DC-based Composer Steve Antosca will present his work My End is My Beggining, with live performances by harp-sax duo Pictures on Silence of Noah Getz and Jacqueline Pollauf and the National Gallery of Art New Music Ensemble members Ross Karre on percussion and William Brent on electronics with guest pianist Jacob Greenberg from ICE.

bio

The music of composer Steve Antosca focuses on the integration of instruments with computers. Through the realization of scores that combine elements of indeterminacy and traditional notation with technology, musicians craft sonically rich performance environments.

Named Artistic Director of the National Gallery of Art New Music Ensemble, which he formed in 2010, Antosca was the Gallery’s composer-in-residence in the Fall of 2013. His compositions for the NGA NME blend the architectural resonances of the Gallery’s unique performance spaces with computer treatment of performers’ sounds to generate a rich fusion of sonic textures.

Antosca’s compositions have been described by the Washington Post as “spectacular, wonderfully provocative” and “a shimmering, multilayered sea of sound, surging with power under a surface of delicate detail — a fascinating dance between the human players and their electronic ghosts.”

Included among Antosca’s numerous awards and commissions are the American Composers Forum/Argosy Foundation, Bourges International Competitions, Chamber Music America and Pictures on Silence, DC Commission on the Arts, Fromm Music Foundation at Harvard, Georgetown University, International Music Prize for Excellence in Composition from the National Academy of Music, Kennedy Center, Maryland State Arts Council, McKim Fund in the Library of Congress, Meet the Composer, National Endowment for the Arts, and the US Department of Education.

Antosca has a master’s degree in computer music composition from the Peabody Conservatory of Johns Hopkins University.

Ross Karre performing Antosca’s Habitat at the National Gallery of Art

Program Notes

my end is my beginning was commissioned by Chamber Music America in 2012 and composed for the Pictures on Silence duo and the National Gallery of Art New Music Ensemble. The premiere performance took place in September 2013 at the National Gallery of Art in Washington, DC.

A significant component of my end is my beginning is the use of real-time audio processing and spatialization over a multi-channel audio system. The technology for my end is my beginning was developed by computer musician William Brent in collaboration with the composer.

my end is my beginning employs a robust structural framework of layered material which generates overlapping patterns whose function is to connect instrument pairs. These pairings are sometimes exploited for their similarity, sometimes for their contrasting characteristics. These structural mappings generate a flowing textural thread providing continuity and movement throughout the piece.

The Ensemble

The ensemble performing today at NYU includes the Pictures on Silence duo of Noah Getz, saxophone, and Jacqueline Pollauf, harp, who commissioned the work through Chamber Music America, and National Gallery of Art New Music Ensemble members Ross Karre, percussion, and William Brent, computer musician. They are joined by pianist Jacob Greenberg.

This project is a collaboration between composer and performers who have exceptional ability and willingness to perform demanding contemporary music, and to seamlessly integrate their performance with imaginative and innovative technology.

Steven Takasugi will present his recent work Slideshow.

bio

Steven Kazuo Takasugi, born 1960 in Los Angeles, studied composition with Noah Creshevsky, Bunita Marcus, Morton Feldman, Brian Ferneyhough, Joji Yuasa and Roger Reynolds (PhD chair), as well as computer music with Charles Dodge, F. Richard Moore, and Harold Cohen. His undergraduate work began at the University of California, Los Angeles and completed at the Brooklyn College Conservatory of Music, City University of New York. He received his masters and doctoral degrees in composition from the University of California, San Diego and has held artists and guest residencies in Japan, Germany, France, Israel, Austria, and the United States.

His work has been presented worldwide including: Salt Festival, Victoria, British Columbia; Ensemble Dal Niente, Evanston; SiMN, Brazil; Forma Leipzig, Germany; Yong Siew Toh Conservatory of Music, Singapore; Spark Festival, Minnesota; MusikFabrik, Cologne; University of North Texas, Denton; Acousmain, Frankfurt; E-werk, Freiburg; Transit Festival, Leuven, Belgium; Ultraschall and MaerzMusik, Berlin; HaTeiva, Jaffa, Israel; University College Cork, Ireland; Bucharest Academy of Music, Romania; Symphony Space, New York; Stockholm New Music; State Theater, Freiburg; Bludenz Festival for Contemporary Music, Austria; ISCM Geneva; ICMC Thessaloniki, Greece; IRCAM, Paris; Asia Music Week 2000, Yokohama; Tempus Novum, Tokyo; The Central Conservatory of Music, Beijing; the Darmstadt Summer Courses for New Music, Germany.

He’s the recipient of numerous awards including a 2010 Guggenheim Foundation Fellowship, a Japan Foundation Artist Fellowship and Residency, a DAAD HSK Award, a Heinrich-Strobel Foundation Experimentalstudio Grant, an ASCAP Award, a UC Regents Fellowship, the Maxwell H. and Muriel Gluck Endowed Fellowship for Music Composition, a UCLA Pierre Boulez Residency, and a special scholarship from the Mayor of Darmstadt. He has lectured extensively and is author of many articles on New Music and aesthetics.

Takasugi is an Associate of the Harvard University Music Department and also Managing Director of its Summer Composition Institute. He is permanent faculty at the International Summer Academy for Composition, Academy Schloss Solitude in Stuttgart and the Tzlil Meudcan Summer Course for Contemporary Performance and Composition in Israel. He has taught at the University of California, San Diego, the California Institute of the Arts, the Kunitachi College of Music, Tokyo, HaTeiva in Jaffa, Israel, and the Dian Red Kechil International Young Composers Residency in Singapore. He is one of the founding editors of Search Journal for New Music and Culture and is co-director of the Darmstadt Forum at the International Summer Courses for New Music in Germany.

The legendary composer and film maker Phil Niblock will present some of his recent work.

bio

Phill Niblock makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time.

Phill Niblock is an intermedia artist using music, film, photography, video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60’s he has been making music and intermedia performances which have been shown at numerous venues around the world among which: The Museum of Modern Art; The Wadsworth Atheneum; the Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Brussels; Institute of Contemporary Art, London; Akademie der Kunste, Berlin;  ZKM; Carpenter Center for the Visual Arts at Harvard; World Music Institute at Merkin Hall NYC. Since 1985, he has been the director of the Experimental Intermedia Foundation in New York where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 (about 1000 performances) and the curator of EI’s XI Records label. In 1993 he was part of the formation of an Experimental Intermedia organization in Gent, Belgium – EI v.z.w. Gent – which supports an artist-in-residence house and installations there. Phill Niblock’s music is available on the XI, Moikai, Mode and Touch labels. A DVD of films and music is available on the Extreme label.

http://www.phillniblock.com/   ……….    http://en.wikipedia.org/wiki/Phill_Niblock    ……….    http://www.experimentalintermedia.org/

Curtis Roads, (UC Santa Barbara), will present a lecture referencing his chapter Rhythm in Electroacoustic Music  from his newest book Composing Electronic Music: A New Aesthetic (Oxford Press, 2012) in the Department of Music Colloquium Series. He’ll also participate in the Spatialized Music Concert.

Bio

Curtis Roads creates, teaches, and pursues research in the interdisciplinary territory spanning music and sound technology. He studied computer music composition at California Institute of the Arts and the University of California, San Diego (UCSD) and received a Doctorate from the Université Paris 8.

He was Editor and Associate Editor of Computer Music Journal (The MIT Press) from 1978 to 2000, and cofounded the International Computer Music Association (ICMA) in 1979.

A researcher in computer music at MIT (1980-1986), he also worked in the software industry for a decade. He taught electronic music composition at Harvard University and sound synthesis techniques at the University of Naples. He was appointed Director of Pedagogy at Les Ateliers UPIC (later CCMIX) and Lecturer in the Music Department of the Université Paris 8.

Among his books are the anthologies Foundations of Computer Music(1985, The MIT Press) and The Music Machine (1989, The MIT Press). His textbook The Computer Music Tutorial (1996, The MIT Press) is widely adopted as a standard classroom text and has been published in French (1999, second edition 2007), Japanese (2001), and Chinese (forthcoming) editions. He edited the anthology Musical Signal Processing in 1997. His book, Microsound (2001, The MIT Press) presents the techniques and aesthetics of composition with sound particles.

A pioneer in the development of granular synthesis (1974), he also developed (with Alberto de Campo) the program PulsarGenerator (2001), distributed by the Center for Research in Electronic Art Technology (CREATE) at UCSB. Another invention is the Creatovox, an expressive instrument for virtuoso performance that is based on the synthesis of sound grains and other sound particles. The Creatovox, developed in collaboration with Alberto de Campo, was first demonstrated to the public in March 2000. In 2008, CREATE released EmissionControl, a new program for sound granulation written by David Thall in consultation with Curtis Roads.

His composition Clang-tint (1994) was commissioned by the Japan Ministry of Culture (Bunka-cho) and the Kunitachi College of Music, Tokyo. His music is available on compact discs produced by the MIT Media Laboratory, Wergo, OR, Mode, and Asphodel. His collection of electronic music compositions POINT LINE CLOUD won the Award of Distinction at the 2002 Ars Electronica in Linz and was released as a CD + DVD on the Asphodel label in 2005.

He is keenly interested in the integration of electronic music with visual and spatial media, as well as the visualization and sonification of data.

Since 2004, he has been researching a new method of sound analysis that is the analytical counterpart of granular synthesis called dictionary-based pursuit (DBP). This research was sponsored by the National Science Foundation in 2007-2009.

Roads’s new book is Composing Electronic Music: A New Aesthetic (forthcoming) Oxford University Press. A new revised edition of The Computer Music Tutorial by The MIT Press is also in progress.

abstract

The works of Ferrer-Molina, Isaac Diego and Miguel Álvarez-Fernández inhabit the margins between experimental music and sound art, while also exploring conceptual art, performance, experimental video and other possibilities for developing our relationship with sound. Their activities are channeled through concert pieces, sound installations, sculptures, curatorial projects and many other manifestations, which will be presented in this session.

The three Spanish artists also work as musicologists/sound theorists, researching the fields of sound art and experimental music, always in connection with their artistic endeavors. Their visit to the US is related to a lecture scheduled at Harvard University on February 26^th (where they will be joined by Prof. Jaime Oliver La Rosa; more info here).

Since 2014, Miguel Álvarez-Fernández, Isaac Diego and Ferrer-Molina serve at the board of directors of the AMEE (Spanish Association for Electroacoustic Music), which —among many other activities— holds the annual festival “Punto de Encuentro” in different cities of Spain and abroad.

bios

Ferrer-Molina is a sound artist, musicologist, conductor and critic, with degrees in guitar, piano, choir conducting, music education, musicology and composition at different conservatories of Valencia and Madrid, Spain. He studied electroacoustic composition mostly at LEA (Conservatory of Valencia) and LIEM / CDMC (Reina Sofía, Madrid). Having finished his Masters degree, he is currently pursuing a Ph.D. in Fine Arts at the Polytechnic University of Valencia under the guidance of Miguel Molina. He is the author of the upcoming book “Heterodoxy of the guitar. Taxonomy of new artistic practices”, by the “Notebooks of Fine Arts/Music Collection”.

Isaac Diego García (Madrid, 1978) is a musicologist, composer, sound artist, performer and singer. In 2011 he finished his Ph.D. in experimental music in Spain at the University of Oviedo. He has studied classic guitar, renaissance lute, voice and choir conducting at different conservatories in Madrid and Oviedo University, Spain. In 2009 he was a guest researcher at the Experimetal Intermedia Foundation of New York with the composer and video-artist Phill Niblock. Isaac Diego is a teacher of music at the International University of Rioja (UNIR) and the European University of Madrid (UEM).

Miguel Álvarez-Fernández is a sound artist, musicologist, sound theorist and curator, born in Madrid in 1979. After his studies in Composition at the Conservatory of El Escorial (Madrid), he was appointed composer-in-residence at the historical “Residencia de Estudiantes” between 2002 and 2005. He is finishing his Ph.D. in Musicology (M.A. from the University of Oviedo). Álvarez-Fernández is a teacher of music at the European University of Madrid (UEM) and since 2008 he hosts “Ars Sonora”, a weekly radio broadcast featuring experimental music and sound art aired on Radio Clásica/RNE (Spanish National Radio).

abstract

Despite their wildness, chaotic spectra are rich with acoustic detail that can inform broader musical structures. Sounds like scraped metal and bowed cardboard bring a visceral materiality that highlights the friction and muscularity in sound production. This lecture tracks my engagement with chaotic material behaviors through a range of diverse projects and media. From the 40-foot field of spinning elastic in Tripwire (2011 – Multimedia Installation) to the multiphonic microfluctuations in Soma (2012 – Sextet), I elaborate a productive tension between matter and maker central to my aesthetic practice.

bio

Ashley Fure (b. 1982) is an American composer of acoustic and electroacoustic concert music as well as multimedia installation art. Her work explores the kinetic source of sound, bringing focus to the muscular act of music making and the chaotic behaviors of raw acoustic matter. She holds a PhD in Music Composition from Harvard University and further degrees from IRCAM (Cursus 1 and 2), Oberlin Conservatory, and the Interlochen Arts Academy. Currently a Mellon Post-doctoral Fellow at Columbia University, Fure will join the Dartmouth College Department of Music as an Assistant Professor of Sonic Arts in September 2015.

Notable recent projects include Ply, a 55-minute electroacoustic ballet commissioned by IRCAM for the 2014 Manifeste Festival; Feed Forward, a sinfonietta commissioned by Klangforum Wien for the 2015 Impuls Festival; Albatross, for large ensemble and electronics, commissioned by the San Francisco Contemporary Music Players for the 2014 Sweet Thunder Festival; and Something to Hunt, a septet commissioned for the 2014 Darmstadt Internationalen Ferienkursen für Neue Musik. Her kinetic installation Tripwire, created with visual artist Jean-Michel Albert, premiered at the 2012 Agora Festival in Paris and has since toured to BOZAR (Belgium), the International Digital Arts Biennale/Elektra (Montreal), Seconde Nature (Aix-en-Provence), Stereolux (Nantes), Nemo (Paris), l’Ososphère (Strasbourg), and Panorama (Tourcoing).

Winner of the 2014 Kranichsteiner Music Prize, Fure also received the 2014 Busoni Prize from the Akademie der Künste in Berlin, a 2013 Fulbright Fellowship to France, a 2013 Impuls International Composition Prize, a 2012 Darmstadt Stipendienpreis, a 2012 Staubach Honorarium, a 2011 Jezek Prize, a 10-month residency at Akademie Schloss Solitude, an Adalbert W. Sprague Prize, two ISCM World Music Days nominations, a George Arthur Knight Prize, an SCI/ASCAP Young Composer’s Prize, an IAWM Pauline Oliveros Prize, and a Blodgett Composition Prize.

bios

Nate Crepeault:  Nathan Crepeault, graduate of New York University’s music theory and composition program, is a Computer Music Performer, Max/MSP Programmer and Bassist.  Exploring boundaries of Real-time sound performance, Nate has engineered a comprehensive set of tools, plugins and hacks to reimagine the Bass guitar as an all encompassing compositional instrument. He uses Max for Live to augment Ableton Live’s capabilities as a live looping tool, alter the functionality of his control surfaces, and tastelessly mangle any and every sound that might come across his workstation. Many of these max4live devices have been released through Bit Voltage, a company he founded in Austin.  Nate has been teaching and releasing Max for Live devices through Bit Voltage since his arrival from New York City in early 2011.  He performs under the moniker “Deferlow” and is on Reconstructiv, a Texas-based IDM label.

http://bitvoltage.com

Eric Barry Drasin: Eric Barry Drasin is a Brooklyn-based artist, musician and curator working at the intersection of digital media, performance and installation. Rooted in the Expanded Cinema tradition, his work explores the relationship between composition, interface, performance, score, and synesthetic audiovisual systems.  Eric is the Cat Lady (primary organizer) of the “Fast Food Collective,” a Real-time Video Art Collective based in Bushwick, Brooklyn.

Eric will be presenting “The Secret Soup” which is a realtime system for improvised audiovisual composition. Referencing audiovisual synthesis techniques, custom digital interfaces control LFO waveforms and looper with 1:1 audiovisual counterpart. The Secret Soup has been realized as solo audiovisual performance, immersive interactive projection mapped installation, gallery installation, and as a score for intermedia performance ensemble.

The New York City Patching Circle is a free alternating monthly meeting and salon open to anyone who is working or interested in media programming and audiovisual performance. We mostly use Pd and Max/MSP, but all are welcome.

Beginners and Experienced welcome. Open to everyone, students, the public, unicorns. Work on personal projects, professional projects, school projects, ask for help, help others, or just patch quietly to yourself in a room full of other people patching patches and helping other people patch.

Each month there will be informal salon, featuring demonstrations of projects, performances and systems in the process of being built.  The format will include short performances, artist talks about process and performance techniques and Q&A depending on time availability.  The salon is openly curated with the intent of being as inclusive as possible and participation is open all practitioners working in realtime media.

For those of you who can not attend the Patching Circle, we will be experimenting with streaming, you will be able to watch the stream and chat (through Facebook so remember to set the posting to “only me”) here: thedepartmentofpublicworks.com

Rand Steiger will present on his work, including live demonstrations of his live electronics designed in Pure Data with clarinetist Joshua Rubin. You can see them working together in the performance of Steiger’s cyclone:

Scores, reviews and more information is available here.

Steiger and Rubin bios:

Steiger

Rand Steiger’s music has been commissioned and performed by many ensembles, including the American Composers Orchestra, Boston Musica Viva, Ensemble Intercontemporain, International Contemporary Ensemble, Lontano, Los Angeles Chamber Orchestra, NYNME, Prism Quartet, San Diego Symphony, San Francisco Contemporary Music Players, St. Paul Chamber Orchestra, Talea Ensemble, and the Los Angeles Philharmonic, where he served as Composer Fellow. Soloists he has composed for include Matthew Barley, Maya Beiser, Claire Chase, Daniel Druckman, Peter Evans, Alan Feinberg, George Lewis, Susan Narucki, Vicki Ray, and Steven Schick.

Throughout his career, Steiger has been involved in computer music research, having held three residencies at IRCAM, and enjoying a long fruitful collaboration with Miller Puckette, the leading computer music researcher of his generation. He was Composer-in-Residence at the California Institute for Telecommunications and Information Technology from 2010 to 2013.

Many of Steiger’s works combine orchestral instruments with real-time digital audio signal processing. They also propose a hybrid approach to just and equal-tempered tuning, exploring the delicate perceptual cusp between a harmony and a timbre that occurs when tones are precisely tuned. Some examples of works deploying these techniques include: Ecosphere, developed during residencies at Ircam and premiered by the Ensemble Intercontemporain in Paris; Traversing, written for cellist Mathew Barley and premiered by the Southbank Sinfonia in London; Cryosphere, premiered by the American Composers Orchestra at Carnegie Hall, A Menacing Plume, premiered by the Talea Ensemble in New York, and the Coalescence Cycle, premiered on a portrait concert at Miller Theater in New York by the International Contemporary Ensemble in 2013.

Steiger was also active as a conductor specializing in contemporary works until deciding in 2010 to concentrate entirely on composition. He lead a series of critically acclaimed concerts with the Ensemble Sospeso in New York City in the early 2000’s, and with the California EAR Unit at the Los Angeles County Museum in the 1980’s and 90’s. Among other groups he conducted were the Arditti Quartet, Aspen Chamber Ensemble, La Jolla Symphony, Los Angeles Philharmonic New Music Group, New York New Music Ensemble, and the Nouvel Ensemble Contemporain (Switzerland). Among his recordings as conductor are operas by Anne LeBaron, Hilda Paredes and Anthony Davis, and chamber works by Elliott Carter, George Lewis, Mark Osborn, Roger Reynolds, Karlheinz Stockhausen, Morton Subotnick, Iannis Xenakis and Wadada Leo Smith. He has also conducted many world, New York and California premier performances, including works of Muhal Richard Abrams, Louis Andriessen, Milton Babbitt, Pierre Boulez, Henry Brant, Elliott Carter, Brian Ferneyhough, Michael Gordon, Jonathan Harvey, Aaron Kernis, Scott Lindroth, James Newton, Luigi Nono, Augusta Read-Thomas, Roger Reynolds, Terry Riley, Poul Rudders, Frederick Rzewski, Kaija Saariaho, Giacinto Scelsi, Elliott Sharp, Julia Wolfe, Toru Takemitsu, Jon Tavener, and Erki-Sven Tuur.

His compositions and performances are recorded on the Centaur, CRI, Crystal, Einstein, Koch, Mode, New Albion, New Dynamic, New World, Nonesuch, and Tzadik labels. Recent works for instruments and electronics are available on Ecosphere a portrait CD/DVD on EMF, and A Menacing Plume, a portrait CD on New World Records.

After serving on the Faculty of California Institute of the Arts from 1982 through 1987, Steiger joined the Music Department at U.C. San Diego, where he currently serves as Department Chair. In 2009 he was a Visiting Professor at Harvard University.

Rubin

Joshua Rubin is a founding clarinetist and the co-Artistic Director of the International Contemporary Ensemble (ICE), where he oversees the creative direction of more than one hundred events per season in the United States and abroad. As a clarinetist, the New York Times has praised him as, “incapable of playing an inexpressive note.”

Joshua has worked closely with many of the prominent composers of our time, including George Crumb, David Lang, John Adams, George Lewis, Lee Hyla, Kaija Saariaho, John Zorn, Magnus Lindberg, Steve Lehman, Nathan Davis, Tyshawn Sorey, John Zorn, and Mario Davidovsky. His interest in electronic music throughout his career has led him work on making these technologies easier to use for both composers and performers. Joshua can be heard on recordings from the Nonesuch, Kairos, New Focus, Mode, Cedille, Naxos, Bridge, New Amsterdam, and Tzadik labels. His album “There Never is No Light,” available on ICE’s Tundra label, highlights music that uses technology to capture the human engagement of the performer and the listener.

In the past season he has been featured as a soloist with the Seattle Symphony (under Ludovic Morlot) and at the Mostly Mozart Festival at Lincoln Center, in engagements with the Nagoya Philharmonic Orchestra and the Saint Paul Chamber Orchestra, and has given solo performances of new music in New York, Chicago, Los Angeles, São Paulo, Rome and Berlin.

He received degrees in Biology and Clarinet from Oberlin College and Conservatory, and his Master’s degree from the Mannes College of Music.

bio

Born in Lima, Peru, Maria Chavez is mainly recognized in the art community as an improviser, sound artist, DJ and curator.

Influenced by improvisation in contemporary art, her sound installations, visual objects and live turntable performances focus on the values of accidents and it’s unique, complicated possibilities with sound emitting machinery like the turntable.

In 2012, Chavez wrote and illustrated her first book object entitled, Of Technique: Chance Procedures on Turntable. The book serves as a how-to manual for those interested in learning the abstract turntablism techniques that she developed with the turntable. “While the contents of the book serve a practical means, the book as a whole is intended to be an interactive art piece.”

This book is considered the first sound related release by Chavez since her solo album release on Pitchphase in 2004. She recently signed with Software, a record label founded by Oneohtrix Point Never- Daniel Lopatin and is due to release her first full length LP in a decade, some time next year.

As an independent sound art curator in NYC, collaborating with various organizations and art spaces, Maria helps to produce events and festivals that present the latest of what is being shown in the sound art world. Being an independent curator helps to expand Maria’s artistic research when developing new projects for her own practice.

As a professional DJ, Chavez shares her expansive music collection in various settings like museum openings (MoMA, MoMA PS1, Haus für elektronische Künste- Basel), gala events (Van Alen Institute, El Museo del Barrio), New York Fashion Week (SunheeNY, BeBe), radio (NTS, Concepto Radio, Art on Air, raudio aasland for Reboot.fm) and dance parties (Hott Club- Zurich, Bei Ruth- Berlin, Ace Hotel- NYC). She is currently an endorsed Moog artist for her participation in the Moog Synthesizer Residency w/ Rough Trade Records, NYC. This summer, Maria will DJ for PS1’s 2014 summer Saturday series, Warm Up.

She was awarded the Jerome Foundation’s Emerging Artist Grant by New York’s Roulette Intermedium, became a recipient of the Van Lier Fellowship by The Edward and Sally Van Lier Fund of the New York Community Trust and was awarded the St. Luke’s Chamber Ensemble commission 2015. This year, Maria was an artist in residence at INKONST, an international art center in Malmö, Sweden and was Curator in Residence with Cafe OTO, OTO Projects & Electra Productions.

She has worked with Christian Marclay and the Whitney Museum of American Art in NYC as part of Christian Marclay: FESTIVAL and has shared the stage with renowned artists such as: Pauline Oliveros; Thurston Moore; Phill Niblock and Otomo Yoshihide.

From April 19th to May 10th, 2014 Chavez embarked on a duo tour in Europe with vocal and cello improvisor, Audrey Chen performing in Oslo, Vienna, London, Basel, Berlin, Copenhagen and more. Chavez will present a new live sound installation at the Brooklyn Museum of Art in 2015.

Check out the December issue of the Wire magazine where she is the “Invisible Jukebox” interviewee with writer Kurt Gottschalk.

bio

Eric Chasalow is widely recognized as a composer as comfortable in the studio as the concert hall.  He is especially well known for creating a vivid kind of “super-musique concrete” that combines traditional instruments with manipulated pre-recorded sounds from any source imaginable. He has also become known for his devotion to archiving the stories of the pioneers of electronic music, many of whom where teachers and friends.
Eric teaches at Brandeis University, where he directs BEAMS, the Brandeis Electro-Acoustic Music Studio. He studied at the famed Columbia-Princeton Electronic Music Center in New York, where his principal teacher was Mario Davidovsky.