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PIXILERATIONS [v.7]
Fall 2010 Concert Schedule

PIXILERATED: CONCERT PERFORMANCES I & II
Concert I: Friday, Oct. 1, 8pm, Free
Grant Recital Hall, Hope Street & Young Orchard Avenue [map]

Featuring:
Freida Abtan
mem1 (Mark and Laura Cetilia)
Kyle Evans
Elaine Carey
Butch Rovan, Lucky Leone
Arvid Tomayko-Peters, Stephen Schwartz
Aurie Hsu, Steven Kemper, Troy Rogers, Scott Barton


Concert II: Saturday, Oct. 2, 8pm, Free
Grant Recital Hall, Hope Street & Young Orchard Avenue [map]

Featuring:
Ilya Y. Rostovtsesv
Panayiotis Kokoras, Dimitris Vourdoglou
Daniel Mayer
Adam Stansbie
Michael Trommer
Alexander Dupuis
Jim Moses
Jessica Feldman
Wendy Reid
Dominique Sirois, Alain Lefebvre
Jing Wang
Kirsten Volness



CLUB PIXIL
Thursday, October 7, 9pm, Free
Firehouse 13, 41 Central Street [map]
DJ Innovation And Experimental Electronics

Featuring:
Joe Larios: OINVILLE
Ben Taylor: THE OPAL CHURCH
David Brown & Forrest Larson: ETHNIC ELECTRONICS
N_DREW (aka Andrew Bucksbarg): GALAGA REMIX2
Fair Use Trio (R. Luke DuBois, Zach Layton, and Matthew Ostrowski)
Mark Franz & Max Alexander: BLUE ASH OF 49



Details
:


Ben Taylor -- The Opal Church

"Let everything happen to you -- beauty and terror. Just keep going. No feeling is final."
                                               ~Rainer Maria Rilke

“In The Opal Church, I am performing in a website by adding and subtracting media to it. Essentially, I am rewriting its inner HTML code in real-time. My performance may be seen by anyone, anywhere, who is watching this website. Many thanks to Catherine Reser for her time and inspiration, as well as Brian Harnetty for his work that I so consistently rob.”

You may view my web compositions at <www.whitechord.org>.

Ben Taylor is a composer of electronic music and music for the internet. He considers the internet a flexible, free space for multimedia art installation, as well as a nearly unlimited resource of media to sample from and collage.

David Brown Forrest Larson -- Ethnic Electronics
Forrest Larson and David Brown create a unique electronic/acoustic space using the combination of ethic instruments and noise makers with retro analog oscillators and sound processors.This is a structured improvisation using fixed milestones and textural families that combine in unpredictable ways. The music uses timbrel evolution and rhythm as the primary propulsive elements. Tonality tends to be modal or accidental, according to whim.

Forrest Larson has had a life-long love of old pre-digital analog electronic instruments, and of collecting of “found sounds” from both natural as well as urban landscapes. Simple or "primitive" analog devices such as oscillators, stomp box filters and shortwave radios are of particular interest. He has also written music for string orchestra as well as works for unaccompanied violin, viola and cello.

David Brown is received his MFA in Music from The Center for Contemporary Music at Mills College in Oakland, CA. where he studied with Anthony Braxton and Kenneth Gaburo. Now living in Providence, he combines found sounds with acoustic and electronic instruments to create collages of orchestral density.

Forrest and David have been playing together for 2 years combining ethnic instruments and noise makers with analog electronics to create improvised soundscapes.

N_DREW (aka Andrew Bucksbarg) -- Galaga RemiX2
GalagaRemiX2 colonizes the corporate product and contaminates an arcade game classic by using two hacked games and custom button controllers to create a glitchy, audio-visual feast of sound and projection. Introduced in 1981, the Galaga arcade game became a classic alien invasion game for the company Namco. Twenty-nine years into the future, GalagaRemiX2 appropriates a recent game pack circuit to create an audio-visual instrument that allows the performer to play with a hacked version of the classic Galaga video game.

N_DREW (aka Andrew Bucksbarg) is a media artist, experimental interaction designer, audio-visual performer and a professor in the Department of Telecommunications at Indiana University. He creates audio-visual performances and interactive works, exploring organic and abstract forms, live A/V processes and participatory technoculture, enthralling audiences with images, beats, ambient or noisy sounds and pixilated atmospheres.

Fair Use Trio
Fair Use looks at our accelerating culture through the electronic performance and remixing of cinema, presenting classic films through time compression and audio and visual manipulation. Founded in 2006 by musicians Zach Layton and Matthew Ostrowski together with video artist R. Luke DuBois, this New York trio bases its work on the use of cinema as raw material for experimental live performance. They use the picture and soundtrack of culturally significant films, drastically compressed in time, as the sole materials for an improvised set which interrogates our cinematic memories through frenetic audiovisual processing and re-narration of the cinematic object.

Comprised of R. Luke DuBois, Zach Layton, and Matthew Ostrowski, Fair Use looks at our accelerating culture through electronic performance and remixing of cinema. From its inception at the 2006 Bent Festival, this New York-based trio has been re-presenting classic films through time compression and audio and visual manipulation, speeding up and manipulating the content of classic films. Over the years, Fair Use has reinterpreted such films as the Taking of Pelham 123, Blade Runner, Liquid Sky, À Bout de Souffle, Rear Window, and many others. They have performed at the New York Electronic Arts Festival, The Dumbo Video Festival, and many other venues in the New York area.

Mark Franz Max Alexander -- Blue Ash of 49
Blue Ash of 49 is a sound and video performance by Mark Franz and Max Alexander. Formal graphic elements are manipulated in real time by custom, but rudimentary hardware. The hand made sound and video performance devices are constructed to provide chance occurrences for the artists to react to, which allow for improvisation, and the production of visual music.

The performance piece breaks from the non-objective nature of visual music by the artists' consideration of a simple narrative. In Blue Ash of 49, this revolves around producing sounds that are visions and inspirations of a character that has has rejected his culture and withdrawn from society by his own virtue.

Mark Franz and Max Alexander originally began their video sound performances as graduate students at The School of the Art Institute of Chicago in 2008, and have since performed at numerous venues including the Gene Siskel Film Center, The Around the Coyote Emerging Arts Festival, and Transistor. Their work revolves around comparisons between the natural world and the technological, pre and post industrial culture, art, and craft.