Socio-acoustics functions as a feedback loop within a system defined by a dynamically shifting balance of spatiality and time-based actions.  Can the many elements that define this system be identified and quantized? The relationship between sound-producers and their audience is one factor. Another is the relationship of sound-producers with their materials. Finally, there exists the mutual relationship between multiple sound-producers working simultaneously (for example, a group of improvisers or a jazz ensemble) and how it affects the sonic output.  One can imagine any combination and permutation of the above factors – the unpredictable relationship between a musical performance and its perception. This lecture and discussion will present both questions and answers.

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New Approaches To Graphic Notation
October 9th  7:00 pm – 10:00 pm
Mannes Concert Hall
150 West 85th Street, NY NY

In this lecture, Sharp will describe his 1972 work with graphic notation and how, in his return to this approach in 2003, he found new pathways to the synesthetic. Sharp will present the scores Seize Seas Seeths Seen, Foliage, and Mare Undarum, and describe graphic techniques used to create them, mirroring processes he might have used to process in real-time the sounds produced by musicians. With Sylva Sylvarum from 2014, the score is now an animated movie whose derivation will be discussed. The event will include the presentation of projected scores and recorded examples from selected realizations.

.

Algorithmic and Self-Organizing Systems: Lecture/Demonstration
Sept 29th  7:00 pm – 10:00 pm
Mannes Concert Hall
150 West 85th Street, NY NY

In the first half of this event, Sharp offers definitions and discusses the genesis and development of his composition “SyndaKit”, music as organism. Composed in 1998 for the composer’s ensemble Orchestra Carbon, “SyndaKit” utilizes a collection of biological metaphors to create an ever-shifting rhythmic and timbral matrix. Improvisatory and algorithmic but not improvisation, “SyndaKit”s essence is a transformative organism consisting of 144 composed cores on 12 pages divided among the 12 players with a set of simple rules for their use through processes of imitation, addition, recombination, transposition, and mutation. These actions are based on the activities of flocking birds, African drum choirs, cellular automata, hunting packs, and recombinant amino acids. Every performance of “SyndaKit” is unique though the identity of the piece remains constant with each manifestation. For the second part of this evening, Sharp will workshop “SyndaKit” with an ad hoc ensemble and present a number of iterations of the piece in performance.

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Natural Models As Compositional Inspiration and Strategy
Elliott Sharp, lecture
September 18th, 7:00 pm – 10:00 pm
Klein Conference room [510]  66 W 12th St New York, NY 10011
Beginning with his Hudson River Compositions of 1974, composer Elliott Sharp has drawn upon various aspects from natural forms and processes, using them to create conceptual and algorithmic approaches to composition and improvisation. In this lecture, Sharp describes inspirations from fireflies to genetics, and displays the results. Working with Fibonacci numbers in the 1980’s, Sharp built tuning systems as well as rhythms and entire sonic architectures. In his pursuit of ways to mirror seemingly chaotic processes, Sharp found resonance and further inspiration in the fractal geometry of Benoit Mandelbrot which led to a variety of compositions ranging from Tessalation Row for Soldier String Quartet to pieces for his proto-math-rock noise-band Carbon.

Later, composing for his ensemble Orchestra Carbon in the 1990’s, Sharp refined the work with self-organizing systems to include models from flocking birds, RNA replication, Fibonacci numbers, and cellular automata to develop the composition SyndaKit. As much a set of rules or a construction set as a piece of music, SyndaKit creates an every-shifting matrix of rhythms and textures – a composition that is never the same in its manifestation yet always identical in process. This construction set was put to good use to create the orchestral work Calling for the RadioSinfonie Frankfurt and premiered by them at the 2002 Darmstadt festival.
Sharp will present scores and audio examples.

 

* * *

Elliott Sharp 2014-15 CTM Artist/Fellow
A central figure in the avant-garde music scene in New York City for over thirty years, Elliott Sharp leads the projects Orchestra Carbon, SysOrk, Tectonics and Terraplane, and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction. Winner of the 2015 Berlin Prize in Music Composition and a 2014 Guggenheim Fellowship, Sharp has composed for Hilary Hahn, Ensemble Modern, RadioSinfonie Frankfurt, and JACK Quartet. His work has been featured in the Darmstadt (2002) and Donaueschingen (2007) festivals, at the Hessischer Rundfunk Klangbiennale (2007), and the Venice Biennale (2003, 2007, 2012). His wide range of collaborators have included Qawwali singer Nusrat Fateh Ali Khan; Kronos Quartet; Debbie Harry; blues legends Hubert Sumlin and Pops Staples; jazz greats Jack Dejohnette, and Sonny Sharrock; turntable innovator Christian Marclay; and Bachir Attar of the Master Musicians Of Jahjouka, Morocco. His work is the subject of the documentary “Doing The Don’t” and he has been featured on NPR’s All Things Considered.

* * *

In 2013-15, 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 College of Music, functioning as a platform to build cross divisional collaboration at The New School, and opening exclusive external collaborations, this series 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, 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’.

Guests have included Michi Matsuda, Gyan Riley, Florian Vorreiter, Elliott Sharp, Perry Hall, Ken Parker, Charlie Hunter, Ned Steinberger, Charles Yang, Ola Strandberg, Allan Marcus, Perry Hall, Joe Ravo, Gary Lee, Fred Hand, and Ezio Blasetti.

Matsuda & Vorreiter luthiers’ lectures

Matsuda

 

Michihiro Matsuda and Florian Vorreiter

a luthiers’ double workshop / lectures / performances in two sessions
with performances featuring Elliott Sharp and Gyan Riley

October 23rd
• 3:30 PM – 5:00 PM: workshop
• 7:00 PM – 9:30 PM: lectures and performances

both events will take place at the
Mannes Concert Hall
150 West 85th Street, NY NY
Free and Open to the Public-  Eventbrite registration is required
https://matsuda-vorreiter-luthiers.eventbrite.com
https://www.facebook.com/events/792230964151636/
[your registration will include both events together, and you may attend either one, or both]

In an afternoon roundtable session, 3.30 – 5.00PM, master luthiers Matsuda and Vorreiter will conduct a hands on exploration & informal discussion of recent groundbreaking guitars from their workshops: Matsuda’s experimental archtop, and Vorreiter’s 8 string, ‘fusion’ classical guitar.  Both instruments radically stretch the boundaries of the design envelope. The luthiers will present key design aspects of these instruments and host a discussion on construction methods, materials, and design philosophy with guests.

This workshop will be followed in the evening at 7.00 PM – 9.30 PM by a formal double lecture and
performances on the instruments. Elliott Sharp, CTM Artist Fellow 2014-15, will play Matsuda’s
experimental archtop; performer TBA for the Vorreiter instrument. A panel discussion with Matsuda,
Vorreiter, Sharp, et. al. will conclude, moderated by Ed Keller.

 

matsudaJazzGtr
Michi Matsuda
http://www.matsudaguitars.com/
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
http://radikalguitars.wordpress.com/
http://www.vorreiterguitars.com/
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.

 

 

 

 

* * *

In 2013-15, 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 College of Music,
functioning as a platform to build cross divisional collaboration at The New School, and opening
exclusive external collaborations, this series 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, 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’.

Guests have included Elliott Sharp, Perry Hall, Ken Parker, Charlie Hunter, Ned Steinberger, Charles Yang, Ola Strandberg, Allan Marcus, Gary Lee, Fred Hand, Joe Ravo, and Ezio Blasetti.

http://ctm.parsons.edu/the-future-of-guitar-and-instrument-design/

Superpositions- A Symposium on Laruelle

Laruell2s

October 10 & 11,  2014

‘Superpositions’ refers to the non-philosophical practice of conjugating distinct strata of academic discourse on the model of quantum interference rather than classical logic, which entails a distinctive ‘equalization’ of the standard hierarchies of disciplines and knowledges. The outcome of such a practice remains largely unknown. Perhaps similarly unknown is the work of François Laruelle, inventor of what has been most recently called ‘non-standard philosophy’. Laruelle, once named “the most important unknown philosopher working in Europe today” (Ray Brassier, 2003) has developed an innovative and powerful repertoire of concepts across an oeuvre spanning four decades and dozens of books. His work will undoubtedly come to have a significant impact on the critical practices of the humanities; this symposium explores Laruelle’s work across its possible relations to contemporary issues in philosophy, critical theory and media studies.

Excerpts from event at UStream:

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SCHEDULE:
Detailed schedule- PDF
Friday, October 10, 2014: 7:30-8:30 pm
Reception and Introduction: Opening Lecture, Alex Galloway
Dorothy Hirshorn Suite, Room I205
Arnhold Hall   55 West 13th Street
Saturday, October 11, 2014: 9:30 am – 6:00 pm
Symposium
Theresa Lang Community and Student Center, Room 202
Arnhold Hall   55 West 13th Street

 

Superpositions
Non-Standard Perspectives on Critical Theory, Philosophy and Media Studies
A Symposium on Laruelle and the Humanities

List of Speakers:
Alex Dubilet (Berkeley, University of California)
Alexander R. Galloway (New York University)
Rocco Gangle (Endicott College)
Julius Greve (University of Cologne)
Katerina Kolozova (University American College-Skopje)
Dave Mesing (Villanova University)
Benjamin Norris (The New School)
Anthony Paul Smith (LaSalle University)

Organizers:
Rocco Gangle (Endicott College)
Julius Greve (University of Cologne)
Ed Keller (The New School/CTM)

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/ ]

Excerpts from the event at UStream:

More symposium footage at UStream event channel:
http://www.ustream.tv/channel/signal-path-symposium

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/