Marina Rosenfeld & G. Lucas Crane: MIXER FESTIVAL


From Daniel Fishkin GRAD:

experimental music group presents….


The Techné Series considers philosophies and practices of music technology. Each occasion of the series will focus on a particular theme within the context of presentations, workshops, and live performances. For Techné Series: The MIXER, Wesleyan invites two composers who utilize the ubiquitous audio mixer for vastly different means. The principal performers are, G. Lucas Crane and Marina Rosenfeld. Crane and Rosenfeld are two artists who use found sound to create sheets of delicate sonic webs. Each uses DJ mixers to mix tapes and records in a unique fashion borrowing equally from hip hop technique and the american avant-garde. The artists are spiritual cousins, using similar styles and equipment, but have never before collaborated.
In this workshop, Rosenfeld and Crane consider the mixer and its inherent gestures, problems, and spiritual leanings

4:15 in 003 — composer’s roundtable! (fauxloquium)
8:30 in the Memorial Chapel: workshop/performance!

Known equally as a composer of large-scale performances and an experimental turntablist working with hand-crafted dub plates, New York-based Marina Rosenfeld has been a leading voice in the increasing hybridization between the domains of visual art and music. She has created chamber and choral works, including the performances Teenage Lontano, Cannons and roygbiv&b; a series of acclaimed “orchestras” for floor-bound electric guitars and other quasi-sculptural scenarios; works notated in video, including WHITE LINES and My red, red blood; and since 2008, a series of installation/performance works, often mounted in monumental spaces, such as the Park Avenue Armory in New York and Western Australia’s Midland Railway Workshops, deploying complexes of unamplified live performers and custom loudspeaker installations. Rosenfeld’s work has been widely presented throughout Europe, North America and Australia, including recent solo projects for the Museum of Modern Art in New York; SPOR, Ultima, Wien Modern and Holland Festivals; the Whitney, Liverpool and PERFORMA Biennials; and many others. Recent collaborative projects include her duo with George Lewis (Sour Mash) and, forthcoming on the Room40 label in summer 2013, a new album featuring the collaboration of legendary Jamaican vocalist Warrior Queen, as well as long-time collaborator, cellist Okkyung Lee.

G. Lucas Crane is a sound artist, performer, and musician whose work focuses on information anxiety, media confusion, and recycled technology. Using a combination field recordings culled from the underbelly of the contemporary sonic media landscape and homemade electronic instruments, oscillators and broken machines, he creates compositions and performances as a reaction to, and illustration of, our information detritus choked times. Past work has dealt with musicality of a location or route, horror and phantasm in the information age, technology as abomination, the mystical presence of obsolete recording technology, recording as ritual, and the religious, poetic, and magical connotations of feedback and improvisation. Tape manipulation harkens back to the early days of experimental music, and in the context of the digital era it creates a sonic counterpoint on the continuum between hi and low fi, folk outsider and academic composition. Crane’s work exists in a meditation on the blurred boundary between new and old tech and the emotional and social toll created by the rapid advancement of the technological sonic/environment.

Time: 4:15 p.m.
Place: 003, MEMORIAL CHAPELStart Date
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