Across Boundaries, Across Abilities Deep Listening Institute, Ltd. 77 Cornell St, Suite 303 PO Box 1956 Kingston, NY 12401 www.deeplistening.org info@deeplistening.org facebook.com/deep.listener Twitter @ DeepListening What is Deep Listening? There’s more to listening than meets the ear. Pauline Oliveros describes Deep Listening as “listening in every possible way to everything possible to hear no matter what one is doing.” Basically Deep Listening, as developed by Oliveros, explores the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive -­‐-­‐ of listening. The practice includes bodywork, sonic meditations, interactive performance, listening to the sounds of daily life, nature, one’s own thoughts, imagination and dreams, and listening to listening itself. It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth. ; 2 Experimental Media and Performing Arts Center (EMPAC) Troy, New Y ork My hope is to inspire scientific inquiry and research on listening as well as to bring the world community together to share ideas and practice Deep Listening. -­‐-­‐Pauline Oliveros, Founder of Deep Listening Institute Dear Conference Attendees, I am extremely pleased to welcome you to Deep Listening: Art/Science, the First International Conference on Deep Listening! This three-­‐day event will feature an amazing array of lectures, workshops, posters and experience-­‐focused presentations on a number of topics related to the art and science of listening. This includes many distinguished and long-­‐time members of the Deep Listening community as well as a host of scholars and creators who approach listening from unique perspectives. My goal was to craft a call for submissions that elicited a diversity of thought on the subject; the resulting quality, breadth and number of submissions was so overwhelming that we decided to expand the conference from two to three days in order to accommodate them all. Further, this response is a very strong testament to Pauline Oliveros' mission and work in developing such a strong community of Deep Listeners, as well as her undeniable role in challenging us all to think more deeply about listening while attending to all that surrounds us. This conference is produced by the Deep Listening Institute (DLI) in coordination with exceptional support from the Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute (RPI). The impetus to produce this event stems from discussions with Pauline, myself, Deep Listening trustees and Dean Mary Simoni (Humanities, Arts, Social Sciences at RPI) surrounding the long-­‐term stewardship of DLI, and the expanded role that RPI should assume in this process. This has led to an initiative, beginning this summer, aimed at heightening awareness of DL on campus. This includes a summer course on "Deep Listening and the Science of Sound" which I had the pleasure of teaching, and which follows the momentum of Pauline's very popular "Deep Listening" course that is offered each semester. This "DLI@RPI" initiative also includes the pre-­‐conference workshop "Sound Sculpting and Deep Listening Through Electronics", and finally is capped off with the spectacular convergence that is this conference. On the one hand the goal of this summer Deep Listening activity is to strengthen and develop a focused center for Deep Listening contemplation, studies and experiences in a university setting. At the same time this conference is aimed at expanding and strengthening the international network of Deep Listeners, engaging from practice to theory with equal attention to scientific and artistic points of view. On a personal note, it has been an absolute pleasure and honor to work with Pauline Oliveros so closely as a friend/mentor/colleague in research, teaching, performing and listening these past years. As I leave RPI for a new venture, this culminating experience of working on Deep Listening: Art/Science has been deeply inspiring and affirming of Pauline's important work in developing this international community, and equally is a testament to your important place in growing this community further. Thank you all for being here, and I look forward to listening with/to you. All the best, 2 Doug Van Nort, Conference Director 2 ; 3 DEEP LISTENING ART/SCIENCE Conference Organization Doug Van Nort, Conference Director Lisa Barnard Kelley, Conference Coordinator Cristyn Magnus, Technical Coordinator Program Committee: Tom Bickley Brenda Hutchinson Pauline Oliveros Jonas Braasch Norman Lowrey Ione Deep Listening Institute: Pauline Oliveros, Executive Director Ione, Artistic Director Lisa Barnard Kelley, Events & Marketing Emily Halstein, Administrative & Finance Manager Al Margolis, Label & Catalog Manager Nico Bovoso, Graphic Designer Casey Frensz, Intern Deep Listening Institute Board of Trustees: David Felton, President Jonas Braasch, Vice-­‐President Olivia Robinson, Secretary Antonio Bovoso, Treasurer Tom Bickley Chris Chafe Orville Dale Brenda Hutchinson Ione Norman Lowrey Pauline Oliveros Johannes W elsch Volunteers: Allison Berkoy Heidi Boisvert Tonio Bovoso Alexei Bulazel Stacy Denton Nikhil Deshpande William Raptor Loveridge Dickie James McEntee Leaf Miller Tina Pearson C. Lavender Jung Yoon Special Thanks to Tom Roe of free103point9/WGXC for broadcasting the conference on their w ebsite free103point9.org Special Thanks to Dean Mary Simoni of the Humanities, Arts and Social Sciences at RPI (HASS) and Greg Palmer for his support with documentation of the conference. Special Thanks to the staff of RPI's Conference Services for their support with on-­‐campus housing and to Catering Services of RPI. Special Thanks to the staff of EMPAC. 3 3 ; 4 DEEP LISTENING ART/SCIENCE
JULY 12-­‐14, 2013 Table of Contents Conference Welcome………………………………………………………………….……..2 Organization & Acknowledgements…………………………………………….……..3 Table of Contents……………………………………………………………………….…......4 Conference Schedule………………………………………………………………….……...5 Art of Listening Keynote…………………………………………………………….…...…8 Science of Listening Keynote…………………………………………………….………..9 Golden Ear Award Presentation……………………………………………….……….10 Friday, July 12 – Art of Listening Presentation I………………………………………………………………………..11 Workshops……………………………………………………………………………15 Poster Abstracts…………………………………………………………………....19 Presentation II………………………………………………………………………30 Roundtable……………………………………………………………………………33 Concert…………………………………………………………………………………35 Saturday, July 13 – Science of Listening Presentation III……………………………………………………………………..38 Roundtable……………………………………………………………………………41 Workshops……………………………………………………………………………42 Presentation IV……………………………………………………………………...46 Presentation V……………………………………………………………………….49 Concert………………………………………………………………………………….53 Sunday, July 14 – Experiential Presentations Presentation 6……………………………………………………………………….56 Lecture/Concert I…………………………………………………………………..59 Lecture/Concert II…………………………………………………………………62 In Absentia/Papers to be Submitted…………………………………………………64 DLI Certificate Program & Certificate Holders…………………………………...66 RPI Campus Map……………………………………………………………………………...67 Off-­‐Campus Dining Suggestions………………………………………………………..68 Index of Presenters, Composers and Performers……………………………….70 4 4 ; 5 CONFERENCE SCHEDULE FRIDAY, JULY 12th Day One: The Art of Listening 8-­‐9am: Breakfast and Registration (Complimentary in Studio Beta) 9am: Art of Listening Keynote: Deep Listening: Across Boundaries/ Across Abilities (Studio 2) Pauline Oliveros, Deep Listening Founder 10:00-­‐10:30am: Coffee Break (Complimentary in Studio Beta) 10:30am-­‐12pm: Presentation Session 1 (Studio 2) Listening and Sounding in Hong Kong Viv Corringham Networked Migrations: Listening to and Performing the “in-­‐between” Space Ximena Alarcón A Sonically-­‐Engaged Collaborative Sound Art Practice Sean Taylor The Composer Isn't There: A Personal Exploration of Place in Fixed Media Composition Hilary Mullaney th
12-­‐1pm: Lunch (Available at Evelyn's Cafe, EMPAC 5 floor) 1-­‐3pm: Workshops Studio Beta: 1-­‐2pm: Game / No Game: Deep Listening and Music Games for the Educator's Toolkit Jennifer Wilsey 2-­‐3pm: Unlocking the Young Deep Listener Through Rhythm Sticks and Pitched Tubes Leila Ramagopal Pertl Studio 2: 1-­‐2pm: Avatar Orchestra Metaverse/Deep Listening/Cyberspace/Global Awareness Viv Corringham, Björn Eriksson, Brenda Hutchinson, Norman Lowrey, Tina Pearson 2-­‐3pm: Awareness Through Animation: Animated Notation and Deep Listening Practices in Education, Performance and Composition Ryan Ross Smith 3-­‐4:30pm: Poster Presentations : See Full List of Presenters on Page 19 th
(EMPAC 7 flr, Lobby & Center for Communication Culture and Cognition) Coffee Break (Complimentary in Studio Beta) 4:30-­‐6pm: Presentation Session 2 (Studio 2) Incorporating Deep Listening Practices into Secondary General Music Classrooms Monique Buzzarté Researching Sound in Silence Stijin Dickel Using Deep Listening to Teach Entrepreneurship Brian Pertl Pedagogical and Community Oriented Project on Improvisation, by PFL Traject Jean-­‐Charles François th
6-­‐7:30pm: Dinner (Available at Evelyn's Cafe, EMPAC 5 floor) 7:30-­‐9pm: Round Table: Deep Listening and Pedagogy (Studio 2) Moderator: Maud Hickey with: Thomas Ciufo, Michael Duch, Jonathan Hoefs, Margaret Anne Schedel, Mary Simoni 9pm: Deep Listening Art/Science Concert I 5 5 ; 6 CONFERENCE SCHEDULE SATURDAY, JULY 13th Day Two: The Science of Listening th
8-­‐9am: Breakfast and Registration (Complimentary at Evelyn's Cafe, EMPAC 5 floor) 9-­‐10am: Science of Listening Keynote: Beyond Sound and Sensation: The Neurobiology of Listening Seth Horowitz, auditory neuroscientist th
10:00-­‐10:30am: Coffee Break (Complimentary at Evelyn's Cafe, EMPAC 5 floor) 10:30-­‐11am: Listening and Hearing – New and Known (Studio 2) Invited Talk by Johannes Goebel 11am-­‐12pm: Presentation Session 3 (Studio 2) Acoustics of Imaginary Sound Chris Chafe Deep Listening to Cicadas: A Once-­‐in-­‐17-­‐Years Event David Rothenberg Listeners Are Observers and Musicians Ann Warde th
12-­‐1pm: Lunch Break (Available at Evelyn's Cafe, EMPAC 5 floor) 1-­‐2pm: Round Table: Hearing vs. Listening, Artistic and Scientific Perspectives (Studio 2) Moderator: Lance Brunner with: Pauline Oliveros, Seth Horowitz, China Blue, Ann Warde, Chris Chafe 2-­‐4pm: Workshops Studio Beta: 2-­‐3pm: Banding Improvisations Tomie Hahn 3-­‐4pm: Hearing the Music in Your Mind Bunita Marcus Studio 2: 2-­‐3pm: From the Waters: An Ensemble Listening Practice for the Grieving Process Anne Hege 3-­‐4pm: The Adaptive Use Musical Instrument (AUMI): Music-­‐Making and Improvisation for All Abilities Leaf Miller th
4-­‐4:30pm: Coffee Break (Complimentary at Evelyn's Cafe, EMPAC 5 floor) 4:30-­‐6pm: Presentation Session 4 (Studio 2) AUMI with Disabled People in Music Therapy Ralf Martin Niedenthal Mediated Spaces: Using Active Listening Exercises to Reduce Anxiety for Chronic Pain Patients Mark Nazemi Creative Collaboration as Sound, Space, and Pattern Recognition Gayle Young Music Made From Being: Enmeshed, Enacted, and Embodied
Michelle Nagai
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6-­‐7:30pm: Dinner Break (Available at Evelyn's Cafe, EMPAC 5 floor) 7:30-­‐9pm: Presentation Session 5 (Studio 2) Listening (is) Sounding (is) Listening: Sonic Mimicry as Listening Practice Tina Pearson Destabilization and Time Distortion in Experiential Listening Ben Richter Sound Cairn: Virtual Spaces Joseph Reinsel Embodying Physics: A Physical Language for Physics Adam Burgasser 9pm: DL Art/Science Concert II: Participatory Pieces (Studio 2) 6 6 ; 7 CONFERENCE SCHEDULE SUNDAY, JULY 14th Day Three: Experiential Presentations th
8:30-­‐9:30am: Breakfast (Complimentary at Evelyn's Cafe, EMPAC 5 floor) 9-­‐9:30am: Listening Walk with Viv Corringham 9:30-­‐11am: Presentation Session 6 (Studio Beta) Dynamic Soundscape Composition Thomas Stoll Listening for the Resonance of Peace: Vibrations of Fear and Love from Case Studies in Somalia and Afghanistan Jonathan Rudy Deep Listening in the Realization of Text Scores: A Human Sound Sculpture Nomi Epstein A Well-­‐Tempered Ear: Bridging the Gap Between Improvisation and Notated Composition Kristin Norderval 11-­‐1pm: Lecture/Concert 1 (Studio Beta) Prosodic Body Richard Kocik/Daria Faïn Samay Chakra: Listening to the World Through Sensors Bart Woodstrup Listening and Playing in DIY-­‐3D Sound Spaces Björn Eriksson 1-­‐2pm: Lunch Break 2-­‐4pm: Lecture/Concert 2 (Studio Beta) Paroxysmal Steel Ted Krueger Wired for Sound Jay Kreimer Composing with Otoacoustic Emissions, Ultrasonic Speakers, and Neurobiofeedback Alex Chechile 4pm: Farewell 7 7 ; 8 ART OF LISTENING KEYNOTE FRIDAY, JULY 12th Art of Listening Keynote Deep Listening: Across Boundaries/ Across Abilities Pauline Oliveros July 12, 2013, 9am Studio 2 Composer/performer and Deep Listening founder Pauline Oliveros will discuss how Deep Listening became the focus of her work: her desire to open portals for creative expression for all people; the creation of community through listening and sounding together; participatory learning and how focus on listening may transform lives. Photo by Gisela Gamper Pauline Oliveros (1932) has influenced American m usic extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. Recently honored with the 2012 John Cage Award, she pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations. During the mid-­‐'60s she served as the first director of the Tape Music Center at Mills College, aka Center for Contemporary Music followed by 14 years as Professor of Music and 3 years as Director of the Center for Music Experiment at the University of California at San Diego. Since 2001 she has served as Distinguished Research Professor of Music in the Arts Department at Rensselaer Polytechnic Institute (RPI) where she is engaged in research on a National Science Foundation CreativeIT project. Her research interests include improvisation, special needs interfaces and telepresence teaching and performing. She also serves as Darius Milhaud Composer in Residence at Mills College doing telepresence teaching and she is executive director of Deep Listening Institute, Ltd. where she leads projects in Deep Listening and is director of the Adaptive Use Musical Instruments Project (AUMI). She is the recipient of the 2009 William Schuman Award from Columbia University for lifetime achievement. A retrospective of works from 1960 to 2010 was performed at Miller Theater, Columbia University in New York March 27, 2010 in conjunction with the Schuman award. She received a third honorary degree from DeMontort University, Leicester, UK July 23, 2010. 8 8 ; 9 SCIENCE OF LISTENING KEYNOTE SATURDAY, JULY 13th Science of Listening Keynote Beyond Sound and Sensation: The Neurobiology of Listening Seth S. Horowitz July 13, 2013, 9am Studio 2 Auditory neuroscientist Seth Horowitz, author of The Universal Sense: How Hearing Shapes the Mind Seth S. Horowitz is a neuroscientist with a Masters in psychology and Ph.D. in neuroscience from Brown University. A former professor in the Department of Neuroscience at Brown University, he has worked and published in comparative and human hearing, balance, sensory integration and sleep research. His research has been funded by grants from the National Science Foundation, The Deafness Foundation, and NASA. He has lectured in undergraduate and graduate classes in animal behavior, neuroethology, brain development, the biology of hearing, and the musical mind. As Chief Neuroscientist at NeuroPop, Inc., he has applied his basic research skills to real world applications including health and wellness, and works with The Engine Institute, a Rhode Island nonprofit dedicated to exploring the intersection of STEM and the arts on educational science outreach. His book The Universal Sense: How Hearing Shapes the Mind published by Bloomsbury was released in September 2012 and has received critical acclaim from both professional and public reviewers. He is married to artist China Blue and lives in Warwick, RI. 9 9 ; 10 GOLDEN EAR AWARD SATURDAY, JULY 13th Golden Ear Award Presentation Presented by Pauline Oliveros and Ione Katy Payne July 13, 2013, 12pm Studio 2 The Golden Ear Award is given, on rare occasions by the Deep Listening Institute, to individuals who have demonstrated extraordinary Deep Listening in their work. This year the fourth Golden Ear Award is given to Katy Payne for her extraordinary discovery in 1984 of elephant infrasound used for communication through the earth for up to 10 kilometers and her Elephant Listening Project founded in 1999 as part of the Bioacoustics Research Program at the Laboratory of Ornithology at Cornell University. Golden Ear Award created by: Jon Lee Steel A lifelong naturalist and amateur musician, Katy Payne began her career studying the evolving songs of the humpback whale. She shifted her focus to elephants in 1984, when she and two colleagues discovered infrasonic calling in elephants by recording at a zoo. The studies that followed from this discovery have shown that elephants use their low-­‐frequency calls to coordinate their social behavior over long distances. She founded the Elephant Listening Project in 1999, and was the leader of the project until 2006, when she officially retired. Katy is the author of Silent Thunder: In the Presence of Elephants. This remarkable memoir of scientific discovery begins at the Washington Park Zoo in Portland, Oregon, where Katy Payne's revolutionary work in the field of elephant communication began. It was there that she first discovered the idea that elephants use infrasonic sounds-­‐-­‐sounds below the range of human hearing-­‐-­‐to communicate. This led Payne and her colleagues to conduct field research in Kenya, Namibia, and Zimbabwe that brought about fascinating new insights into elephants' social lives. When five of the elephant families they were studying became victims of culling, Payne changed her approach to her research as she fought valiantly to protect African elephants. One of Katy’s insights was that we could perhaps ‘eavesdrop’ on the elephant’s lives by recording their vocal exchanges and learning to identify the contexts in which certain calls are used. In 1999, Katy and several colleagues founded ELP to further the use of acoustic methods to study and aid in the conservation of forest elephants in Central A frica. For more information about the Elephant Listening Project: www.birds.cornell.edu/brp/elephant/index.html 10 10 1
; 11 PAPER PRESENTATION I DAY ONE, FRIDAY, JULY 12 Paper Presentation Session 1 10:30am-­‐12pm Studio 2 Listening and Sounding in Hong Kong Viv Corringham I will talk about my recent experience of using Deep Listening as a basis for making creative work and for facilitating a “listening and sounding” workshop. This occurred within the vibrant, multi-­‐layered sonic environment of Hong Kong. Walking by Hong Kong harbour. Singing with the sounds I hear: eeeee/ beep-­‐beep/ OOooh/ khkeee/ ssssst/ krak!/ wee-­‐ee/ mmM/ yip!/ gagagaga Pause. I trill: drrr? A chorus of birds joins in: DRRR/ PRRR? / BRRR/ TRRR? / RRR? / DRRRRR! Viv Corringham is a sound artist and singer who has worked internationally since the 1980s. She is a 2012 and 2006 McKnight Composer Fellow, through the American Composers Forum. She received an MA Sonic Art from Middlesex University, London, UK and is a certified teacher of Deep Listening. Networked Migrations: listening to and performing the “in-­‐between” space Ximena Alarcón, CRiSAP -­‐ University of the Arts London Drawing on the listening experience of my own migration, I noticed how vital it was to be open to the sonic memories that are distant in time and space, as well as the new local sonic experiences, in order to reconcile with the cultural experience of dislocation. In particular, allowing my voice to sound and to be heard in any language, even in a reinvented language, helped me to acknowledge its/my “nomadic” and multiple identity. I explored the creation of sonic spaces for the expression of the migratory condition using the Deep Listening practice, through experimental sonic improvisation routines specially created for groups of m igrants in Leicester. I thought of these spaces as “in-­‐between”, a concept that has been described by Mariana Ortega as the place where the self, a multiplicitous subject, negotiates with the external space, but also with her or his internal space. She suggests that it reflects one’s existential spatiality: ‘identity, nationality, gender, color and history are spatial and space is of us’. I suggest that this space includes sound environments—reflecting people's experiences in diverse architectures and landscapes—and the sonic perception of their bodies, memories, and dreams. Furthermore, I suggest that through Deep Listening practice we can integrate these local and distant places, stimulating for the migrant a feeling of well being and wholeness. I proposed the use of the Internet to connect experiences of m igrants from different locations in the world, in order to extend and reinforce the perception of space, and evoke new understandings and feelings of the migratory experience. This paper reflects on the experience of Networked Migrations, a project that explores listening to and performing the “in-­‐between” space within the context of m igration, through the creation of telematic improvisatory sonic performances via the Internet, with the engagement of non-­‐performers in Deep Listening practice. Two improvisatory sonic performances, “Letters and Bridges,” between Leicester and Mexico City, and “Migratory Dreams,” between London and Bogotá, were created in 2012. Participants explored memories and dreams, improvising with their voices and with pre-­‐recorded sounds, encouraging the creation of alternative spaces that are both detached from, and crossing, geographical and cultural boundaries. In Letters and Bridges, participants crossed the boundaries of languages and cultures by collaboratively sharing letters with a participant in another city. The connections established between them brought their multiple and fragmented perspectives and identities into a space of wholeness. In Migratory Dreams, Colombians 11 11 2
; 12 PAPER PRESENTATIONS I DAY ONE, FRIDAY, JULY 12 connected with their dreams, focusing on the space where these take place. In the performance, eight dreamers helped each other to amplify sonically their dreams, healing individual experiences born in their migrations, and weaving a collective dream. The telematic experience facilitated listening to the in-­‐between space, and allowed participants to share in real time feelings with others who are in a different space and time but who share the migratory experience, creating links between their migrations. The connection described by the participants as a stream of energy that is perceived interrogates the physical nature of the in-­‐between, as a field of healing energy. It interrogates the connections between body and technology and the role of networked sound and Deep Listening in m aking the experience embodied. The results of the improvisatory performances suggest that the in between sonic space is a virtual space created through interaction with sounds and voices among migrants, which leads to the creation of multiple transcendental spaces. Through the ritual of listening and sounding the in-­‐between is heard as a new sonic space that participants can inhabit and take with them as a memory of an alternative place to be, an extension of the physical space where they live. Ximena Alarcón is an artist who engages in listening to migratory spaces and connecting this to individual and collective memories. Her practice has involved ethnography, deep listening, sonic improvisation, intertwined with the creative use of Internet technologies. She is interested in interstitial or ‘in-­‐between’ spaces where borders disseminate such as underground transport systems, dreams and the ‘in-­‐between’ space in the context of migration. She completed a PhD in Music, Technology and Innovation at De Montfort University and was awarded with The Leverhulme Trust Early Career Fellowship 2007-­‐2009 to develop “Sounding Underground” at the Institute of Creative Technologies. Since 2011 she is a Research Fellow in CRiSAP – Creative Research into Sound Arts Practice, U niversity of the Arts London developing her project “Networked Migrations: listening to and performing the in-­‐between space”. She is currently a Lecturer for the Masters of Creative Technologies, at the Institute of Creative Technologies, De Montfort University. A sonically engaged collaborative sound art practice Sean Taylor This lecture/demonstration will look at the creative and sonically engaged work of Softday the art/science collaboration between artist Sean Taylor (and Deep Listening Certificate student) and computer engineer Mikael Fernstrom. Based in Limerick City, Ireland, Softday has evolved over the past 13 years towards a more inclusive and socially engaged discursive sound art practice. Working with communities of interest, Softday identifies potential stakeholders and possible collaborators, employs field recordings, adapted and applied Deep Listening methodologies, soundwalks, s oundscape analysis, photography, video and social media to further monitor, evaluate, develop and disseminate creative sound art works. They also use large data sets and various forms of sonification or auditory display as part of their compositions. Softday works collaboratively with stakeholders to realise large-­‐scale environmental and political-­‐themed public art works, situated in locations relevant to the issues and community involved. Over the past number of years Softday has also started to re-­‐mediate their work, i.e. to use parts of an original Softday performance in a different venue and at a different time, thereby re-­‐representing the issues beyond the primary community of interest that the work originally involved. In this lecture/presentation, Taylor describes the influence and application of adapted Deep Listening processes in the conception and realisation of three of their most recent public sound art works. TXT U LTR (2005) involving Ireland’s national classical music radio station RTE Lyric FM, its staff and listeners. Marbh Chrios (Dead Zone, 2010) using scientific environmental data for sonifications and vocalisations, performed in Mooney’s Boatyard, Killybegs, County Donegal, by the Donegal Youth Orchestra, the Softday Céilí Band and the St Catherine’s Marching Band. Amhran na Beacha (Song of the Bees, 2013) a new sound art project connecting the life of honeybees and current threats such as Colony Collapse Disorder (CCD). The world premiere of Song of the Bees (Amhran na Beacha) was performed on Saturday 27th A pril 2013, at Glenstal Abbey, Murroe, Co. Limerick, Ireland, and featured The Irish Chamber Orchestra, The Softday Apiary Ensemble, the Monks of Glenstal and the bees of Glenstal Apiary. 12 12 ; 13 PAPER PRESENTATIONS I DAY ONE, FRIDAY, JULY 12 Sean Taylor studied Fine Art at Crawford College of Art & Design, Cork, Ireland,1982. Awarded an MA in Fine Art from the University of Ulster in Belfast,1983, and a Postgraduate Scholarship from the Kunstenacademie, Rotterdam, Holland,1987. Taylor has been a Deep Listening Institute Certificate student since 2009 and is currently studying for a PhD at Limerick Institute of Technology, Ireland. His socially engaged art practice has been shaped by considerable experiences of working as a community artist, undertaking numerous public art projects, and embracing artistic collaborations where appropriate. An important development in his recent practice has been the exploration of the links between art, sound and science in collaboration with computer software designer Mikael Fernstrom (aka Softday). Fernstrom currently acts as Joint Program leader with an MA In Social Practice & the Creative Environment, and lecturer in the Sculpture & Combined Media Department at Limerick School of Art & Design. Mikael Fernström -­‐primary degree in Electronic Engineering and Telecommunications from Kattegattskolan, Sweden. He worked in industry as an inventor, electronics engineer, industrial designer, manager, composer and company director, in Sweden. In 1998 he was awarded an M .Sc. by research by the University of Limerick. He spearheaded the development of a new Masters degree in Interactive Media at UL and is the Course Director. His research interests cover Computer Science, HCI, electronics, sound, music, multimedia, history, archaeology and the performing arts. In 1999 he began working together with Sean Taylor of the Limerick School of Art and Design, as part of the Softday art/science collaboration. From 2001-­‐ 2003 he worked in collaboration with Dr. Joe Paradiso of MIT M edia Lab to develop new interactive surfaces in conjunction with Media Lab Europe in Dublin and EU Future and Emerging Technologies grant within the Disappearing Computer initiative on new object models for sound on computers. He received his PhD in Ecological Sound D esign in the context of Human-­‐Computer Interaction from the University of Limerick in 2012. He is a member of the Audio Engineering Society; the International Society of Ecological Psychology; and lifetime member of the Electronic Music Foundation. The Composer Isn't There: A personal exploration of place in fixed media composition Hilary Mullaney Art + Sound, Plymouth University / Dundalk Institute of Technology The primary focus of m y recent practice is to produce sound works, but the concept of place plays a significant role throughout both the compositional process and in the reflection of each composition. My practice explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts the compositional process. Artistic decisions m ade with regard to creating the compositions reflect my personal place and associations with these sound materials. The way in which sound material is subsequently processed and structured reflects this. Intuition and listening are combined with memory and place; sounds are then chosen and gradually the works evolve cumulatively by an evaluation of what arises during the process, combined with very honed editing skills, to make a form out of the sound material chosen. Intuition is coupled with a lot of very skilled, thoughtful manipulation and thoughtfulness about what not to manipulate. Place and the compositional practice inform each other in a two-­‐way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I do not believe that I can totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative. My recent body of work 'The Composer Isn’t There' consists of ten, fixed media compositions where the composer 'is' there; my everyday with places, people and sounds I have chosen to engage with. A s a composer, educator and curator I was inspired to express something personal in my practice. My personal place is embodied in the compositions through listening and compositional process. This paper will explore these ideas and practices referencing various examples in my work including Dawn (2008); a composition composed at the Mamori Lake, Brazil, Throbbing (2012); a work which explores my place in a anxiety based dream and Áitleku (2012); which use of recordings of sounds and stories from my family home in Mayo, Ireland and the Basque Country, Spain. 13 13 ; 14 PAPER PRESENTATIONS I DAY ONE, FRIDAY, JULY 12 Hilary Mullaney (BA Music, M A)is a composer based in Dublin, Ireland. Her works have been broadcast and performed at various festivals and events worldwide. She recently completed a PhD, ‘The Composer Isn’t There: a personal exploration of place in fixed media composition’, supervised by Dr. John Matthias at Plymouth University, UK. Since 2001 she has lectured on the subject of Electroacoustic Music and Composition to both undergraduate and postgraduate students taking up a permanent full-­‐time post in 2004 at the School for Informatics and Creative Media at Dundalk Institute of Technology (Ireland) where she has been teaching students to ‘listen’. Since 2001 she has supervised numerous MA students on topics primarily concerned with electroacoustic music and composition but also in areas of musicology, music education and music therapy. From 2001 – 2006 she worked as a music facilitator with Drake Music Project, Ireland, an organisation enabling musicians with disabilities to perform and compose music using assistive technology. Other areas of interest are piano pedagogy, in particular music development for young children. With funding from the Arts Council of Ireland she studied at the Centre de Création Musicale Iannis Xenakis in Paris in 2005 and completed the Mamori Sound Project residency in Brazil with Francisco López in 2008. 14 14 ; 15 WORKSHOPS DAY ONE, FRIDAY, JULY 12 Workshop 1-­‐2pm Studio Beta Game / No Game: Deep Listening and Music Games for the Educator's Toolkit Jennifer Wilsey Mills College / Sonoma State University This sixty-­‐minute, experiential workshop bridges theater game-­‐based music games with Deep Listening practices as instructional tools for the twenty-­‐first century m usic educator. Engaging via games developed in the early to m id-­‐ 1960s by W. Allaudin Mathieu and the Chicago Improvising Players, participants will experience how these games, like Deep Listening exercises, develop exclusive and inclusive listening skills, and engender collaboration, creativity, and self-­‐trust. How do music games and Deep Listening exercises complement one another in educational contexts—and thereby enhance comprehensive musicianship? What is the game of inventing games and “game symphonies”? What is the game of "no game"? I will begin the workshop with a brief presentation of m y research documenting the relatively unknown work of the Chicago Improvising Players (hereafter CIP), whose members included pianist/composer W. Allaudin Mathieu, percussionist George Marsh, bassist Clyde Flowers, and woodwinds player Richard Fudoli. Following this presentation, participants will be guided in learning a selection of the CIP’s games, and will have the opportunity to invent similar games in small groups, with or without instruments other than voice and body. The workshop will close with discussion and questions. Background: Developed during the m id-­‐
1960s in Chicago, the innovative m usic games of the CIP were directly inspired by the Theater Games of Viola Spolin, who has been internationally recognized as the American grandmother of theater games. The roots of Spolin’s approach lie in the Recreational Therapy and Educational Drama movements, one of whose chief American pioneers, Neva Boyd, was Spolin’s early mentor during the mid-­‐ to late-­‐1920s. Through the use of primary sources including interviews, unpublished scores, and unreleased recordings, m y research demonstrates ways in which the CIP’s music games address a spectrum of social and technical skill sets, serving as compositional devices, and as functional components of performance technique and vocabulary. I place their work as emerging from the post-­‐war culture of spontaneity and describe some of their connections with the parallel activities of the Association for the A dvancement of Creative Musicians in mid-­‐
1960s Chicago. I show that, like the Theater Games of Viola Spolin that inspired them, the musical games of the CIP constituted a creative framework that enabled its members to experience structured (and ultimately free) improvisation—which was new territory at the time—as a transformative and liberating path. By serving as non-­‐syntactic musical points of focus, the games harnessed the collaborative, spontaneous, problem-­‐solving skills of the group and thereby engendered an atmosphere of trust. In the process, the CIP built a deep base of listening skills, which informed both their compositional and performance practices. The legacies of Viola Spolin and the CIP contributed to a growing awareness in Euro-­‐American culture of using games as a basis for improvisatory forms, and m y own practice as a performer and an educator emerged from this background, interwoven with my training in Deep Listening—which began with m y first exposure to Pauline Oliveros’ Sonic Meditations in the late 1980s. Jennifer L. Wilsey—percussionist, improviser, composer, and educator—currently performs with improvising ensembles Timeless Pulse (since 1991, with Pauline Oliveros, Thomas Buckner, George M arsh, and David Wessel), The Bloom (since 2005, with W. Allaudin Mathieu and George Marsh), and Gestaltish (since 2011, with Gretchen Jude, Rachel Condry, and Jacob Peck). In addition to activities as a concert percussionist, Jennifer’s projects have included work with The Good Sound Band, Wrestling Worms, Petr Kotik and the SEM Ensemble, Stuart Dempster, and Anna Halprin, among others. Jennifer’s recordings can be heard on the Deep Listening, M utable, Cold Mountain M usic, Eh?, and Pitch-­‐A-­‐Tent labels. She received her BA in Music from UC Santa Cruz and M FA in Performance and Literature with Improvisation Specialization from Mills College (with the Margaret Lyon Prize), and is a Deep Listening® Certificate holder. With twenty-­‐five years experience as an educator, Jennifer teaches percussion, percussion pedagogy, and directs the Percussion and Improvisation Ensemble at Sonoma State University. At Mills College she teaches Advanced M usicianship while serving as the Musicianship Program Supervisor. She also maintains a private studio, offering creative music lessons in Santa Rosa and Oakland, California. 15 15 ; 16 WORKSHOPS DAY ONE, FRIDAY, JULY 12 Workshop 2-­‐3pm Studio Beta Unlocking the Young Deep Listener Through Rhythm Sticks and Pitched Tubes Leila Ramagopal Pertl Lawrence University Imagine taking a walk down an elementary school’s hallway. You hear in the recesses of the building what sounds like indiscriminate clacking of sticks and occasional pitches jumping out from the noisy jumble. Despite the seeming cacophony, you are compelled to follow the sounds down the concrete hallway with the one-­‐by-­‐one tiles displaying the school colors, past the display case of newly fired pottery creations, past the chewing-­‐gum infused water-­‐fountain, and past the scents of the processed hot-­‐lunch peas. As you get closer to the noise, you discover that the jumble has discernible patterns and that the pitches seem to jump at regular intervals. You notice that the sound coming from this place contains an enormous energy which seems to burst out of the space and down the hallway, beckoning you closer. Entranced, you m ake your way closer to this wonderland of energetic sound. “What am I hearing?,” you ask yourself. You arrive. And just as you look up to see “Music Room,” the sound sweeps you through the door and into the vibrancy of this place as if to say “come create with us.” What you see before you are 30 second-­‐grade children, kneeling with partners, engaged in performing complicated and interlocking patterns using pitched tubes and sticks, in the act of creating polyrhythmic and poly-­‐melodic grooves. You notice that, while each pair is working on its own, that all fifteen pairs seem to fall together in a form of profound communication, exhibiting finessed musicality and intense visual and auditory focus, exploration, and improvisation. The creative power is almost overwhelming as you process the fact that these are seven-­‐year-­‐olds with sticks in their hands, producing rhythms that only an accomplished drummer should be producing. These students are bold and joyful in their play. Their upper bodies, arms, wrists, and fingers negotiate the polyrhythmic, multi-­‐metered, cross-­‐patterns with ease and agility. As you listen to the layered mass of groove and sub-­‐grooves, the thing that is m ost stunning how deeply these 30 students are listening. They listen with the maturity and acuity of a seasoned musician. They listen so intently to their music that they do not hear you walk in. They listen to their own creation. This was a daily reality in Leila's music program. In her workshop, Leila will help you uncover the immense musical power of sticking! This session will take the unassuming rhythm stick and pitched tube to the next level. See how partnered sticking can act as the foundation of so many keys to musicianship: sparking brain development, increasing connection and reaction abilities; fostering improvisation and composition skills; locking-­‐in ensemble awareness, and solidifying rhythmic integrity. These exercises will take your students to new and beautiful realms of deep listening and total focus-­‐-­‐ and they will have an absolute blast moving and grooving to the rhythms they create! Leila Ramagopal Pertl created the innovative music curriculum at Next Generation School, a private K-­‐8 school in Champaign, IL, where music was treated as a core subject; each student being immersed daily in sticking, drumming, dancing, singing, and music theory. She has a special interest in the coordination of brain activity through music listening and music making. Her belief that a thorough education in the arts taps into every part of a child’s being to bring about excitement, critical thinking, the confidence to create and express, knowledge of self-­‐worth, and joy of togetherness, lies at the core of her approach to teaching. She holds a Bachelor of Music degree in M usic Education from the Lawrence University Conservatory of Music in Appleton, Wisconsin, a Master of Science degree in Music Education from the University of Illinois. She has also taught dance, early childhood music and violin, and directed orchestra programs in conservatories and public schools in Illinois, Texas, and Wisconsin. She is an active presenter and has recently given teacher workshops for the Wisconsin Music Educator’s Association state conference in Madison, the Illinois Association for Health Physical Education and Dance, Appleton Area School District, and the Lawrence University Conservatory of Music. 16 16 ; 17 WORKSHOPS DAY ONE, FRIDAY, JULY 12 Workshop 1-­‐2pm Studio 2 Avatar Orchestra Metaverse/Deep Listening/Cyberspace/Global Awareness Viv Corringham, Björn Eriksson, Brenda Hutchinson, Norman Lowrey, Tina Pearson Real-­‐time Internet streaming technologies have contributed to a wide variety of approaches to distance interaction and communication. Among the most daring of these approaches has been taken by the Avatar Orchestra Metaverse with its wide-­‐ranging exploration of both the aural and visual possibilities inherent in the online virtual realm of Second Life. W ith four members of AOM attending the Deep Listening Conference, we propose m aking a 30-­‐minute presentation in which we delve into the issues that have arisen for us in extending our listening and interactions through and across cyberspace to result in performances which include the real-­‐time presence of members who are scattered across the globe. What are the challenges to Deep Listening in this context? What difference does having that presence be in the form of images on a computer make versus actual bodily presence? How might a live audience listen and experience such an occasion? We will explore these questions during a live networked presentation of two signature Avatar Orchestra works with performers around the globe. Each work uniquely embodies Deep Listening in both composition and realization. Avatar Orchestra Metaverse (AOM), formed in March, 2007, is a globally dispersed collective of composers, musicians and media artists working in the virtual online environment Second Life. AOM investigates and exposes new possibilities for developing audiovisual works that challenge conventional practices of creating, performing and listening to music. With members spread over 3 continents, AOM explores the nuances of identity and the communicative possibilities that are opened through real time telematic connection within a virtual audiovisual environment. Within AOM, a new kind of listening is unfolded; inviting subtle yet powerful mind connections made audible within a rich and wildly varying sonic world. AOM’s 'instruments' are created within the Second Life environment, making it possible for each performer in the Orchestra to trigger sounds independent from one another and to play together in real time. These instruments feature sounds, visuals, and animations. AOM members are located in Europe, North America and Asia. AOM has created and performed over 25 audiovisual works screened live at events in France, Germany, Norway, Sweden, Italy, Holland, Canada and the United States. Composers include Bjorn Eriksson, Leif Inge (Scandinavia); Andreas Mueller, Shintaro Miyazaki (Germany); Biagio Franca (Italy); Viv Corringham, Norman Lowrey, Pauline Oliveros, Tim Rischer (USA); and Tina Pearson, Erik Rzepka, Liz Solo, Jeremy Owen Turner (Canada). AOM has also collaborated in mixed reality settings with live musicians including ensemble Tinntinnabulate (USA), Franziska Schroeder (Belfast), Christine Duncan, Anne Bourne (Toronto) among others. Four members of the Avatar Orchestra will provide the bridge between the ensemble and the conference: Norman Lowrey, Brenda Hutchinson, Viv Corringham and Tina Pearson. Norman Lowrey is the originator of Singing Masks, a composer, and Professor of Music at Drew University in Madison, New Jersey Brenda Hutchinson is a composer and sound artist whose work is based on the cultivation and encouragement of openness in her own life and in those she works with. She resides in San Francisco. Viv Corringham is a British vocalist, composer and sound artist, currently based in Minneapolis, USA. She has worked internationally since the early 1980s. Tina Pearson Tina is a composer, performer, editor and a facilitator of sound-­‐related projects, including concert and networked performances, forums and publications, workshops, soundwalks and interventions. She resides in Victoria, British Columbia. 17 17 ; 18 WORKSHOPS DAY ONE, FRIDAY, JULY 12 Workshop 2-­‐3pm Studio 2 Awareness through Animation: Animated Notation and Deep Listening Practices In Educational, Performance, and Composition Ryan Ross Smith Conventional notation as the necessary 'gateway' to m usic-­‐making and the pedagogical process has been increasingly-­‐questioned since at least the late-­‐1800s, as evidenced by any number of mechanical devices invented to sidestep the notational prerequisite, and the continued development of alternative notational approaches throughout the 20th century. Similarly, through the practice of Deep Listening, in particular the ‘Sonic Meditations’, one can engage in the process of music-­‐making by focusing not on conventional notation, but rather, the "synthesis of aural, visual, and somatic attention and awareness." (Modes of Attention and Awareness in the Teaching of Basic Musicianship, Oliveros). Looking to integrate contemporary notational approaches with Oliveros’ Deep Listening practice, the presenter has composed several pieces that deal explicitly with these concerns, and will present these works in an experiential, workshop setting. Several notational approaches will be considered, from conventional notation, animated/conventional notation hybrids, and animated graphic notation. Each approach will be examined for what they may offer the student, the performer, and the composer. Attendees will be encouraged to perform/workshop one or m ore works by the presenter in order to experience how extremely simple (to learn AND to play) focused actions/gestures by the individual can, with one's attention and global awareness emphasized, produce a high level of musical complexity and specificity, and provide each attendee with the experiential knowledge to discover their own capacity for visual and aural focus in the context of a group dynamic. The functionality of these notations will be investigated as well. Simple percussion instruments will be provided, but attendees are also invited to bring their own acoustic instruments, pitched or unpitched, including, but not limited to, hands, feet, and vocal cords. Some questions that will be considered in conjunction with the experiential aspect of the workshop: How can animated notation enhance music pedagogy, improve and sustain group/class awareness, and engage current and future generations of students’ attention, particularly those that may struggle with deficits due to an increasingly digitized, always ‘on’, screen-­‐based world? What other animated notational possibilities are available to the educator and the composer, and how might they function in both pedagogical and performance settings? What is gained and what is lost when m oving away from a conventional notational approach into a more graphic-­‐based, animated notational approach? Ryan Ross Smith is a composer and performer living in Troy, NY. He is currently interested in exploring how animated notation can be used to spontaneously generate musical complexity. Ryan is a first-­‐year PhD candidate in Electronic Arts at the Rensselaer Polytechnic Institute, and recently graduated from Mills College with an MFA in Electronic Music. 18 18 ; 19 POSTER SESSION DAY ONE, FRIDAY, JULY 12 Poster Session 3-­‐4:30pm EMPAC 7th floor Lobby Birdsong and Beyond: The Spectrogram as Score David Arner Rensselaer Polytechnic Institute For this presentation, I want to explore the nature/spectrogram relationship as a palpable ear-­‐training modality for musicians, birders, and listeners-­‐at-­‐large. I will frame the spectrogram historically and phenomenologically in the context of bird song. The marriage of art and science has as one of its myriad beginnings one question, “What bird is that I hear?” Aristotle, the first person in the history of Western civilization we know of who asked (and answered) that question, also asked, “What is art?” Ever since, interweaving threads of inquiry, observation, experimentation and creativity on the part of ornithologists, inventors, musicians and an army of dedicated amateur birders continue to ask more questions, seeking whatever insights m ay come to light. Two of these threads stand out as the standard-­‐bearers of artistic/ scientific inquiry today, namely Audio Recording and Graphic Representation. I will summarize the development of these from the late 19th century to the present, featuring the 98-­‐year-­‐old Macaulay Library and the 11-­‐year-­‐old Raven Interactive Sound Analysis Software, both developed by the Cornell Lab of Ornithology. But preceding and paralleling the Raven software are other graphic representations of interest, including non-­‐electric ones. Two music-­‐based threads I will discuss are Musical Simulacrum (such as F. Schuyler Mathews’ “Fieldbook of Wild Birds and Their Music”) and Musical Translation (such as the work of Olivier Messiaen). Two of the most enduring strains used for identification by amateurs and scientists alike are Verbal Description (such as David Sibley, 2000) and Mnemonic Indication (widespread, and primarily a folk art). Finally there is Vocal Imitation, presumably the oldest strain, now a specialized skill. Each of these threads will be punctuated throughout the presentation by comparisons between spectrogram – nature recording – simulacrum – translation for the same bird, for example. Also included will be spectrograms of environmental recordings, of very similar species, of different genres of music. Finally, my spectrogram score, “Abstract Song for Birds: American Goldfinch” will be on display, with a recording of its performance in the Deep Listening Convergence (2007). My purpose is to spark a discussion about the use of spectrograms as an aid to listening in general, and listening to birdsongs in particular. And this will also be an opportunity to m use about the future use of graphic representation technology as a score. David Arner (composer, piano, harpsichord) is a long time proponent of innovative music and spontaneous composition. His wide interests have encompassed the avant-­‐garde, bird song, mythology, astrology, modern dance and silent film within his musical pursuits. Classically trained, Arner’s music is avant-­‐garde, spanning both jazz and classical traditions in equal measure. He has performed at The STONE, the Whitney Museum, EMPAC in Troy, NY, and in the 1990s, several solo and small ensemble works at the Knitting Factory. Recently Arner joined forces with pianist Connie Crothers to record in a single day 9 SPONTANEOUS SUITES FOR TWO PIANOS at the Fisher Center at Bard College (RogueArt, 2012, 4-­‐CD boxed set). This release was recognized by the Rhapsody Jazz Critics Poll among the Top 10 releases in 2012. In 1213 he collaborated with Pauline Oliveros, Doug Van Nort and Van Nort’s FILTER in a performance of acoustic/computer music at Roulette in Brooklyn. Arner has been an avid birder for 15 years. He has worked as a birdsong consultant for environmental impact studies, and as a field observer for several ornithological studies and surveys. Arner began his ongoing series, ABSTRACT SONGS FOR BIRDS, in 2001. In 2007 Arner presented AMERICAN GOLDFINCH at Deep Listening Institute’s Convergence (Rosendale NY; David Arner, harpsichord; Pauline Oliveros, accordion, Susie Ibarra, percussion). In 2009 Arner presented his 47-­‐minute BIRDS OF CENTRAL PARK at The Stone (solo piano). 19 19 1
; 20 POSTER SESSION DAY ONE, FRIDAY, JULY 12 Nada Brahma -­‐ The World is Sound Bill Baird In India, there exists a concept called 'Nada Brahma,' which postulates that the world is itself sound. Creation began with sound, with the breath of the creator, and all the universe is a continuing vibration from that initial impulse. Having grown up in a suburban cultural void, I was amazed that a culture had as one of its bedrock beliefs an idea that seemed 'far out,' or, ahem, let me rephrase... 'adventurous.' Inspired by this idea of the Nada Brahma, I began a journey two years ago to document this concept using field recordings and, with the help of a director and film crew, a 16mm film. Helped along the way by sponsorships from Air India (who provided all travel expenses) and FujiFilm (who provided the 16mm film), I and 4 others traveled to India. Prior to the journey, myself and the director conducted months of preliminary research, including a workshop at the Esalen Institute, extended dialogues with the Joseph Campbell Foundation, and visits with Indian music scholars at Hartwick College (Oneonta NY). For my conference, I would use field recordings, film clips, photographs, and personal anecdotes to explore the 'Nada Brahma,' with a specific focus on this concept's healing potential. Bill Baird is a writer / composer / composter / walker / runner / sleeper / uncategorizable / cliche. Currently a TA at Mills College, where he’s studied with Pauline Oliveros, Maggi Payne, Chris Brown, Roscoe Mitchell, and others. Baird has chased sound all across the globe and released records on Parlophone, Capitol, Secretly Canadian, and others. Baird has been called an 'important figure in avante-­‐garde rock' (East Bay Express), 'thoughtful' (New York Times), and 'magnetically awkward' (Village Voice). Baird’s compositions explore the liminal spaces between man and nature, often using translational technologies. Mistranslation often creates interesting new forms. Opening the Mind to Deeper Perception with Smell and Music Genevive Bjorn Listening deeply to our internal emotional and physical reactions can guide us to greater creativity, mindfulness and intellectual freedom. But hearing these raw, inner reactions can be difficult, especially when we've felt stuck for a while. Tapping our most emotional sense—the sense of smell, which connects the outside world directly to the emotional center of the brain (the amygdala)—is a powerful method to uncover and harness our emotions. Once heard and identified, emotional reactions can be acknowledged, like a crying baby, and then calmed with music—which opens the m ind to the process of perception, leading to deeper awareness and insight. The technique that will be taught involves smelling vegetable compost, listening to a specific piece of music and then smelling again. The experience will walk participants through the process and offer suggestions to develop and refine a personal practice. Genevive Bjorn is a freelance science journalist and regular contributor to Nature Medicine. Her work has appeared in The New York Times, Science, Nature, Dog Fancy, and Hana Hou!, the in-­‐flight magazine of Hawaiian Airlines. She authors two popular blogs: one about Hawaii called “3-­‐Minute Vacation”, and the other about the sense of smell called “The Daily Smell,” which was her capstone project for a 2011 fellowship in independent publishing at the Knight Digital Media Center on the campus of UC Berkeley. Her first job as a science writer was with an astronomical observatory based in Hilo, Hawaii. Her first freelance reporting assignment was for The Haleakala Times, an independent newspaper based in Maui. She studied for a Master’s degree in biomedical sciences at the University of Hawaii and earned a Bachelor’s degree in biology and anthropology from Boston University. She is currently pursuing 20 20 2
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; 21 POSTER SESSION DAY ONE, FRIDAY, JULY 12 a M aster of Education degree in science teaching at UC San D iego. She was born in southern California, and after living most of her life in Hawaii, she relocated to San Diego in 2010. She enjoys cooking, surfing, hiking with her dogs, photography and stargazing. Contact: genevive@nasw.org or visit www.GeneviveBjorn.com. Wave Dynamics on the Harp Somna M. Bulist The practice of wave dynamics involves intentional listening and will naturally evolve a restitution of the player with the instrument. How this translates under classical notation is at the discretion of the player. An open form of m usic will facilitate a fuller expression of the wave. Proceeding slowly, practice will develop a rich resonant tone with fuller and intentional awareness. I wish to thank Pauline Oliveros and her development of Deep Listening through which my recognition of the wave theory came to be. Somna M. Bulist is exploring hypersigil personification in musical form as an composer/performer. A Chinese-­‐American denizen of Pennsylvania, Somna-­‐nee WR Fong-­‐ is graduate of Pratt Institute, she received a Bachelor of Fine Arts with Honors, and was awarded a Ford Foundation Scholarship, for her work in photography. Somna began and continued harp study with the renowned harpist and innovator, Lucile Lawrence, and completed coursework at the Mannes School of Music and the Delcroze School of Music, in New York City. Composing under her pseudonym, Somna M. Bulist. She made her first public appearance at the 1998 Philadelphia Fringe Festival, where she performed her original work for solo harp, "The FAERYE Invocations", and in the same year, a selection of the pieces were released on her debut CD, "Invocations FAERYE". She premiered her situational work in tribute to the millennium, "44 minutes on the flatline_A Cry for the Millennium", at the 1999 New York International Fringe Festival, a production of The Present Company. Ms. Bulist is a 2006 ASCAPLUS award recipient for performances of her original compositions in rock clubs and new music events in New York City, Philadelphia and Pittsburgh. In 2009 she founded Xarpe Artist Editions, a music publishing consortium of composers focusing on new works involving the harp. She is a member of The International Alliance for Women in M usic. Often asked about the derivation of her pen name. "It comes from the word somnambulist which means dreamwalker. It represents a state of mind for which I have a special affinity."
One Encounter, One Opportunity Kianna Burke My mother’s advice ran circles through my m ind as I tried to wrap my head around my current situation. It was my first day working at Opportunity Farm as a teacher’s aide. I had very little experience teaching anybody, let alone teenagers whom society deemed as “Troubled” and “At risk”. I had nothing but a general knowledge of digital media, an unusual liberal arts degree and an ever-­‐present curiosity. They gave me a general tour and informed me that the school only accommodated ten students. They also described a syllabus so vigorous they would receive their diploma in nine months. I helped organize and plan all classes including: A rt, Social Justice, Green Initiatives, A merican Sign Language, Reading, Writing and Arithmetic. I recognized a gap in the curricula, and was personally moved to begin discussion of a possible Digital Music class. “What do you mean by laptop ensemble?” my supervisor asked m e as I described a class that would incorporate both music and computer literacy. In January 2013 Opportunity 21 21 1
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; 22 POSTER SESSION DAY ONE, FRIDAY, JULY 12 Farm incorporated Digital Music into its curriculum. The very first class I asked that the students stand up from their seats and walk outside into the snow. “Now, I want you to listen.” I said plainly. “I thought we were going to use our computers” “First, I want you to listen and remember all of the sounds that you hear” After a few m umbles about the temperature and a few comments on how there was nothing to hear, the students went silent. I couldn’t tell whether they were taking the assignment seriously until after the falling snow turned to sleet and I ushered them back into the classroom. “Well, what did you hear?” The response was so overwhelming I had to ask them individually. They excitedly described the sound of the snow falling, and wind chimes sounding in the distance. They talked about the dangling flagpole rope and the empty pool’s tarp. They said they heard a dog in the distance, and could hear the highway from miles away. Usually, when asked to participate responses are more subdued and sometimes reluctant. However, when presented with this task they were more than happy to share. A few weeks later, when they were using computers, I witnessed something surprising. The students, who were usually reserved, were more forthcoming and engaged in this class. I watched individuals, who had trouble writing papers and finishing math problems, excel in the composition process and help classmates who were less inclined. “One Encounter, One Opportunity” fully describes m y experience at Opportunity Farm. It is the act of participating fully in the present moment as a conscious being. This value fuels my current endeavor of developing a digital music class that is engaging and easily implemented in any educational forum. I believe technology will allow us to easily supply students with a space to express their creativity. “Troubled” and “At Risk” students simply need an opportunity to demonstrate their gifts, leadership and inherent creative spirits.
Kianna Mist Burke is a teacher at the Community School at Opportunity Farm in New Gloucester Maine. There she established a Martial Arts Program and a digital music class. Currently she is working with nine students to produce a laptop ensemble. In the future she hopes to develop a digital music curriculum that can be implemented in schools that do not have a traditional music department. A recent graduate from Dartmouth College, with a degree in Native American Studies Modified with Music, Kianna seeks to share her knowledge and continue to learn from everyone she meets. A Module for Ambient Awareness Carlos Dominguez Dartmouth Digital Musics The BEAM (Breathing-­‐Exercise and A wareness Module) is a synthesizer whose purpose is to m ake its user as aware of her/his surroundings as possible. The combination of its interface with components that react to the surrounding environment allow for the device to form interactions between ambience, itself, and the user. Factors such as temperature, skin conductivity, and ambient light contribute changes to the sonic world that is produced by the BEAM. The basic sonic component of the sounds are square-­‐wave oscillators from digital integrated circuits. Environmental and user-­‐dependent factors change the properties of the waves, resulting in different sonic worlds depending on where the device is used. Just as important as the device's sonic content and interface, its manual provides the user with a set of instructions that contribute to ambient awareness. Apart from giving instructions for basic functionality (plugging it into a mixer and producing sounds) there are instructions that, for example, ask users to take breaths, notice their surroundings, and feel the synthesizer with their hands. These instructions, among other concepts within this project, are loosely based on Pauline Oliveros' Sonic Meditations. The instruction manual is meant to bridge the gap between instruction manual and musical score. The result 22 22 1
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; 23 POSTER SESSION DAY ONE, FRIDAY, JULY 12 of this project is a synthesizer and instruction m anual, but explorations of this idea have been growing into a few potential projects, including an adaptation of the module's components for use as a sound installation as well as an expansion of the idea into different modules that explore sonic and mental awareness of different users in different recreational and/or performance situations. Carlos Dominguez is currently a student in the Digital Musics program at Dartmouth College. He completed his undergraduate studies in Music Technology at Florida International University in the Summer of 2012. Carlos is an active improvisational artist and has worked on many different projects including sound installations, audio-­‐visual installations, music for silent films and animations, chamber music, and live laptop performances. Listening to Animalities, Materialities, and Shipwrecks Linus Lancaster Healdsburg Unified School District This is a collaborative project between Linus Lancaster and Frederick Young, UC Merced, ongoing since 2007 that documents our attempts to make physical (haptic), audio, and telepathic contact with the zeppelin USS Macon, that crashed in the ocean in 1935 and sank in 1500 feet of water. In this project we are engaging with a wide range of seemingly different, but inexorably connected (constellative) subjectivities. In addressing the “crashes of industrial technology” and conceiving of ways to think past it, we bring in an analysis of the relationships between Techne and poiesis through art practice as, in part, a bringing home of the wreck. However, we see this reunion as opening a ‘different’ grounding, a new point of departure rather than representing a philosophical arrest. It is accomplished, in part, through a transfer of soil from the Macon’s home base to the ocean floor in a “splicing of locations” and also through “wiring” the debris field to other conversations pertaining to Techne, and to human interrelations with the planet. The piece also documents how we have tied an underwater project on “spirit” in Techne to field projects on Listening to Animalities. One such project involved painting portraits of Walter Benjamin and Friederick Nietzsche on either side of Dawn (a horse), placing them in conversation on the question of Animalities (via animality), who was in turn wired to a goat (Gladys), who was wired to a radio, and paced the call to the Macon. W e then brought a horse to the Point Sur shoreline overlooking the wreck site, and attempted to send down a deep sea hydrophone so that we, and the horse could listen to the debris field. In doing so, we are placing Animalities, Materialities, and Techne into conversations that open on new possibilities for interpretation of their interrelations, both philosophical and performative Listening to a shipwreck is both a direct move that demands expanded relations with Materialities (Soils) and, inevitably, Animalities (both as Animal and posthumanity in relation to Techne), as well as a ‘mediated’ performativity that opens on expanded interpretive possibilities in excess of western philosophical convention. This performative, practice-­‐based approach carries an inevitable ethic with it connected both to action and connectivity itself. As Techne becomes trans-­‐biologic and conceptually in excess of its industrial heritage, it begins to co-­‐constitute a constellative hub for itself, Materialities, and the Animalities to-­‐come. This is an explosive (expansive) gathering into intimacy whose historical denial has been based on false horizons of categorical separations. The interdependencies of these subjects are realities that our project underscores. The characteristics of these interdependencies, as with reality and “meaning” at large, are not fixed entities, but are contingent and negotiable. Hence, the performative quality of our work engages in a vital conversation, whatever its modalities. 23 23 2
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; 24 POSTER SESSION DAY ONE, FRIDAY, JULY 12 Industrial technology (as Techne determined as tool), sought to determine Animality (and human separation) in a way that fell 85 miles short of acknowledging its own bio-­‐contingencies. Yet its corps remains a point of departure for a gathering of Soil, Sea, Air and Creature, any one of which has always contained the whole forever. The Macon’s body/corps is incidental, but ideally so in its complexity. Its return in the context of our project is not a re-­‐inscription but rather an explosion of the industrial promise (transformed into something far in excess of a “casting forward” of classical Western ontological determinations), into ongoing openings of radical ambiguities, intimacies, and interventions that function by Listening and thereby Offering to philosophy by “asking different questions” including those that it doesn’t want to ask. Linus Lancaster is a practicing artist and full time art instructor at Healdsburg Unified School District. His M.A. was in political philosophy and performance art. He is currently a PhD. candidate in philosophy and art practice at University of Plymouth. Pulse Project: Art, Medicine, Being and Intimacy Michelle Lewis King Cultures of the Digital Economy Research Institute, Anglia Ruskin University, Cambridge, UK This presentation explores Pulse Project, a performance series that researches the relational interfaces between modern and pre-­‐modern medicine, music, art production, technology and aims to extend the scope of the socially intimate relationship between artist and audience through conducting sonic art as research. Michelle L ewis-­‐King is an artist and lecturer working with sound in relation to embodiment and was recently awarded a PhD studentship in Digital Performance by the Cultures of the Digital Economy Research Institute at Anglia Ruskin University. Michelle’s research explores the contemporary convergence between science, art, touch and technology through her creative practice w hich draws upon her transdisciplinary training in the fields of fine art, performance, audio programming, Chinese Medicine, biomedicine and clinical practice. Michelle has shown her work both nationally and internationally. Recent group shows include, ‘Digital Futures’ at the V&A, ‘Artist’s Games’ at Spike Island, ‘Future Fluxus’ at Anglia Ruskin Gallery curated by Bronac Ferran and futurecity as part of the 50th anniversary of Fluxus, ‘Experimental Notations’ at The Royal Nonesuch Gallery in Oakland, CA, ‘Hot Summer Salon’ at the Oakland Underground Film Festival and ‘Recontres Internationales’ at various locations in Paris, Madrid and Berlin. One Hearing, Two Ears, Many Listenings Filipe Lopes Faculdade de Engenharia da Universidade do Porto My research is concerned with the exploration of space through sound performance, with the purpose of seeking symbioses between both. It emphasizes the use of sound and the space as a formal compositional tool, directed towards interactive sound art work concerning site identity. Practical outcome will include composing sound experiences aimed towards 1) the exploration of sound and space identity, 2) a continuous sonic illustration of space, 3) highlighting interactions/interferences between both. An analogy could be that of sound acting as an illumination, such as that of someone switching a 24 24 1
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; 25 POSTER SESSION DAY ONE, FRIDAY, JULY 12 light in a dark room, exposing space. Relevant to my research, both practically and theoretically, include the works of Murray Schafer, Barry Truax, Atgoyard, Brandon Labelle, Denis Smalley and specially Barry Blesser and Linda-­‐Ruth Salter. Many subjects resonate in such a broad research, compelling me to divide it in essentially two parts: 1) Hearing/Listening 2) Space, Sound Composition. Having the concept of Identity leading all the work, this presentation is concerned with hearing, presenting preliminary conclusions about the recognition of sound(s), the formation of aural identities and their relationship to space. I will focus on the probability of sounds occurrence within day and night cycles as a feature linking sound identity and music composition. The ability to better understand how individuals form an aural identity, coupled with its relationship with space, will help me on the creation of immersive experiences where sound and space interact profoundly. The idea of experiencing unity in space and sound m ight begin as a feeling of both being a whole or/and the process of becoming increasingly intertwinement. These oscillations can be felt in different ways which makes it appealing to explore symbioses between both, moments on which space and sound bound to become one, blurring their sensorial and cultural differences. But how does one define space with regards to sound? I am assuming that any space has a dynamic sonic identity composed of sounds that are specific to it, whether being one sound, a collection of sounds or a flow of sounds. I propose the idea that sound identity is formed by hearing cyclical sound events in a continuous sound flux, having different sonic layers that are modulated in space. To hear similar sounds, in the same space overtime, emphasizes there perseverance and we acknowledge them as being part of that space. Additionally, we witness that some sounds appear with more or less probability. This behaviour resembles a stochastic process, where events have a probability of taking place but are not determined. If one agrees with the existence of cycles of sound overtime, one can then talk about an aural identity of a place. It is my belief that day and night act as a background pulse defining sonic environments. Day and night is a cycle common to Earth and to any individual. Day and night act as a cycle towards which one creates the aural identity of a space, by experiencing the different sound cycles embedded in the reference day/night pulse. Filipe Lopes was born in 1981, in Porto. In 2003 he graduated in Music Education at Porto Superior School of Education. In 2007 he completed a degree in Composition at Superior School of Music and Performing Arts (ESMAE), developing strong bonds with electronic music and new media. In 2006 he won the prize “best experimental audio” at Festival Black&White and in 2007 was awarded an artistic residency at Miso Music Portugal (LEC). In 2009 he finished his master's degree at Sonology, in the Hague, creating Odaiko, a software for live-­‐score generation. He taught electronic music at ESMAE between 2009 and 2011, in addition to the creation of the ensemble 343. From September 2010 till August 2012 he curated the project Digitopia, at Casa da Musica, where he was already developing intensive work since 2007. He developed workshops, concerts and software related to music education. Recent work includes “Viriato” for jazz ensemble, “Different Shapes, Same Rhythm” video art installation and “Do Desenho e do Som #2” for cello. At the moment, he has a scholarship by Fundacao da Ciencia e Tecnologia (FCT), pursuing a PhD in Digital Media at U niversidade do Porto and UT Austin. Supervised by Carlos Guedes and Bruce Pennycook, his area of investigation includes sound, space and identity. Mockingbird: a cognitive architecture for intelligent music accompaniment Michael Lynch In this paper I introduce Mockingbird, an intelligent musical agent integrating the Clarion cognitive architecture with FILTER, a MaxMSP extended instrument system developed by Van Nort. I introduce the Clarion system and several of its particular features believed to be relevant to the challenge of constructing software agents that can accompany human performers in real time, based on a process of continuous 25 25 1
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; 26 POSTER SESSION DAY ONE, FRIDAY, JULY 12 auditory scene analysis, feature extraction, and „reasoning‰ over the m usical contexts so as to generate musically satisfying accompaniments. Several architectural matters relating to this integration are also discussed. Michael Lynch is a lecturer at Rensselaer Polytechnic Institute, and affiliated with the Games and Simulations Arts and Sciences (GSAS) program since its inception. His interests include cognitive modeling, algorithmic composition, and interactive storytelling. Transgenerational Is just One Aspect... Kimberly McCarthy Columbia College, Chicago This paper focuses on the embodied and transgenerational aspects of Deep Listening [DL]. After a brief review of a previous neuroscientific analysis of DL I conducted for the DL certificate, I move to Indigenous and Western-­‐European perceptions of the immaterial, timeless, unbounded aspects of DL. An interest in transgenerational connections is growing, especially in regards to healing. I propose that the tenets of DL resonate with transgenerational phenomena and praxis. To aid in this analysis quantum physics is used for its support of non-­‐locality. Associate Professor of Psychology, Columbia College Chicago. One of the first to receive the Deep Listening Certificate 1998., Kim first met Pauline Oliveros in 1979 via a one paragraph description in “Grout,” the canon of classical music history. The second meeting occurred at a conference in 1984. McCarthy zombied up to Pauline and said “This…is…an...important…meeting.” Pauline quickly looked for the nearest exit, all too familiar with the groupie psyche. In 1991 Kim was crabby. She didn’t want to go to the concert. In a huff she plopped down in the dark, third-­‐tier seat. But something caught her eye. It was a head. Seated before her. There was…something…familiar. Shock and excitement set in as in this chance event Kim realized it was Pauline Oliveros. THIS WAS A SIGN! A Manifold of Sound: The Role of Deep Listening in Intuitive Sonification of Complicated Data James McEntee Listening is a rather useful ability. It allows us to take in complex ideas as mere waves of pressure and have them m anifest in surprising coherence, allowing us to hold onto the passage of time as a handrail as we listen intently to sound, whether it be understood as m usic or information about the immediate world around us (or both). Deep Listening can help greatly in this respect. More specifically, listening (especially Deep Listening) can allow us to better understand complicated ideas and concepts that may not be easily expressed visually, which is where the concept of sonification comes in. The visualization of complicated data is often difficult with visual means, especially when there are too m any simultaneous parameters, so sonification has become an answer to this problem-­‐-­‐sonification being the representation of data with sound. It has been in wide use for over 100 years, with one of the earliest uses being the beeping of a Geiger counter to measure radiation, but it has matured both in utility and aesthetically since then. However, as sonification becomes m ore and m ore of a hot topic in visualization of complicated mathematical and scientific data, the intuitive nature of m ore simplistic types of data that are better represented with sound for other reasons (e.g. situations where the user of a device cannot divert visual attention to find out numerical information, such as a heart rate monitor in surgery) can be obfuscated. Sonification has come to a point, then, where it is important to think about how a listener can process and understand the data 26 26 1
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; 27 POSTER SESSION DAY ONE, FRIDAY, JULY 12 intuitively even if the data has a large number of simultaneous parameters. Much sonification of data like this is done with methods similar to putting notes on a score and creating generated m elodies, possibly with differing timbres and note expressions using relatively simple synthesis techniques, or emulations of real instruments. Is this the best way of expressing the data such that it is intuitive for the listener to understand without having to cross-­‐reference instructions on how to listen, though? For some types of data, are there m ore complex synthesis techniques and effects that could create pieces of sound art that can be easily understandable by any listener that has an idea of what they are listening to? In this presentation, we will examine these questions, as well as the concept of sonification of data using only texture and shape of continuous sound. Discussion of this will be centered mainly around examples in topology, especially in visualizing manifolds in higher dimensions, which is something that would benefit greatly from effective and intuitive sonification for applications in cosmology and other modeling in the sciences. We will then discuss how the practices of Deep Listening and the nature of listening in general play into the ability to understand this sonified data easily, and what the limits of perception are for a listener attempting to understand significantly complicated information translated into audio. James McEntee is a senior studying Mathematics at Rensselaer Polytechnic Institute. He has worked with creating experimental music and sound art for several years and has been following Deep Listening ideas and practices as a member of the experimental ensemble Tintinnabulate headed by Pauline Oliveros for nearly four straight years. His interests center around the ability of the human mind to process complicated sound and how to create exciting new textures of sound that are intuitive to the listener despite their complexity or seemingly esoteric nature. The Corporeal Monument: A Case for Embodied Commemoration Liz Medoff What does is mean to feel remembering? To date, discussion of public memory of and m emorials about trauma has been centered on visual means of representation. However, what about using other – invisible – media to bridge the gulf between representing a difficult past and our ability to connect to and feel it in the ongoing present? Using Seth Kim-­‐Cohen’s notion of “a conceptual, non-­‐cochlear sound art,” I posit that such a sound art holds great potential for the future of monuments to trauma – sound m onuments, as it were. With the body as a commemorative tool and Deep Listening as a model, this talk locates commemoration as an act rooted in the bodily experience of listening – I suggest that the body becomes the monument. This talk is part artist statement, part philosophical quandary, and part look toward the future of memorials. By expanding our notions of commemorative representation to include media practices that not only foster, but depend on, collaboration with the audience to activate feeling, we m ay begin to apprehend and understand commemoration as an active process that transcends, and even negates, the limits of architecture and physical space. Liz Medoff received her Master of Arts in the department of Visual and Critical Studies at The School of the Art Institute of Chicago. Her scholarly and creative research practices focus on trauma and representations of it, specifically in instances of monuments and memorials. She has presented work across the country. 27 27 2
; 28 POSTER SESSION DAY ONE, FRIDAY, JULY 12 Mediated Spaces: Using active listening exercises to reduce anxiety for chronic pain patients Mark Nazemi Simon Frasier University In this practice led research, we explore methods of using deep listening exercises of mediated spaces to reduce anxiety in patients in clinical settings. Previous studies have shown that clinical environments can bring about feelings of uncertainty, stress, anxiety, and sometimes fear. Such high levels of anxiety can impede communication between patients and doctors. Yet, there remains consideration of the potentiality of using deep listening techniques, specifically recordings of mediated spaces for analgesic purposes. Mediated spaces can be conceived of as exploratory spaces that use the principles of soundwalks and soundscapes to create an experience for the patient that simulates an environment through the means of audio playback of binaural recordings. In such a mediated space, the patient experiences the sensation of movement through a real environment but is immersed in a virtual space, which is created through the use of binaural recordings that are played back using headphones. The use of binaural recordings helps to recreate a convincing 3-­‐dimensional sound sensation of an existing environment such as the sounds of walking, birds or water, which in our previous research has shown to create a “calming effect” for chronic pain patients. In this research, careful attention was placed towards creating specific soundwalks that produce a distinct auditory quality which helps focus the attention of the patient on three intertwined levels: a micro narrated experience, elevating a visceral sensation as they engage with the sounds, the structure of the soundscape composed using binaural recording, and the sounds of real-­‐time physical presence such as walking or sounds of children playing in the environment. This approach allows the patient to self-­‐orient himself or herself in a new environment devoid of tension and engages them to reactively become attentive to the sites and sounds in the recordings. Therefore, our novel approach is one of the first attempts at improving the psychological experience of patients in clinics by immersing them in a virtual environment using an easy and non-­‐invasive method. Mark Nazemi is a Ph.D. student in the Interactive Arts & Technology program at Simon Fraser University. His research focuses on developing interactive and audio systems for managing pain level in patients with chronic pain. His current research was recently featured on CBC radio. In addition, he is co-­‐owner of Stylus College of Music & Sound Technology in Vancouver. For a full biography, you may visit http://www.solidbass.com Maryam M obini is a MA student in the Interactive Arts & Technology program at Simon Fraser University. Her research interests lie in the use of emerging technologies and interventions to assist people suffering from feelings of anxiety, hopelessness, depression and bipolar disorder. She is a co-­‐founder of the Wishing Well Society, an organization dedicated to creating customized assistive devices for people with physical disabilities. Prof. Diane Gromala, PhD, is the Canada Research Chair in Biomedia and Interaction Design, and Associate Director of the School of Interactive Art and Technology at Simon Fraser University. Her VR work is used in over 20 clinics and hospitals worldwide, and is supported by research grants from Canada’s Networks for Centres of Excellence (NCE GRAND), the Social Sciences and Humanities Research Council (SSHRC), and the American National Science Foundation (NSF) Canada. 28 28 ; 29 POSTER SESSION -­‐ INSTALLATION DAY ONE, FRIDAY, JULY 12 Our Resonant Places Maurice Rickard Location: Center for Cognition, Communication & Culture @ EMPAC 7th floor Every space has a sonic signature-­‐-­‐for those with hearing, if we pass from a small carpeted hallway to a reflective auditorium with our eyes closed, we can tell there's a difference between the two. These sonic signatures can be described as the sum of the room's resonant frequencies and their relation to each other, and how long it takes sounds to decay in those spaces. One way of hearing the room involves deep listening to the sounds that are already in the room, however intentional or accidental-­‐-­‐the reverb tail on footsteps, speech, the buzz of lighting, heating and ventilation, the reverberation around sounds from outside the room that enter. Another way of hearing the sonic signature of a space is to amplify sine waves tuned to a space's resonant peaks. When one plays tones at these frequencies together in such a space, interesting things happen: the exact source of the sound tends to disappear. People who walk into the space without having heard the construction process know that something's happening, but can't tell exactly what. The air can feel a bit m ore pressurized, and the room fuller, in a way. The effects can vary, and depend on which frequency bands are used, as well as the frequencies of any m odulating tones. My proposal is to demonstrate the process of finding these tones and creating such a piece in a space at the conference, within a 20-­‐30-­‐minute block, so that listeners can experience the resonant frequencies of their location. With tunable oscillators, it's fairly simple to find these frequencies. A sweep of a tone up the spectrum reveals which frequencies are reinforced by the room's shape, as the tone gets louder or quieter. Sine waves are ideal for this, because their lack of overtones m akes it easier to tell which frequency is resonating. Using a patch I developed in Pure Data, I can save each frequency once the resonant peak is found, and I move on to higher frequencies until I've reached 16 or less, though more can be included. The process takes about five m inutes. Once I've found the space's resonant frequencies for the piece, I often set up additional oscillators at frequencies slightly detuned from the others, allowing phase cancellation to fade them in and out at different rates, so that the texture of the piece varies over time. Usually I'll slowly increase the levels of the different oscillators, often working from low frequencies to high, so that the effect of the tone in the room can be felt, though perhaps not immediately identified. Pieces can unfold over many different time scales, so the exercise would work within a demonstration-­‐length of 20 minutes, allowing for short equipment setup/breakdown and a short period for determining the frequencies of the demonstration. I've been a musician and composer for over 30 years, performing live improvised electroacoustic music to audiences in galleries, cafes, arts festivals, schools, bowling alleys, bars, dive bars, and alternative community arts organizations. Much of my work has been in the electronic realm, sometimes processing live playing of my own (guitar, ukulele, electronics) or others, sometimes with self-­‐contained electronic sound sources. I've also worked in large ensembles of guitar players, including Glenn Branca's Symphony 13 (both versions, both in Tenor 1) and written for my own (much smaller) groups of players. My audio work has been installed in the the Ingenuity Festival in Cleveland Ohio, the PRFBBQ in Chicago Illinois, the South Bend Regional Museum of Art, an arts festival in the depressed former steel-­‐making community of Aliquippa, Pennsylvania (for which I was awarded a production grant from Pennsylvania Partners in the Arts), and the Three Rivers Arts Festival Gallery in Pittsburgh. The pieces installed in Aliquippa and TRAF involved conducting interviews with residents of the community and incorporating those into the piece, as I wanted the installation to reflect the environment it was part of-­‐-­‐a theme of listening that has tended to inform my installation work. 29 29 1
; 30 PAPER PRESENTATION SESSION II DAY ONE, FRIDAY, JULY 12 Paper Presentation Session 2 4:30-­‐6pm Studio 2 Incorporating Deep Listening Practices into Secondary General Music Classrooms Monique Buzzarté This paper will present suggestions for the incorporation of Deep Listening practices into both secondary general music education methods classes and secondary general music classrooms. Shifting the focus of the secondary school general m usic instruction from a non-­‐performing music class to a participatory one through the inclusion of Deep Listening practices allows students who have never made music themselves to do so and to do so successfully. Deep Listening practices can provide musical experiences in composing, performing and listening for all skill levels, and can be accommodated with varied class sizes and student abilities without previous musical knowledge. Through Deep Listening practices, students can have meaningful hands-­‐on applied learning experiences that impact not only on their musical education but also on themselves, their peers, their society, and their world. Monique Buzzarté, trombonist/composer, is a leading proponent of contemporary music selected by Meet the Composer as a "Soloist Champion" in recognition of her long history of commissioning and premiering new works. Her recordings on the Deep Listening label include Fluctuations with Ellen Fullman, Holding Patterns as Zanana, and Dreaming Wide Awake with the New Circle Five. The past Co-­‐Chair of GRIME International (Gender Research in Music Education), as Vice President of the International Alliance for Women in Music she led advocacy efforts resulting in 1997 to the admission of women members into the Vienna Philharmonic. Buzzarté holds BA and BM degrees from the University of Washington where she was a student of Stuart Dempster, along with a MM from the Manhattan School of Music. Pauline Oliveros’ Red Shifts (2000) for trombone, four oscillators, and noise and The Gender of N ow: There But Not There (2005) for trombone and piano were both written for Buzzarté, who has also co-­‐edited the Anthology of Essays on Deep Listening, contributed the Midword for Oliveros’ Sounding the Margins: Collected Writings 1992-­‐2009, served on the Deep Listening Institute board of directors, and is certified to teach the meditative improvisation practices of Deep Listening. Researching Sound in Silence Stijin Dickel Aifoon vzw Sounds are more than just vibrations; they carry content (feelings, intentions…). During every workshop our goal is to hand participants the tools to express nonverbally, by means of sounds how they experience the world. Conceptually, Aifoon works as an open and creative laboratory that takes silence as its starting point. A “relative” silence to which the participant can add sounds, register and structure them in an intuitive and poetical way. While participants engage in this activity, Aifoon makes them aware of their surroundings, of different ways of listening, of the musicality that sounds carry within them and can induce in combination with other sounds. By m aking silence spatial, we offer each person the (dis)comfort and possibility to experiment and improvise, a blank page on which they can determine themselves, free from trends and conventions, to communicate about their experience. Aifoon’s activities has several aspects, which blend into each other: Sound observation: We practice keeping our ears wide open, listening attitudes and the 30 30 2
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; 31 PRESENTATION SESSION II DAY ONE, FRIDAY, JULY 12 confrontation and analysis of the everyday acoustic ecology surrounding us. Examples are sound walks, drawing sounds, listening to photographs. Sound recording: Participants get to work with various sounds stemming from their immediate surroundings. These sounds are either incited by means of objects found in these surroundings or they are simply part of the surroundings. During some workshops we experiment with types of m icrophones (underwater or shotgun microphones), playback systems (an mp3 player’s earphones versus a ghetto blaster, modified or not) or sound synthesis. A n example of the latter is the generation of sounds by means of synthesizers or causing short-­‐circuits in an open electrical circuit, such as a crackle box. Sound composition: creating sounds and structuring them into compositions can take place as a group by means of graphic scores or as a classroom soundscape made with one microphone. Aifoon's main focus, however, is individual expression: every participant expresses his-­‐ or herself in a personal soundscape, using a computer and sound software. Sharing: the results of our workshops continue to resonate throughout our website, the expositions and events we organize in cooperation with arts centres, and also in The City Rings, the international exchange project for which partner countries remix each other’s sounds.
Stijin Dickel is a master in philosophy - musician, performer and soundconcept for theater (Jan Fabre) member of music collective Kaboom Karavan - and artistic director of Aifoon vzw.
Using Deep Listening to Teach Entrepreneurship Brian Pertl Lawrence University What in the world could deep listening have to do with the business side of music? Simply put, a very great deal! In this lively talk, Brian will outline the unlikely connection between deep listening and the teaching of entrepreneurship. In his class, The Entrepreneurial Musician, Brian encourages his students to find ways to merge their passion with profession. This is no easy task for students who might enter the class never having really thought about their true passion, let alone how to m old that passion into a musical life. Opening students to their full potential, full possibilities, and full depths of their creative selves is a critical first step before business plans, spreadsheets, profit and loss statements, and m arketing plans are ever even mentioned. Along with “deep seeing” assignments, Brian incorporates four separate deep listening exercises in order to help students directly experience the core themes for the class. Listening walks, environmental recording assignments, group sticking activities, and improvisational singing sessions in the racquetball court, all encourage the students to experience the familiar in new ways, open themselves up to new possibilities, overcome fear and self-­‐ doubt, and realize that this same creative, playful, open mindset they apply to these artistic exercises should also be applied to their business endeavors. The talk will be liberally laced with examples from the class. Brian Pertl is an ethnomusicologist, didjeridu performer, former manager at M icrosoft, deep listener, and currently the Dean of the Lawrence Conservatory of Music. As the Dean, he is committed to integrate deep listening, improvisation, and world music into Lawrence's outstanding undergraduate music curriculum. Pedagogical and Community-­‐Oriented Project on Improvisation, by PFL Traject Jean-­‐Charles François The improvisation group PFL Traject, based in Lyon (Pascal Pariaud, clarinettes, Jean-­‐Charles François, percussion, and Gilles Laval, electric guitar, conducted a project in Eastern France (Nancy and Strasbourg) invoving five different groups of participants (children, advanced music and dance students from the Nancy Conservatoire, amateur adult m usicians, a group of adolescent playing popular m usic, professional 31 31 2
; 32 PRESENTATION SESSION II DAY ONE, FRIDAY, JULY 12 musicians and dancers). The project was centered on the collective elaboration of sounds for the basis of improvisations and it alternated between situations gathering together the five groups and having them working separately. The project included two public concerts, one at the Festival Musique Action of Vandoeuvre, one near Strasbourg. The philosophical background of the project stemmed from different sources and experiences, including Cage's Music Circus, community music making in Australia, participation in Pauline Oliveros' projects while in San Diego and other creative learning courses, the traditional music of Martinique, the work realized at the Cefedem Rhône-­‐Alpes. The lecture will be illustrated by sound recording and video examples. Jean-­‐Charles is a percussionist and composer living in Lyon, France. He was a freelance musician in Paris from 1960-­‐69. Faculty member at the University of California San Diego (USA) (1972-­‐1990), Member of the improvisation group KIVA (1975-­‐1990). Director of Cefedem Rhône-­‐Alpes, a center for musical pedagogy in Lyon (1990-­‐2007). Member of the improvisation group PFL Traject (since 2007) and of the contemporary music ensemble Aleph (Paris) (since 1995). He has written many theoretical writings on percussion, timbre, improvisation and pedagogy. 32 32 1
; 33 ROUND TABLE DAY ONE, FRIDAY, JULY 12 Round Table: Deep Listening and Pedagogy 7:30-­‐9pm Studio 2 Moderator: Maud Hickey with: Thomas Ciufo, Michael Duch, Joseph Hoefs, Margaret Anne Schedel, Mary Simoni Maud Hickey is a professor of music education at Northwestern’s Bienen School of Music. Hickey’s research interest lies in the teaching and assessment of musical creativity as manifest through improvisation and composition. She is a three-­‐year recipient of a $50,000 grant from the Chicago Community Trust to work with juveniles in the Cook County Juvenile Detention Center on music composition projects. Her book Music Outside the Lines: Ideas for Composing Music in K-­‐12 Classrooms was recently published by Oxford University Press (2012). She is the author of chapters in several books and articles in journals such as in Music Educators Journal, General Music Today, Journal of Research in Music Education, and Research Studies in Music Education. Hickey has been invited to present her work at several state, regional, national and international conferences. She currently serves as a member of the Society for Research in Music Education Executive Committee, and on the professional development committee of the College Music Society. In 2012, she was appointed a member of the inaugural cohort of Faculty Fellows for Northwestern's Center for Civic Engagement. Previous to work at the University level, Dr. Hickey was a public school band director. Thomas Ciufo is a sound artist, composer, improviser, and researcher working primarily in the areas of electroacoustic improvisational performance and hybrid instrument / interactive systems design. Additional research interests include acoustic ecology, field recording, and sound studies. He currently serves as Assistant Professor of M usic Technology and Recording Arts in the Department of Music at Towson U niversity. Festival performances include the SPARK festival in Minneapolis, the Enaction in Arts conference in Grenoble, the International Society for Improvised Music conference, the NWEAMO festival, the Extensible Electric Guitar Festival, various NIME conferences, the ICMC / Ear to the Earth conference and the NYC Electronic Music Festival. Michael Francis Duch is a double bass-­‐player and Associate Professor at the Department of Music, Norwegian University of Science and Technology (NTNU) in Trondheim. He completed his project “Free Improvisation – Method and Genre: Artistic Research in Free Improvisation and Improvisation in Experimental Music” through the Norwegian Artistic Research Fellowship Programme at NTNU late October 2010. He has been involved in more than 40 recordings including the critically acclaimed Cornelius Cardew: Works 1960-­‐70 with the trio Tilbury/Duch/Davies. Duch regularly performs improvised and composed music both solo and with various ensembles. www.michaelduch.no Jonathan C. Hoefs is a passionate educator intent upon fostering and bringing to life new embodied educational strategies that honor whole students – students that are already whole –and activating the inner genius in each. Through pedagogical games, musicking, listening practice, etc. as well as new perspectives on vibration, the study of consciousness, ways of knowing and perspective itself, etc. the reified imbalances of the dominant teaching method are ameliorated. He most recently developed and taught, with funding from the Chancellor’s office, a new 5-­‐unit university course at the University of California, Santa Cruz, entitled: Sound, Listening, and Consciousness, using these methodologies. In addition to pedagogical pursuits, Jonathan has been a composer (of all varieties) for many years, creating music that connects, embodies, and dances with all the elements of the whole by any and all means possible; group participatory structures, algorithmic explorations, digital interactivity, and dynamic meditations represent just a few of these means. He also writes theoretical musings, sometimes towards the completion of his doctoral degree at UCSC, and actively visions new solutions in many different arenas. Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media whose works have been performed throughout the United States and abroad. While working towards a DMA in music composition at the University of Cincinnati College Conservatory of Music, her interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She holds a certificate in D eep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle. She sits on 33 33 2
; 34 ROUND TABLE DAY ONE, FRIDAY, JULY 12 the boards of 60x60 Dance, the BEAM Foundation, Devotion Gallery, the International Computer Music Association, and Organised Sound. She contributed a chapter to the Cambridge Companion to Electronic Music, and her article on generative multimedia was recently published in Contemporary Music Review. She is a joint author of Electronic Music and is working on an issue of Organised Sound on sonification. Her work has been supported by the Presser Foundation, Centro Mexicano para la Música y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra and the percussion ensemble Ictus. In 2009 she won the first Ruth Anderson Prize for her interactive installation Twenty Love Songs and a Song of Despair. Her research focuses on gesture in music, and the sustainability of technology in art. As an Assistant Professor of Music at Stony Brook University, she serves as Co-­‐Director of Computer Music and is a core faculty member of cDACT, the consortium for digital art, culture and technology. In 2010 she co-­‐chaired the International Computer Music Conference, and in 2011 she co-­‐chaired the Electro-­‐Acoustic Music Studies Network Conference. Mary Simoni is a composer, author, teacher, pianist, consultant, arts administrator, and amateur photographer. She is currently the Dean of Humanities, Arts & Sciences at Rensselaer Polytechnic Institute and Professor Emerita, Performing Arts Technology at the University of Michigan. Her music and multimedia works have been performed in Asia, Europe, and throughout the United States and have been recorded by Centaur Records, the Leonardo Music Journal published by the MIT Press, and the International Computer Music Association. She has authored books in algorithmic composition and the analysis of electroacoustic music. 34 34 1
; 35 CONCERT I DAY ONE, FRIDAY, JULY 12 Concert 9pm Studio 2 Cicadapocalypse (ipad, clarinet, cicada sounds) David Rothenberg You're either a noise or you're not (FILTERed version) (quad, laptop, audience participation) Doug Van Nort NaDL (video, quad, laptop, audience participation) Margaret Ann Schedel Imp/Rov(ing)isation: A Singing Mask Ceremony (stereo, masks, audience participation) Norman Lowrey Remember (audience participation) Monique Buzzarté Program Notes & Performer Bios Cicadapocalypse (2013) David Rothenberg: clarinet and iPad + sounds of 17 year cicadas A celebration of the interaction between human and insect that can happen only once every seventeen years, based on hours practicing in the field. David Rothenberg Bio on Page 39 You're either a noise or you're not (FILTERed version) (quad, laptop, audience participation) Doug Van Nort This piece is an exploration in human/machine tuning. It features myself (electronics), yourselves (voice) and the FILTER system (itself). i. Each audience member chooses to be a noise-­‐source or a 'clean tone' vocal source for the duration of the piece. ii. On stage I begin to sound (which is picked up by FILTER). iii. You (audience) try to match the noise/tone that you hear, or create a new noise/tone that is not in existence. 35 35 1
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; 36 CONCERT I DAY ONE, FRIDAY, JULY 12 iv. I try to match this (FILTER still listening...). v. You (audience) match any noise/tone that you hear, trying to pair with the most distant sound. vi. FILTER begins to play (in 4 channels), we all try to match it's sound. vii. FILTER will come to an ending, suggesting that we begin to follow. Doug Van Nort is an experimental musician and sound artist/researcher whose work is dedicated to the creation of immersive and visceral sonic experiences, and to personal and collective creative expression through composition, free improvisation and generally electro-­‐acoustic means of production. His instruments are custom-­‐built systems that explore a sculptural approach to working with sound, and improvisation in partnership with machine processes. His source materials include any and all sounds discovered through attentive listening to the world. Recordings of Van Nort's music can be found on Deep Listening, Pogus and Zeromoon among other experimental music labels, and his writing has recently appeared in Organised Sound, the Leonardo Music Journal, Kybernetes and the Journal of the Acoustical Society of America. He regularly performs solo as well as in various configurations with Pauline Oliveros (including Triple Point), with If, Bwana, and as a member of the Composers Inside Electronics. In recent years he has also collaborated in performance and recording with Francisco López, Stuart Dempster, Chris Chafe, Kathy Kennedy, Ben Miller, Alessandra Eramo, Anne Bourne, Judy Dunaway, Katherine Liberovskaya, Carver Audain, Jefferson Pitcher, Jonathan Chen, and in Sarah Weaver-­‐led ensembles alongside the likes of Gerry Hemingway, Mark Helias and Dave Taylor. Van Nort has most recently acted as a Research Associate in M usic at Rensselaer Polytechnic Institute, and will soon begin work as a Banting Research Fellow at Hexagram / Concordia University in Montreal. He is a Deep Listening certificate holder and is the Conference Director for the First International Conference on Deep Listening.
NaDL (video, quad, laptop, audience participation) Margaret Ann Schedel For this piece we will use a quadraphonic system to play multi-­‐tempered chord progression derived from the first m ovement of our Viola Concert Salt Honey Grounds. The audience will be divided into zones -­‐ and will watch a screen for cues. They will vocalize simple percussive sounds on top of the shifting sonorities, creating a polyrhythmic foreground texture which sweeps over the audience/participant. This piece is co-­‐composed with Sarah O'Halloran -­‐ our duo is called kite•string. Margaret Anne Schedel Bio on Page 33-­‐34 Imp/Rov(ing)isation A Singing Mask Ceremony Norman Lowrey All present are invited to be imps, playing and roving in m ind and body (movement welcome, if inclined) through sound, by listening into the m oment, discovering who we are in this moment, within and without, listening, sounding, seriously playing the moment, exploring the moment as a community of listeners, imp…roving…isation sensation realization nation. A soundscape of random sounds I've recorded over many years will accompany us in this journey and Singing Masks will be guides into the depths of the moment as we are all interdependently connected in impish dreamtime delight. Norman Lowrey is a mask maker/composer and Chair of the Music Department at Drew University , Madison , NJ . He holds a Ph.D. in composition from the Eastman School of Music. He is the originator of Singing Masks. The masks, both ceramic and carved wood, incorporate flutes, reeds, ratchets and other sounding devices. Each mask has a unique voice. They have been exhibited in East Coast museums and galleries, including the New Jersey State Museum. Lowrey has presented Singing Mask ceremony/performances in such diverse locations as Plan B and Site Santa Fe in Santa Fe, New Mexico, Roulette, The Knitting Factory and Lincoln Center in New York City, The Deep Listening Space in Kingston, New York, The New Jersey State Museum in Trenton, and at the site of pictograph caves outside Billings, Montana. Among his is most recent performances are “Into The Deep (Dreaming)” presented in the Concert Hall at Drew University with Pauline Oliveros and The Deep Listening Band, "In Whirled (Trance)Formations" presented with the Avatar Orchestra Metaverse online in Second Life, and “Mysterium 36 36 2
; 37 CONCERT I DAY ONE, FRIDAY, JULY 12 Magnum,” a video realization of a Singing Mask Ceremony which summarizes his work with the masks over the past 30 years. Remember Monique Buzzarté Listen Remember Sound Listen Remember Change Sound Listen Remember Imagine Sound Repeat as desired Monique Buzzarté Berkeley, CA 21 June 2013 Monique Buzzarté Bio on Page 30 37 37 ; 38 PAPER PRESENTATION III DAY TWO, SATURDAY, JULY 13 Listening and Hearing – New and Known Invited Talk by Johannes Goebel 10:30-­‐11am Studio 2 Johannes Goebel is the founding director of EMPAC. He joined Rensselaer in 2001 to work on the planning of the new building and to build EMPAC’s program and team. Thoughts about arts, science, research, and technology have been important to him since he became involved in computer music at Stanford University in 1977, but thoughts about why, what, and how started much earlier. Johannes Goebel likes to find bridges between thoughts, what we can do with our hands, and what we perceive with our senses. Paper Presentation Session 3 11am-­‐12pm Studio 2 Acoustics of Imaginary Sound Chris Chafe CCRMA / Stanford University Mentally imagining voices and sounds in the "mind's ear" is as much a part of experience as visualizing in the "mind's eye." The vividness of sounds in the imagination varies between individuals but nearly everyone reports spontaneous sound and being able to conjure sounds intentionally. Imagining vocals and other sound has a role in planning even at very short time scales and this discussion is m otivated by investigations of musical performance. Reading ahead or thinking ahead in sound can be a conscious part of playing or singing. When the next part of a passage is in the m ind quasi-­‐acoustically, there is something to be said about the presentation itself. Investigations of auditory imagery have shown the existence of quasi-­‐loudness and quasi-­‐timbre dimensions behaviorally and neuroimaging has shown different patterns of activation for sounds as perceived versus sounds as imagined. Phenomenologists have investigated the acts and objects of imagination itself and some see it constituted of differentiable modes. A very informal survey was circulated to a large number of subjects via Amazon's Mechanical Turk partly to see if this platform might be useful for obtaining self-­‐reports. If so, it could be one method by which large numbers of "arm chair" introspectors can be tapped for phenomenological agreement. In this initial attempt, inner voice provided a common reference for comparisons of loudness, location, and sound quality. Chris Chafe is a composer, improvisor and cellist, developing much of his music alongside computer-­‐based research. He is Director of Stanford University's Center for Computer Research in Music and Acoustics (CCRMA). At IRCAM (Paris) and The Banff Centre (Alberta), he pursued methods for digital synthesis, music performance and real-­‐time internet collaboration. CCRMA's SoundWIRE project involves live concertizing with musicians the world over. Online collaboration software including jacktrip and research into latency factors continue to evolve. An active performer either on the net or physically present, his music reaches audiences in dozens of countries and sometimes at novel venues. A simultaneous five-­‐country concert was hosted at the United Nations in 2009. Chafe's works are available from Centaur Records and various online media. Gallery and museum music installations are into their second decade with "musifications" resulting from collaborations with artists, scientists and MD's. Recent works include Tomato Quintet for the transLife:media Festival at the National Art Museum of China, Phasor for contrabass and Sun Shot played by the horns of large ships in the port of St. Johns, Newfoundland. Chafe premiered DiPietro's concerto, Finale, for electric cello and orchestra in 2012. 38 38 1
; 39 PAPER PRESENTATION III DAY TWO, SATURDAY, JULY 13 Deep Listening to Cicadas: A Once-­‐in-­‐17-­‐Years Event David Rothenberg New Jersey Institute of Technology In May and June 2013 David Rothenberg performed a series of talks and concerts live with the sounds of 17-­‐
year cicadas, back in the New York area for the first time since 1996. Three of these events were performed with Pauline Oliveros. Upon first hearing the sound of m illions of singing cicadas, one is confronted with a wash of white and pink noise. After learning the biology of their complex acoustic mating behavior, one can pick out up to nine distinct sounds, all happening together as part of a vast natural symphony. Upon deeply listening to cicadas and musically joining in, one's view of insect music and nature as a whole is completely changed. ECM recording artist David Rothenberg has performed and recorded on clarinet with Jan Bang, Scanner, Glen Velez, Karl Berger, Peter Gabriel, Ray Phiri, and the Karnataka College of Percussion. He has twelve CDs out under his own name, including "On the Cliffs of the Heart," named one of the top ten releases of 1995 by Jazziz magazine and “One Dark Night I Left My Silent House,” a duet album with pianist Marilyn Crispell, called “une petite miracle” by Le Monde and named by The Village Voice one of the ten best CDs of 2010. Rothenberg is the author of Why Birds Sing, book and CD, published in seven languages and the subject of a BBC television documentary. He is also the author of numerous other books on music, art, and nature, including Thousand Mile Song, about making music with whales, and Survival of the Beautiful, about aesthetics in evolution. This spring he releases a book and CD called Bug Music, featuring the sounds of the entomological world. Rothenberg is professor of philosophy and music at the New Jersey Institute of Technology. Listeners Are Observers and Musicians Ann Warde Cornell University This is a presentation, and a paper, about pattern and structure in "non-­‐musical" sounds, focused on animal sounds, and on listening to (and looking at with spectrograms, and other visualizations) these sounds with a musical, pattern-­‐forming ear. Listeners will be invited to stretch their listening habits, to create a "musical" listening experience for themselves as a means of interpreting potentially unfamiliar sound. This is intended to be undertaken with the aim of becoming adept at listening to what you don’t understand. Definitions: Sound and Science: observation of sound’s functionality, and, through listening (which includes analysis techniques of whatever kind prove useful), observation of how sound’s structure supports its function, how its function shapes its structure, and how both its function and its structure are shaped by the multiple modalities of their surroundings. Sound as Art: our human perceptual faculties create pattern and structure through listening; from those patterns and their connections to and memories of patterns in other sounds and other senses, a human meaning (thinking) is created. Art: from Proto-­‐Indo-­‐European language root ar-­‐ meaning fit together, join. Music: from Proto-­‐Indo-­‐European language root men-­‐ meaning to think, remember. Some human auditory perceptual processes are built-­‐in (for instance, aspects of auditory streaming and auditory scene analysis). Others are the result of our interpretation of our perceptions: what we call listening. It is we who perceive and create the coherence, pattern, and structure in what we hear (aspects of m usic cognition). We can merge these faculties and use our ear mechanisms in multiple ways through directing our attention and our 39 39 2
; 40 PAPER PRESENTATION III DAY TWO, SATURDAY, JULY 13 focus. To glimpse an interface between science and art, we might understand side-­‐by-­‐side the auditory structures that we can build as listeners to create scientific observations, and to create m usic. Dawn’s Chorus: for Cheryl Gobbetti Hoffman, is m y 2008 composition m ade using a random selection process applied to a set of recordings of sounds produced by birds, reptiles, fish, and mammals. It’s score shows the length of time of each recording and how each overlaps the others. The sounds were simply mixed together. No signal processing or other sound sources were used. How m ight our understanding of the sounds of these animals, from a scientific, observational perspective (which supplies information about its function and about those animals who are making sounds), be connected to our understanding of sound as a source for the creation of human music through listening? Spectrographic analysis will be applied to excerpts from Dawn’s Chorus to illustrate visual scientific observations that elucidate the behavioral functionality these sounds, and that help us to extract factors influencing the evolution of sounds that are functioning as communication signals. These signals, however, are also part of the m usical composition Dawn’s Chorus. Listening to these signals as we listen to familiar music (as if they are our own memories and thoughts) might invite a stretch of our familiar listening habits. Music we’ve heard before is made of well trodden sound paths and familiar gestures. To create paths in m usic we haven’t heard yet, we might use some help from our eyes. Looking is familiar — images of sound can show structural interconnections visually. We can try to hear what we see. This can help us to extend the edges of patterns that we know. We might create new patterns that we can come to understand. These new patterns may be used as musical materials, joining together sounds to create thoughts and memories. Or, these new patterns may themselves be used as observations, leading us to investigate structure, function, and evolution of signals within the ecology specific to a particular animal community. Extending our notion of structure a step further, to patterns in space, we will listen (via Ambisonics encoding) to a multi-­‐channel array recording of a vocalizing community of African elephants in a bai in the Central A frican Republic. This recording was made by the Elephant Listening Project at the Cornell Lab of Ornithology. Ann Warde’s compositions have been heard throughout the United States and Canada, at ICMC and SEAMUS conferences, at the Bang on a Can Festival and the Composers' Forum in New York, as well as in Germany, Spain, and the Czech Republic. Her work has been supported by grants from the New York State Council on the Arts, Meet the Composer, Inc., and the Burchfield Art Center, SUNY College at Buffalo, with performances by Gamelan Son of Lion and as part of a Residency at the Center for Contemporary Music at Mills College. Her writings about invention in contemporary music by Indonesian composers, and about ways in which electronics might be involved in configuring relationships among performers and among performers and listeners, are published in the Leonardo Music Journal and Asian Music. Dawn’s Chorus: for Cheryl Gobbetti Hoffman was presented at York University, England, and at the Listening to Birds symposium in Aberdeen, Scotland, in summer 2009. It has recently been included in the Acoustics volume of the Leonardo Music Journal. A 2000-­‐2001 Mellon Fellow with the Society for the Humanities at Cornell University, she currently works in the Bioacoustics Research Program at the Cornell Lab of Ornithology. 40 40 ; 41 ROUNDTABLE II DAY TWO, SATURDAY, JULY 13 Round Table: Hearing vs. Listening, Artistic and Scientific Perspectives 1-­‐2pm Studio 2 Moderator: Lance Brunner with: Pauline Oliveros, Seth Horowitz, China Blue, Chris Chafe, Anne Warde Lance Brunner brings an unusual perspective to his musical scholarship and teaching. Brunner’s scholarly work has focused on medieval chant and music since 1900, publishing numerous articles and reviews on these subjects. He has been the recipient of many awards and fellowships, including the Elliott Prize from the American M edieval Academy and the Notes Prize from the Music Library Association. His career path, however, has led him to pursuits outside of music history. Brunner held a Kellogg National Fellowship that allowed him to research the role of music in health and healing and study leadership in a wide variety of social and political contexts. He was a co-­‐founder of the Music for Health Services Foundation, helped to establish the Center for the Study of Music and Medicine at the University of Louisville, worked to foster leadership in the Appalachian counties of Eastern Kentucky, and was the founding director of the Commonwealth Fellowship Program. He has taught a seminar on creativity and business at the University of Kentucky and he established the mindfulness meditation offering in UK’s Wellness Program. He conducts workshops on creativity through the arts and currently serves as Director of Graduate Studies for the School of Music. Pauline Oliveros Bio on Page 8 Seth Horowitz Bio on Page 9 China Blue is an artist who captures the tenor of our times by transforming common electronic waste into biomimetic artwork with an environmental focus that also sings. In one of her most recent works the Firefly Tree she translates the firefly’s rhythmic signaling pattern into sound heard in Firefly Chorus and light as seen in the blinking LEDs. The loss of fireflies due to light pollution from cities makes them a succinct metaphor for the fragility of our ecosystem. She is fascinated by the hidden acoustics of our world such as the sounds created by the iron of the Eiffel Tower or submerged in Venice's water. The underlying theme of her work is revealing the hidden structures in our world and how they shape our lives. China Blue is a two time NASA/RI Space Grant recipient and an internationally exhibiting artist who was the first person to record the Eiffel Tower in Paris, France. She represented the US at OPEN XI, Venice, Italy an exhibition held in conjunction with the Architecture Biennale. Reviews of her work have been published in the Wall Street Journal, New York Times, Art in America, Art Forum and Sculpture to name a few. She has been interviewed by France 3 (TV), for the film “Com-­‐mu-­‐nity” produced by the Architecture Institute of America and was the featured artist for the 2006 annual meeting of the Acoustic Society of America. She has been an invited speaker at Harvard, Yale, MIT, Berkelee School of Music, Reed College and Brown University and an adjunct professor and Fellow at Brown University in the United States. She is the Founder and Executive Director of The Engine Institute www.theengineinstitute.org. Chris Chafe Bio on Page 38 Ann Warde Bio on Page 40 41 41 ; 42 WORKSHOPS II DAY TWO, SATURDAY, JULY 13 Workshop 2-­‐3pm Studio Beta Banding Improvisations Tomie Hahn Rensselaer Polytechnic Institute In this workshop I will introduce an improvisational movement practice I created called “banding.” In banding, improvisers are literally joined with large industrial rubber bands so that they can feel the connections, the m ovements, and vibrations between them. It is a practice that playfully develops awareness of space, movement and sound and in the process also heightens one’s sense of self and others in both physical and interpersonal ways to expand one’s expressivity. The practice is influenced by my personal meditation practice and experiences with Deep Listening and Contact Improvisation. In a slippage of words, banding transforms to bonding. The bands visually display the bodily connections to others in space, and the physical dependency on others becomes starkly clear. A dding vocal improvisations to the movement experience overlays another quality to our already fully engaged movement improvisation so that tactile, kinesthetic, and visual experiences leave aural traces intertwined in space. Banding encourages participants to heighten their awareness of “voice” in a real and metaphoric sense—as participants’ inquiry into their inner voices (identity) resonate and emerge from their actual (sonic) voices. Through the band connections a community emerges, m oving and voicing identity. Tomie Hahn is an artist and ethnographer. She is a performer of shakuhachi (Japanese bamboo flute), nihon buyo (Japanese traditional dance), and experimental performance. Tomie’s research spans a wide range of area studies and topics including: Japanese traditional performing arts, Monster Truck rallies, issues of display, the senses and transmission, gesture, and relationships of technology and culture. Her book, Sensational Knowledge: Embodying Culture through Japanese Dance (Wesleyan University Press) was awarded the Alan P. Merriam prize from the Society for Ethnomusicology. She is currently working on Peep Show a graphic ethnography on the senses and orientation. Tomie is an Associate Professor in the Arts Department at Rensselaer Polytechnic Institute. http://www.arts.rpi.edu/tomie 42 42 ; 43 WORKSHOPS II DAY TWO, SATURDAY, JULY 13 Workshop 3-­‐4pm Studio Beta Hearing the Music in Your Mind Bunita Marcus Four Lakes Music This workshop will be an exploration into the unique sounds that resonate within a person and define that person. The workshop will investigate how music is m ade from human experience and imagination. We will go into our subconscious, listen and talk about what we hear and how the sounds feel. We will create the beginning of a musical composition with our voices. We will move forward intuitively, just being with the experiences as they unfold, the future always a mystery-­‐-­‐as it is in life. 1) Hearing the first sound: Marcus will use a Theater-­‐of-­‐the-­‐Mind exercise to get the participants hearing and feeling the m usic/sound in their m inds. 2) Then we will explore, experiment, and distinguish the specific sounds that the participants have heard. 3) Marcus will select certain sounds and lead the group with recreating the sounds with their voices. 4) Hearing more than one sound at a time: "The 3-­‐D effect," or hearing sounds inside and outside your body. This will be accomplished by imagining the sounds we created in step 3 and listening to all the peripheral sounds that we can hear or feel around us. What we hear will be discussed in detail. 5) Group creates their first sound-­‐grid of 3-­‐D sounds. 6) Participants perform this sound-­‐grid with their voices. 7) Continuity, or how sounds follow one another: We will perform the exercise in step 6, and at the end of this grid we will stop and listen for the next music that we hear. These sounds will become the basis of the next sound-­‐grid. 8) We will repeat the above steps 1 through 5 to create sound-­‐grids II and III, building a continuity of human/musical experiences from one sound-­‐grid to the next sound-­‐grid. 9) Participants perform all three sound-­‐grids with their voices. This workshop will allow the participants to hear the music in their mind, and stimulate them to focus even more carefully on listening and on delineating the uniqueness of each sound. The construction of the sound-­‐
grids, along with the detailed listening, will replicate the composer's creative process. Bunita Marcus, born in Madison, Wisconsin, was a well-­‐recognized pianist and bass clarinetist when she began composing at the age of thirteen. She worked in both electronic and instrumental mediums while at the University of Wisconsin, Madison. In 1981, she received a Ph.D. in Composition from the State University of New York at Buffalo where she held the Edgard Varese Fellowship in Composition and studied with Morton Feldman. Bunita Marcus' music has been consistently praised for its beauty and rare sensitivity. Kyle Gann applauds her piano work Julia for its "touching and unassuming depth," which "had the audience hushed under the impact of deeply communicated feeling." Los Angeles critic Alan Rich says her work Adam and Eve "states an eloquent case for the persistence of pure beauty in contemporary composition." From 1985-­‐1990 D r. Marcus produced the Salon Concert Series with painter Francesco Clemente in New York City. Today she is active as a composer, conductor, lecturer and teacher, appearing in concerts and festivals around the world. 43 43 ; 44 WORKSHOPS II DAY TWO, SATURDAY, JULY 13 Workshop 2-­‐3pm Studio 2 From the Waters: An ensemble listening practice for the grieving process Anne Hege Princeton University From the Waters has evolved from m y deep listening practice with Pauline Oliveros and has also been a response to the loss of my brother in 2009. I have strived to create a work that uses technology to facilitate and support a listening that includes the vulnerable space of individual and collective emotion, memory, spirit, and imagination. From the Waters was originally written as a concert piece for the Princeton Laptop Orchestra with the intention of being able to exist also as a workshop practice. The piece was inspired by Maya Deren's description of the Haitian Voudoun rite of reclamation from her book Divine Horsemen (1953). In this ceremony, a year and a day after a person has passed on, the family or community can reclaim the spirit by calling it back from the waters of the abyss. People are called back who are respected as important assets to the community in the experience, wisdom, and power that they embodied while living. Such spirits are recognized as too valuable to lose. Using this as my starting point, I created From the Waters as a modern reclamation rite, exploring if technology can be convincingly woven into a community listening and reclaiming practice. I have presented From the Waters both as a concert piece and as a workshop on loss. Technically, From the Waters uses three to eight laptops, depending on the number of participants. Each laptop has its own speaker output and a GameTrak tether controller. Each tether controller has two tether strings that provide x, y, and z-­‐axis information to the computer. This information controls what sounds are triggered or synthesized. The work has two parts. The first part serves as preparation, where each player executes a series of movements holding the tethers. The movement controls sounds that play a kind of melody (using Rebecca Fiebrink's Wekinator application). These movements are m eant to center the player and focus their listening on their body as a m oving, sonic and feeling agent. As the preparation continues and the movements are performed in unison with others, the players expand their awareness from their body to their relationship with others. The preparation moves smoothly into the second part, reclamation, by attaching the tethers to a central rope and starting the second part patches. A s the ensemble lifts the rope together, new sounds emerge that guide a specific kind of pulling movement. Pre-­‐recorded samples from the participants are also triggered at specific locations adding personal sounds to the sonic sphere. The players are invited to listen for the sound, movement, and emotional presence of all the players. The rope facilitates an ensemble improvisation in movement and sound. As a workshop at The First International Conference on Deep Listening, From the Waters presents a way of using technology to help guide our attention towards listening. It is both a musical piece that can be played perfectly by untrained strangers, a listening practice, a community ritual, and a way of being with others past and present. Born in Oakland, CA, Anne Hege began her musical studies singing with the Piedmont East Bay Children’s Choir and the Oakland Youth Chorus. Formative projects with innovators such as Keith Terry and Linda Tillery inspired her multimedia leanings. She has spent the last 20 years conducting, singing, and composing. Hege has composed works for film, installation art, dance, and concert settings. Over the last four years, she has explored writing music for choreographers Carrie Ahern and Elena Demyanenko. She performs original works in her duos, New Prosthetics and Sidecar, as well as in the laptop ensemble Sideband. Currently, she is researching a body-­‐centered theory of multimedia analysis for her dissertation in music composition at Princeton University. Influenced by her deep listening practice, her latest compositions lie somewhere between ritual, music, and theater with some homemade instruments thrown in for good measure. For more information go to www.annehege.com. 44 44 ; 45 WORKSHOPS II DAY TWO, SATURDAY, JULY 13 Workshop 3-­‐4pm Studio 2 The Adaptive Use Musical Instrument (AUMI): Music-­‐Making and Improvisation for All Abilities Leaf Miller Deep Listening Institute The Adaptive Use Musical Instrument (AUMI) enables people who have very limited controlled movement or other types of disabilities to independently engage in making music. AUMI incorporates camera tracking so that no invasive devices are necessary. Led by musician, composer, and humanitarian Pauline Oliveros, the AUMI project has brought together the expertise of a team of musicians, programmers, therapists, educators, students, and researchers. The interface was created in 2007 by Zane Van Dusen, an original team m ember and RPI student, in collaboration with musician and occupational therapist Leaf Miller, and was first used in drum workshops for children with special needs at Abilities First School, Poughkeepsie, New York. AUMI continues to be supported and developed through the community education initiatives of the Deep Listening Institute. While the AUMI software can be used by anyone, the focus has been on working with students who have profound physical disabilities. In taking these participants as its starting point, the project is committed to m aking musical improvisation and collaboration accessible to the widest possible range of individuals. This approach also opens up the possibility of learning more about the relations between ability, the body, creativity and improvisation from within a cultural context that does not always acknowledge or accept people with disabilities. Since these initial workshops, the software interface has been made available as a free internet download. AUMI is now in use in a variety of community settings (educational, therapeutic, musical), both nationally and internationally. This presentation will include: history, research and development of the instrument and project, including use of A UMI in a variety of settings, musical/therapeutic/educational implications, demonstration of AUMI on the laptop and the newly released app AUMI iPad and audience participation/interaction with AUMI. Leaf Miller is a professional musician, teacher, and instrument builder, playing drums and percussion in the World Music Tradition for over 40 years. She has travelled to Ghana, performed in Bahia, Brazil with the Orquestra Afro-­‐Biana and is founder of Women Who D rum, a multi-­‐media and research project dedicated to women's drumming traditions. Leaf has been working in collaboration with Pauline Oliveros and the Deep Listening Institute on the Adaptive Use Musical Instrument (AUMI) Project since it's inception. She is one of the principal contributor of ideas for the the AUMI designers and programmers. Leaf has been an Occupational Therapist since 1988. In her work with children with special needs, she strives to incorporate the healing benefits of drumming with her clinical training in human movement and development. 45 45 1
; 46 PAPER PRESENTATION IV DAY TWO, SATURDAY, JULY 13 Paper Presentation IV 4:30-­‐6pm Studio 2 AUMI with Disabled People in Music Therapy Ralf Martin Niedenthal Centro Camino -­‐ Music Therapy Center Within the m usic therapy field, in the recent years and thanks to digital technology, people with different disabilities have had access to new experiences. A great amount of m usic therapists are incorporating this type of technology to their clinical practice with the aim of improving the quality of life of disabled people through enriching musical experiences. In this presentation, I will show the different types of adaptations (instrumental, corporal, musical and technological) that the music therapist employs to develop each patient’s potential. The presentation will be illustrated with videos and audios of individual and group sessions of patients with neurological disorders. Through this material you will be able to observe the clinical objectives and appreciate the effectiveness of the software in music therapy sessions. This presentation will also include the difficulties presented when working with the software. All this will provide some ideas that can be considered by the Deep Listening Institute to incorporate the software as one of the tools available to a m usic therapist. Ralf Martin Niedenthal is a music therapist from the Universidad del Salvador, Buenos Aires, Argentina, as well as a University professor, piano and guitar teacher and the coordinator of the department of adapted music pedagogy at Centro Camino, Music Therapy Center. The center specializes in teaching music to adults and young people with neurological disorders. www.centrocamino.com Mediated Spaces: Using active listening exercises to reduce anxiety for chronic pain patients Mark Nazemi See Abstract and Bio on Page 28 Creative Collaboration as Sound, Space, and Pattern Recognition Gayle Young This discussion develops connections first raised in the article Young wrote for the Anthology of Essays on Deep Listening, which outlined the connections between the Deep Listening practice and Marsall McLuhan’s concepts of acoustic space and audio-­‐tactile space. The discussion will describe creative elements of a program to work with grade twelve students on the creation of a composition. The students will have composed the piece and performed it outdoors during a weekend intensive. The project involved aspects for the Deep Listening practice, combined with soundscape awareness based on writings by R. Murray Schafer and Austin Clarkson’s Creativity in Depth program which addresses transformations of m aterials during a personal creative process. Elements of the program include: -­‐ soundscape awareness, discussing and writing about the listening experience -­‐ translating observations of sound into descriptive visual contexts, and creating graphic sound scores -­‐ interpretation of drawings 46 46 1
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; 47 PAPER PRESENTATION IV DAY TWO, SATURDAY, JULY 13 and scores by varying instruments developing a variety of interpretive options -­‐ experience of the creating and transformation visual representations of sound, and observing the resulting changes in the sounds communicated to others through visual representations -­‐ responding as instrumentalists to visual representations and to both environmental and instrumental sounds in the immediate environment -­‐ perception, recognition, and transformation of patterns found in environmental sound, translated into instrumental music We began with general discussion of the experience of listening to all sound, global listening in balance with focused listening, soundscape in balance with music. Students were asked to listen to sounds surrounding the places where they spend time: spend a half hour listening and keep a sound journal, not only of what you heard, but of how you responded to the sounds. (The journal will remain private; there will be no need to show it to anyone.) In the following session we discussed students’ comments and observations. I outlined the perceptions resulting from recording technology: before recording one could never hear the same sound twice. Sound is ephemeral, disappears in time and space. W e rely of memory of sound. Students were asked o choose one sound one sound he or she remembered from the sound journal. What aspect of the experience made that sound unique, what could change that experience? This was followed by further discussion of listening as an experience where you allow yourself to be open to sound. Notice how m any sounds you do not hear, do not notice, at times when you are not intentionally listening. Students were asked to describe two simultaneous sounds in their journals, and to record observations of the ways sounds are sometimes covered by each other, and can only be heard at certain times, from certain positions, or through certain kinds of listening. Gayle Young began in the 1970s to present concerts as a composer/performer as part of artist collectives such as the New Music Co-­‐op in Toronto. She plays both composed and improvised music using found instruments, soundscape recordings, and instruments she designed and built for use with microtonal tuning systems. She has participated in several Deep Listening retreats, received her Deep Listening Certificate, and organized a week-­‐long DL retreat at the Haliburton Forest and Wildlife Reserve in Canada. As publisher and former editor of Musicworks Magazine she has facilitated the discussion of work by many innovative composers, musicians, and sound artists, writing many articles about her own music and that of other artists. Her biography of Hugh Le Caine, an early inventor of instruments for electronic music, was published in 1989, followed by a CD of Le Caine’s compositions and demonstrations. Young lives in Buffalo and her article about the new music community there was recently published in Musicworks. In it she addressed the possibilities available for innovative music in smaller centers and emphasized the importance of forming connections within networks, an approach that has characterized Buffalo’s inherently transient music community. Music Made from Being: Deep Listening, Embodiment, and the Shared Experience of Music Michelle Nagai Princeton University Human beings engage the physical body in order to sense, experience, and activate the myriad worlds we inhabit. The pathways to perceptual knowing that unfold through such engagements are innumerable, each of them supporting unique and specific modes of cognizing sensory experience. For composers, these pathways and the journeys they encourage often remain hidden from view, a part of the creative process not generally acknowledged and seldom shared with players or audiences in detail. The latter two, for their part, are also involved in acts of sensing, knowing and cognizing. These may or may not be communicated in connection with a listener or performer’s experience of music. Yet, it is precisely these kinds of somatic and perceptual experiences, realized at all stages of m usic m aking and reception, that underlie and enliven the more accessible processes to be found at the surface of a musical work. Simultaneously, such experiences may unlock ways of knowing that originate outside of, 47 47 2
; 48 PAPER PRESENTATION IV DAY TWO, SATURDAY, JULY 13 and/or extend beyond, the limits of m usic. In short, what goes into making music, and what comes out of listening to music, is as essential as the m usic itself. The geographer Susan Smith suggests that we “conceptualize music as a way of apprehending, experiencing, and creating the world.” Drawing on the theoretical writings of Attali and Cage, she posits that there may be ways of knowing through sound that cannot be accessed through the visual world. Smith’s research falls within the domain of the social sciences, yet her emphasis on the connection between sensing, embodiment through the performance of music, and ways of knowing is directly relevant to an investigation of the composer’s body, a complex site of action and experience that is central to an understanding of what I have referred to in the past as ‘music made from listening’. Here, as an expansion of this idea, I suggest a consideration of music made from being. The practice of Deep Listening, both at the level of training, and in the acts of performance or realization, encourages exploration of the interchange between the physical body, emotional experience and dream life, and social communication. In so doing, Deep Listening serves as a ‘way in’ to this music made from being – a point of access for both the creators and consumers of musical experience. Deep Listening works on us much in the way Smith describes, allowing for heightened awareness, sensitivity and creativity at all levels of practice. In the first part of this essay, l investigate ways in which training in the practice of Deep Listening not only invites, but demands, a connection between the body, perceptual experience, and the presentation of musical ideas. I focus on creative techniques and compositional strategies, employed during workshops and retreats, which allow for an immediate and tangible connection between bodily experience and what that experience affords or creates for the composer(s). This investigation centralizes the relationship between the body, the senses, and m aking sense. I assert that the centrality of such a relationship is vital, not only to the ethos of Deep Listening training and practice, but music-­‐making in general. The balance of the essay considers how Deep Listening operates as a point of transit between creative process and performance. The New Mexican mountaintop forest – where the practice of Deep Listening is taught as an intensive, multi-­‐day retreat, for a small group of committed participants – is far removed from the sophisticated urban new m usic audiences of New York or San Francisco, or the rural communities where many practitioners of Deep Listening work and reside. How then, does a work made through Deep Listening in this (or any) context move from its origins to fulfillment as concert music or other public presentation? How are audiences involved in this process? What points of connection exist between experience at the level of creation, and experience at the level of consumption? W here do gaps exist in this communication? Can the Deep Listening community do more to make these connections explicit and viable? Ultimately, this essay highlights the ways that Deep Listening supports an invested, embodied compositional practice – a practice that results in m usic m ade from being. Additionally, I suggest that, although the Deep Listening community has many mechanisms in place already to convey this music into the world, more can be done. The educational programs organized and run by members of the Deep Listening community, targeted outreach to groups with special needs, countless festivals, and myriad concert programs all attest to the vibrancy of Deep Listening. What I hope to do here is simultaneously reinforce the importance of this work, and explore modes of increasing connection between composers and audiences; their respective roles as embodied, aware and active participants in the creative process can serve as encouragement and inspiration as we move toward a more complete expression of musical experience, shared between m akers and listeners. Working mainly as a composer and performer, Michelle Nagai has collaborated regularly with music, video, dance and theater artists since the late 1990s. In tandem with her work as a composer, Nagai's published writings reflect a deep engagement with the intersection of words, sounds, places and ideas. In 2011-­‐12, Nagai lived in rural Japan, the recipient of a creative artist fellowship from the Japan-­‐United States Friendship Commission. She now resides in rural New York State, where she continues to explore connections between sound and place, while working toward completion of a doctoral dissertation in composition at Princeton University. Nagai’s work has been presented in North America, Japan and Europe with the support of numerous institutions including the American Composers Forum, Deep Listening Institute, Harvestworks, Eyebeam, the Interdisciplinary Laboratory for Art, Nature and D ance, the Jerome and McKnight Foundations, Meet the Composer, the National Endowment for the Arts, and the New York State Council on the Arts.
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; 49 PAPER PRESENTATION V DAY TWO, SATURDAY, JULY 13 Paper Presentation V 7:30-­‐9pm Studio 2 Listening (is) Sounding (is) Listening: Sonic Mimicry as Listening Practice Tina Pearson Tina Pearson will give a demonstrative talk about revelations about sonic mimicry as listening practice within two of her major projects: “And Beethoven Heard Nothing” and “Music for Natural History”. She will also reference her soundwalk composition “Measure for a Mayfly”. “And Beethoven Heard Nothing” is an intimate audio-­‐visual tale that intertwines the listener’s personal experience of hearing with sonic re-­‐imaginings of Beethoven’s musical sound world filtered through the realities of his hearing loss and tinnitus. It was performed in Victoria BC in 2010. The project is informed by research about hearing loss and tinnitus and anecdotal information about Beethoven’s own experience with both. Pearson will demonstrate how the project’s path of sonic narrative begins with a focus on inner listening, for both the audience and the performers. It unfolds in an exploration of Beethoven musical fragments juxtaposed with the ensemble’s bringing forth the inner sounds from their bodies, tinnitus replications and a sonic imagining of the range of subjectivity of hearing and listening m usic through phases of ability and disability – including Beethoven’s. “Music For Natural History” is a performative installation for musicians and community members that animates and interprets the sounds of the flora and fauna in two dioramas of the Natural History Gallery of the Royal BC Museum in Victoria, BC. It was performed there in 2012. The work is a sonic embodiment of wildlife sounds free from the filters of musical convention, context and gesture, toward a music organized from the inside out by rigorous listening and microscopic study of specific sounds and behavioral patterns. Pearson will describe the project’s process of developing skills in listening and sonic mimicry, and its inclusion of musicians of any ability. The open orchestration of the work enables performers to stretch their imaginations and skills to use conventional and self-­‐designed instruments as well as voices and objects to attempt an accurate replication of the sounds of each creature represented in the dioramas. The acute listening and exactitude required of the piece develops a rare sense of sonic community and strong relationships between professional musicians, artists from other disciplines and non-­‐professional community members. The project uses listening and sonic mimicry in the Museum context as a way to expose the broader community to the dilemma of sound ecology and to the silencing of the wilderness. The performers and audience alike experience an enhancement of their awareness of wildlife sounds in their local soundscapes. “Measure for a Mayfly” is a soundwalk piece that demonstrates how sonic mimicry in a hi fidelity sonic environment deepens and enhances listening. It was made in 1983 and has been performed regularly since then. Pearson will give sound examples from each work, and will invite attendees to participate in an exercise from each of the pieces. She will also relate this work to her experience in soundwalk activities, teaching, community development, conflict resolution and support group facilitation. Tina Pearson is a wilderness-­‐bred composer, performer, and a facilitator of events, including concert and networked performances, forums and publications, workshops, soundwalks and interventions. Her compositions are concerned with investigations of sound itself, the listening process, and uncovering unheard, hidden and ignored sounds and phenomena. She performs with flute, vocalization, accordion, glass and virtual instruments. Pearson was editor of the Canadian periodical Musicworks, initiating its audio component. She taught at OCAD University’s Experimental Department in Toronto, and has been a frequent guest lecturer, panelist and workshop leader. As a curator, Pearson has commissioned and produced works of Canadian and international artists from diverse disciplines and genres, many in alternate formats and spaces. Her work has been performed and/or broadcast in Canada, the United States, Europe and Asia most recently the Newfoundland Sound Symposium and 49 49 2
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; 50 PAPER PRESENTATION V DAY TWO, SATURDAY, JULY 13 Royal BC Museum in 2012. She has created music and soundscapes for dance performances by choreographers such as Paula Ravitz, Menaka Thakkar and Grant Strate. She has performed with many renowned artists, including: Ellen Fullman, Pauline Oliveros, Stelarc, James Tenney, and ensembles such as the New M usic Cooperative, Toronto Independent Dance Enterprise, Arraymusic, Gamelan Madu Sari, LaSaM Music and Avatar Orchestra Metaverse. tinapearson.wordpress.com Time Distortion in Deep Listening Ben Richter Ghost Ensemble “Time distortion” refers to a marked difference between experiential time, the subjective sense of the passage of time as perceived by an individual, and clock time, the m athematically precise measurements of time by m echanical or electronic digits. First described in the context of psychotherapy by Milton Erickson and Linn Cooper, the phenomenon of time distortion occurred often to an extreme degree during their experiments through the use of clinical hypnosis. Erickson and Cooper argue that time distortion is a normal phenomenon of everyday life that is simply m ore pronounced during activities or states such as hypnosis. I will explore whether Deep Listening, too, encourages an increasingly subjective experience of time in the practitioner. As established by Dr. Erickson, clinical hypnosis effects a change in attention, intensity, dissociation, and response; similarly, Deep Listening effects a heightened awareness, an attunement to all sonic phenomena, an increased connection to the sonic environment, and an intuitive response to that environment. While the situations are particularly different in terms of consciousness, they share an increased reliance on experience and intuition and a liberation from the constraints of normative rationality on perception. My hypothesis is that, as Deep Listening connects the practitioner to the world on the intuitive, sensory level and subverts the tendency to process sound via normative rationality, Deep Listening practice likely m irrors hypnosis in greatly heightening the practitioner's personal, subjective experience of time, while disconnecting her from the scientific time of the clock. I will test this hypothesis by conducting interviews with 5-­‐10 Deep Listening practitioners and 5-­‐10 listeners unfamiliar with the practice. Each subject will listen to three pieces of equal length in clock time: one Holst excerpt that adheres to strict conventions of metric and structural regularity, one piece by Pauline Oliveros that employs a free, experientally focused structure, and one piece specifically designed for this experiment to allow for maximum time distortion via total destabilization in all parameters. All subjects will listen to the same three pieces in randomized order, and will respond to a series of questions regarding their personal experience of each piece. My paper will examine the findings of this experiment with the goal of further defining the symptomatic elements of Deep Listening; that is, I will seek definite indications of the unique state of mind that is inherent in the practice. As the practitioner of Deep Listening aims to experience the world on a level of heightened awareness, imagination, intuition, and creativity, I will explore the definable differences in subjective experience that may be present during this practice. Although m any divergent data outcomes are possible, we should in any case gain some insight into the nature of Deep Listening as a m ode of consciousness, and we may gain valuable tools for understanding and developing that consciousness. Ben Richter is a composer and accordionist from New England. His music is concerned with consciousness and transcendence, the intersection of memory and imagination, and the evolution of worlds and beings, focusing on the immersive totality of musical experience. Ben Richter is the founding director of Ghost Ensemble, dedicated to performances of experiential and experimental music. He has composed concert music for ensembles including the American Symphony Orchestra, Nieuw Ensemble, Da Capo Chamber Players, Ensemble Royaal, accordion duo Toeac, and New York Miniaturist Ensemble. He also produces film and installation sound pieces that have been featured in exhibitions in the U nited States, Netherlands, Germany, and Switzerland, and has performed with rock, jazz, and klezmer bands in New York and Europe. From 2004 to 2008, he was musical director of New York’s Surrealist 50 50 2
; 51 PAPER PRESENTATION V DAY TWO, SATURDAY, JULY 13 Training Circus. Ben Richter’s principal teachers include Pauline Oliveros and Kyle Gann. He studied composition at Bard College and received his M . M . from the Royal Conservatory of The Hague. M ost recently, alongside the productions of Ghost Ensemble, he has worked with S.E.M. Ensemble under artistic director Petr Kotík.
Sound Cairn: Virtual Spaces Joseph Reinsel University of Michigan -­‐ Flint "Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-­‐brigs; fog lying out on the yards, and hovering in the rigging of great ships; …" -­‐Charles Dickens " Bleak House, 1853 Place, location and sound are some of the foundations for listening. Each of these elements are different aspects to an experiential m oment in time and space whether we are listening to the flow of water in a stream in the Upper Pennisula of Michigan or a concert in Lincoln Center. These three factors create this experience from the variety of continual change in the sonic "fog" that is draped around us. For this presentation I would like to discuss the ideologies and approaches that I have been using to describe a series of audio projects that I have worked on over the past 7 years. Each of these uses sound and location as “Sound Cairns". A Cairn is a stand of rocks set on top of each other as either a place marker or a physical m emory. They have been used for m any reasons throughout history, Sound Cairns are places that one would go and find or record sounds at a particular place. These Cairns have been represented as virtual web based points that are accessed by mobile devices with GPS, written descriptions and navigations to that place, or QR code scan markers that could be heard from that location. In the multi-­‐
planar realities of the digital world, each of the planes extend our understanding of the physical environment and create new questions to how we navigate and interpret each place, person, or moment in time. The virtual net-­‐based object of the "Sound Cairn" creates questions by stratifying the Cartesian “built” environments with my locative media projects. Space, time and place form the foundation of this paper because of the ubiquitous nature of computing and the software appliances that change the way we interface with physical and virtual space from day to day. These components navigate between sound, visual art, design, technology, and architecture. I will look at three projects using the "sound cairn" concept as a root to discuss these layers of virtual space in physical space. Joe Reinsel is an artist/designer/educator working in time-­‐based arts and interactive media. He has exhibited and performed at: SIGGRAPH, Zero One San Jose, Art Interactive, Contemporary Museum (Baltimore), University of Glasgow, Pixelache, New York Electronic Art Festival. He received support from Baltimore Museum of Art, New York State Council for the Arts, New York Foundation for the Arts, Maryland State Arts Council, Baltimore City Office of Promotion and the Arts, Freefall Baltimore, Baltimore Community Foundation, and U niversity of Michigan. He is Assistant Professor of Interactive Art at University of Michigan – Flint. 51 51 ; 52 PAPER PRESENTATION V DAY TWO, SATURDAY, JULY 13 Embodying Physics: A Physical Language for Physics Adam Burgasser University of California – San Diego The language of the universe is physics, and the language of physics is mathematics. The traditional framework of this language is a written form, developed over centuries to symbolically represent physical quantities, interaction, motion and the underlying symmetries of nature. This language allows scientists from many cultures to communicate qualitative ideas and quantitative information. But is this the most effective means of communicating, learning or interpreting physics? Like poetry, music or art, could physics be expressed in alternative forms that can exploit the benefits of embodied cognition? I am investigating m ethods of embodying physics through motion, gesture and interaction, with the goal of merging conceptual and quantitative learning. My goal is to produce a functional physical language, in which equations can be expressed through m ovement, manipulated through the interaction of multiple actors, be utilized for calculation, and form the basis for aesthetic work. Adam Burgasser is an Associate Professor of Physics at the University of California, San Diego, and an observational astrophysicist who studies the lowest mass stars, brown dwarfs and exoplanets. He has published over 150 peer-­‐
reviewed articles on his research, and is best known for defining the “T” spectral class of brown dwarfs. A native of Amherst, NY, Adam earned his Bachelor's in Physics from UCSD in 1996 and his PhD in Physics from the California Institute of Technology in 2001. Following postdoctoral positions at UCLA and the American Museum of Natural History, Adam joined the Physics faculty at MIT in 2005, then moved to UCSD in 2009. In addition to his astronomical research, Adam has explored the connection between physics, culture and performance through such works as Astrofacts!, a youth-­‐led radio program in partnership with the Paia Youth and Cultural Center; Project Planetaria, a UCIRA-­‐funded collaboration between Physics, Theatre and Visual Arts departments at UCSD exploring astronomical data visualization and aesthetics; and Science Magazine’s Dance your PhD. 52 52 ; 53 CONCERT II DAY TWO, SATURDAY, JULY 13 Concert: Participatory Pieces 9pm Studio 2 Spider Whispers Ximena Alarcón Via Piazza Viv Corringham Sweet Summer Salad Gayle Young 7 Hums 7 Times Tom Bickley Program Notes & Composer Bios Spider Whispers Ximena Alarcón This performance is inspired by the connectivity and mystery that spiders evoke, by their light and darkness, their patience, and beauty, their creative work. For a group of any size In a room, all participants are invited to warm up their bodies by ‘shaking’. Then, in stillness, participants are invited to connect, in their m inds, with any spider they might have seen. They are invited to imitate their movements (e.g. fast, slow, weaving) or their stillness. After they have embodied the spiders, they will listen in their minds and bodies to a whisper the spider is transmitting. They will amplify this whisper in their minds. In a spider body, they will approach any other participant in the room and whisper that m essage into her/his ear. The person who receives the whisper starts to voice it repeatedly, allowing it to influence her/his spider movement. Everyone will give and receive at least one whisper. Everyone will make sure everybody has a whisper. If a person has not yet received a whisper, they will be in silence. The m ovements of all the spiders are creating a web between them. Spiders are free to move, exploring the space and whispering. Spiders are free to pick up others’ whispers and m ix them with their own whisper. The performance ends when all participants are settled, in stillness, and in silence observing their connections. Ximena Alarcón’s Bio on Page 11-­‐12 53 53 1
; 54 CONCERT II DAY TWO, SATURDAY, JULY 13 Via Piazza Viv Corringham For any number of voices Each singer brings 4 sentences relating to place or places. Ideally, some of the texts will be in different languages. The structure is: Via, Piazza, Via, Piazza, Via, Piazza, Via, Piazza. Via: Sing or speak each syllable of one sentence using short, resonant sounds. At the end of each sentence, move to a Piazza. Piazza: Sing any sounds in any pitch with very slow attack and decay. (i.e. Sounds may be short or long but with blurred edges) At their peak, the sounds are not louder than medium volume. Interaction with others in a Piazza is encouraged. After whatever time feels appropriate, return to the Via. The piece ends when all 4 sentences have been read and everyone has been in the Piazza a while. If you finish your sentences before others, remain in the Piazza until all arrive. Viv Corringham’s Bio on Page 11 Sweet Summer Salad Gayle Young The score is based on a recipe, and the words are shown in a way that m akes their phonetic nature m ore obvious than in regular text. I would provide a copy of the score/text to everyone in the hall so that they can participate in 'sounding' the text according to their sonic imaginations, and in response to the sounds being made by other participants. I wrote the piece last week as part of a creative residency and it was performed on Sunday by a group of mostly non-­‐musicians. Though we did have some practice sessions. If this piece is of interest in this context, I’ll write a short summary of the performance directions. If people have any instrument with them they can play the ‘sounds’ on instruments. Gayle Young’s Bio on Page 46-­‐47 7 Hums 7 Times 1 (2007) Tom Bickley Before the performance: A. Select a public space,2 B. Select one of the following words as an intention for your performance (beauty, pleasure, enlightenment, healing, justice, mercy, liberation).3 C. Designate a guide who will cue the initial humming. The performance: 1. Disperse fairly widely and evenly across a public space, listen to the whole field of sound. 54 54 2
; 55 CONCERT II DAY TWO, SATURDAY, JULY 13 2. At a cue from a designated guide, each performer begins to hum seven breath-­‐length long tones on a pitch of her/his choice (using the "choral hum," technique = lips together, teeth apart). As you hum, keep listening to the whole sound of the space. 3. Upon completing the seven hums each performer m oves a little closer to the center of the space 4. Once in the new spot, the performer hums seven breath-­‐length long tones on a pitch of her/his choice (as before, though beginning independently [i.e., no cue]), when finished, move a little closer to the center once again. 5. Repeat step 4 until each performer has hummed a total of seven cycles of seven hums. By the end the group should be standing in a group in the agreed upon center of the space. After the performance: reflect on your experience of performing this piece. 1 First performed on Mayday 2007, in the plaza outside Powell B ART station, San Francisco, CA, by the Cornelius Cardew Choir. 2 This score can be adapted for use in any performance venue; even the movement element c ould be accomplished via focused listening 3 ideally, the members of the ensemble agree on one word by simple voting; alternatively, each performer selects one of these words for her or his intention. Tom Bickley composes electro-­‐acoustic music, plays and teaches recorder, performs with Gusty Winds May Exist (with shakuhachi player Nancy Beckman), Three Trapped Tigers (with recorder players David Barnett and Judy Linsenberg), co-­‐founded and directs the Cornelius Cardew Choir, and is on the Library Faculty (music, philosophy, math & CS, political science & public admin.) at CSU East Bay, and the music faculty of the Bay Area Center for Waldorf Teacher Training. He co-­‐edited the recently published Anthology of Essays on Deep Listening. His education includes degrees in music, theology, and library and information science and the Certificate in Deep Listening. He lives with his spouse Nancy Beckman and cat 大福 (Daifuku) in Berkeley. 55 55 ; 56 PAPER PRESENTATION VI DAY THREE, SUNDAY, JULY 14 LOVE BUGS Linda Mary Montano/Lisa Barnard Kelley For the entire day of the conference on Sunday July 14th Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role
adoption, and intricate life altering ceremonies, some of which last for seven or more years. Paper Presentation VI 9:30-­‐11am Studio Beta Dynamic Soundscape Composition Thomas Stoll Darmouth College Considering the wide range of sound sources and techniques available to soundscape composers, one might focus on the listener's perspective for a unifying description of various approaches. Both artificial and natural soundscapes are immersive and can be described as having a self-­‐contained ecology. Ecology is a particularly apt term, considering the multiplicative network of relationships between and within sounds in such an arrangement. Complete soundscapes, played back as they were recorded, present sounds to explore by focusing listeners' attention on an environment tuned to itself. Sound environments constructed from recorded or synthesized sounds allow for both a quantitative and qualitative expansion of the resources available to the composer and a similar immersion of focus on a self-­‐referential sonic environment. With the aid of custom software, the author is able to create dynamic, realtime soundscapes where the m oment-­‐to-­‐moment compositional decisions are completely controlled by algorithms and the overall impression is that of cohesion rather than randomness. The algorithms combine sounds based on audio similarity with no semantic content, location, or other higher level analysis. This paper will describe, in some detail, the design of these pieces, the programming decisions that are encoded therein, and the selection of source sounds. Furthermore, an assessment will be made of how such a system may be used creatively and how it has changed the author's approach to listening. In the course of using this compositional system, several interesting observations may be made. Immediately, one observes subtle contrasts of juxtaposition, yet the overall impression is that of far-­‐
ranging sounds merging into one stream. While local similarity drives the selection algorithms-­‐-­‐segments on the order of hundreds of milliseconds are used as the basis for comparison-­‐-­‐the source sounds are often quite different when considered across their full time span. This constant interweaving of similar and dissimilar gives rise to an ebb and flow between immersion and external reference. Over a longer duration of at least several m inutes, the listener is able to recognize familiar sounds, yet the soundscape resists repetition and predictability. These offsetting tendencies open the ear and narrow the temporal window through which one hears. Examples of soundscape compositions created with this system will be presented. The software is available under an open source license. A project currently underway will be discussed that carries the dynamic soundscape idea over to locative sound art and the implementation of mobile phone apps for individualized soundscape experience. Thomas Stoll currently works as post-­‐doctoral research fellow and technical director of Bregman D igital Musics Studio at Dartmouth College. As a programmer, he works on music information retrieval, cinematic information retrieval, digital music composition, and mobile software. As a composer, his recent work includes diverse interests: algorithmic composition, corpus-­‐based systems, soundscapes, genetic algorithms, and interaction. In 2012, he collaborated as software developer with Teri Rueb, developing a mobile app to realize soundscape compositions, a project that will be further developed and released as open source software. 56 56 1
; 57 PAPER PRESENTATION VI DAY THREE, SUNDAY, JULY 14 Listening for the Resonance of Peace: Vibrations of Fear and Love from Case Studies in Somalia and Afghanistan Jonathan Rudy Center for Global Understanding and Peacemaking at Elizabethtown College Peacebuilding is more than communications technique, designing for social change and managing conflict. The sub harmonics of conflict drivers such as fear and anxiety need to be named, and transformed on an individual and personal level. My 25 years of work in Africa and Asia have given me some insights as to where to begin. Deeply personal stories of m y response to situations of violence form the backbone of m y talk accompanied by sound and m usic that aided my listening. I have more than twenty-­‐five years of learning from my mistakes in more than 30 countries in Asia and Africa. I have observed courage and grace in the midst of conflict. Key lines of inquiry in my work at the moment are; 1) the role of imagination in nonviolent approaches to conflict transformation; 2) interconnection between individuals and the environment; 3) the frequencies of subtle energies and mystery; 4) detachment, observation and non-­‐judgment in creating dialogue space. I have worked for/with; CDA Collaborative Learning Projects, Catholic Relief Service, Eastern Mennonite Seminary, Interfaith Center Conciliation and Nonviolence, Ka-­‐ili-­‐Yan Peacebuilding Institute, Lingana Foundation, Mennonite Central Committee, Mennonite Disaster Service, Mindanao Peacebuilding Institute, On Earth Peace, Oxfam GB, Oxfam Novib, United States Institute of Peace, VS Networks African experience in the following countries: Botswana, Burkina Faso, Djibouti, Kenya, Mozambique, Somalia, South Africa, South Sudan, Swaziland, Uganda, Zambia, Zimbabwe Central and Southeast Asia experience in the following countries: Afghanistan, Australia, Bangladesh, Cambodia, China, East Timor, Indonesia, Iran, Philippines, South Korea, Laos, Myanmar (Burma), Nepal, Sri Lanka, Thailand, Vietnam. Deep Listening in the Realization of Text Scores: A Human Sound Sculpture Nomi Epstein DePaul University A quasi-­‐rebirth of text or prose notation is evidenced by John Lely and James Saunder’s recent Word Events: Perspectives on Verbal Notation (Continuum, 2012), and the use of such notation in much of the works by the Wandelweiser group. With consideration of the text score, I offer A Human Sound Sculpture (2012) by Nomi Epstein as an example of an explicit, controlled, yet indeterminate work whose score is notated with text, prose. In this paper, I will describe how A Human Sound Sculpture utilizes a ‘Deep Listening’ approach in its performative realization. Performers must be active but also sensitive listeners. The listening practice offers the performers a receptivity and openness to entering into the sonic environment. Performers become part of a fragile and contemplative atmosphere where sound production and response are carefully executed. The score of A Human Sound Sculpture outlines a set of rules for each performer to observe (including color/pitch/durational choices) but also an overlying systematic structure that the entire ensemble (of 10 players) must carry out from beginning to end-­‐ a set of pitch relationships (chords) which must be heard simultaneously, and the morphing of one set of pitches into another through a series of sonic events. In this instance, text notation is used to construct various parameters within which the performers must act both freely as independent players/thinkers, and conversely as ‘team’ members to carry the piece through its required stages. Originally composed as a hybrid sound-­‐installation/live performance to celebrate the Chicago Old Town School’s 55th anniversary, A Human Sound Sculpture engages with spatialization of sound through a choreographic cycle (with particular attention to movement and directionality of sound) where individuals m ay prevent, encourage, or participate in moving forward in the piece’s structure. 57 57 2
; 58 PAPER PRESENTATION VI DAY THREE, SUNDAY, JULY 14 Nomi Epstein, D.M.A., is a Chicago-­‐based composer, curator/performer of experimental music, and educator. Her
compositions have been performed throughout the US and Europe by ensembles such as ICE, Ensemble SurPlus, Wet Ink, Mivos Quartet, and Dal Niente She is founder/ curator of the critically acclaimed, experimental music series “a.pe.ri.od.ic”, and regularly performs in the experimental improvisation trio, NbN. She produced the Chicago area centennial John Cage Festival in 2012, and continues to research, write, and lecture on post-­‐Cagean, notated, experimental music. Epstein is currently a faculty member of DePaul University.
A Well-­‐Tempered Ear: Bridging the gap between improvisation and notated composition Kristin Norderval Focusing on two particular works, (Nothing Proved, commissioned by the Parthenia viol consort, and Ask Me, an aria from m y new opera in progress) this paper outlines both the satisfactions and challenges I have faced when combining traditional notation with improvisational instructions, time-­‐based notation, and other types of notation that require the performers to engage in extended choice m aking based on Deep Listening. I have been grappling for several years with the puzzle of how to combine improvisation and notated music. This paper lays out some of my unsolved problems as well as some of my strategies based on Deep Listening. Nothing Proved, the first of the above-­‐mentioned works, was composed for a highly skilled quartet of traditionally trained classical musicians accustomed to sight reading complex scores, but not trained in improvisation. Ask Me was composed for a trio of accomplished improvisers; instrumentalists specializing in new music and jazz. Both works contain electronic sound elements. The two works present contrasting strategies for conveying the balance between the freedoms and the restrictions that I desired in regards to pitch, rhythm, timbre, and articulation, as well as for negotiating the relationship between the acoustic sounding of the performers and the electronic portions of the music. Both works have been particularly well received, and it is my belief that this is due to the heightened state of listening necessary for performance. Kristin Norderval, soprano, is a performer, composer and improviser who performs a repertoire that spans the renaissance to the avant-­‐garde. Profiled by The New York Times in "Downtown D ivas Expand their Horizons", and hailed as one of "new music's best" by the Village Voice, she has performed at festivals throughout the world, and her collaborations have included work with choreographers, sculptors, filmmakers and installation artists. She has performed as a soloist with the Oslo Sinfonietta, the San Francisco Symphony and the Philip Glass Ensemble, and has been a featured soloist in several dance-­‐theater works: among them the Netherlands Dance Theater's production of Martha Clarke's An Uncertain Hour (Lincoln Center, the American Dance Festival, the Netherlands) and Dance Alloy's production of Pope Joan, a dance-­‐opera by Anne LeBaron written specifically for Norderval and premiered in Pittsburgh in October 2000. She Lost Her Voice That's How We Knew (2004), a one-­‐woman opera for voice and electronics composed by Frances White with libretto and direction by Valeria Vasilevski was developed especially for Norderval, and has been presented in productions in the United States, Norway, Austria, Spain and the Netherlands. Music for dance, theater, film and performance has figured prominently in Norderval's compositional work. She created the music for SUB, a short dance film by Kjersti Martinsen; the soundtrack for GOD IN THE MACHINE, an evening-­‐length film written and directed by Kathleen Harty; Proud To Be Here a dance-­‐theater piece by Katharina Vogel (commissioned by the Bucharest International Dance Festival) and for She Speaks: The Weird Sisters by Laura Shapiro. Multi-­‐media works include Lydavtrykk, a photography and sound installation; Warum küssen die Menschen? -­‐ a work for two singers, signal processing and live video developed with Hanna Hänni for the EAR WE ARE festival in Biel, Switzerland; and "TAXI!" an interactive performance developed with three video artists for the Museum of Contemporary Art in Oslo. Dance scores include jill sigman/thinkdance's Pulling the Wool: An American Landscape of Truth and Deception (2004) commissioned by Dixon Place for the Mondo Cane Festival and Carrie Ahern's RED (2006) commissioned by Danspace. Rupture, a second collaboration with M s. Sigman commissioned by Danspace Project premiered February 2007 in New York. 58 58 ; 59 LECTURE/CONCERT I DAY THREE, SUNDAY, JULY 14 Lecture/Concert I 11am-­‐1pm Studio Beta Prosodic Body Robert Kocik & Daria Faïn ‘Prosody' is typically understood as the musical and expressive aspects of speech. The Prosodic Body further defines prosody as gesture, interrelationship, vibration and language as inclusive of the unspoken and unspeakable (the ‘tacit’ or ‘unstruck’, if you will). W e will present language as a deeply interoceptive practice (visceral attunement) by (1) drawing on the sonic potencies of the phonemes (the basic speech-­‐
sound units that distinguish m eaning), (2) extending the vocal apparatus to include the thoracic diaphragm, pelvic floor and crown of the head, (3) demonstrating the ways in which we compose our biological beings through prosody’s direct influence on the neuroendocrine system and (4) showing the direct correspondence between such visceral attunement and one’s capacity for compassion . We will then draw correspondences between this interoceptive attunement and energy by drawing on Chinese 5-­‐
element theory, Chi Kung and our practice of choreoprosodia (full fusion of movement and poetry). We would like to end by demonstrating/vocalizing a few sonic sequences that signal specific biochemical reactions (e.g. oxytocin secretion, opening of the root and crown or cardio-­‐respiratory synchronization), as based on our Prosodic Body research and collective choir practice; and then guide a collective vocal attunement. Robert Kocik is a poet, architect and economic-­‐justice activist. With the choreographer D aria Faïn he has founded an experiential artscience called the Prosodic Body as well as the Prosodic Body's performative and activist manifestation the Commons Choir. In the current climate of the privatization-­‐of-­‐everything his architectural works propose countervailing 'missing social services'. He is currently developing an anechoic darkroom for meditation and sound research, and a building based on prosody and poets' imagined relevance to society. His publications include: Overcoming Fitness (Autonomedia, 2001), Rhrurbarb (Field Books, 2007), E-­‐V-­‐E-­‐R-­‐Y-­‐O-­‐N-­‐E (Portable Press, 2012) and Supple Science (forthcoming from ON, 2013). Daria Faïn is a dancer/choreographer and somatic researcher based in New York City. Her movement/performance approach is based on studies of neuroscience, the Chinese Five Elements Theory and and Chi Kung. In New York, Faïn's work has been presented at New York Live Arts, Danspace Project, Dance Theater Workshop, The Chocolate Factory, The Kitchen, Dance New Amsterdam, the Rubin Museum, the Harlem Stage, the 92nd Street Y, and Movement Research. In 2000, Faïn founded the dance company Human Behavior Explorers, and in 2006, with Robert Kocik, she founded the Prosodic Body (a field of research based on the vibrational aspect of language) and the Phoneme Choir (based on the embodiment of their vocal and movement approach via performance). Fain has been awarded numerous grants and commissions from New York Live Arts, Danspace Project, the HipUp Foundation, the Lower Manhattan Cultural Council, the American Music Center, New York State Council on the Arts, the James E. Robison Foundation, the Foundation for Contemporary Arts and the Rubin Museum. Faïn was a Movement Research AIR 2008-­‐
10. She has taught master classes and workshops at institutions across the United States, including the Trisha Brown Studio, New York University, Tulane U niversity, Adelphi University, Rutgers University, Cooper Union, and Sarah Lawrence College. 59 59 ; 60 LECTURE/CONCERT I DAY THREE, SUNDAY, JULY 14 Samay Chakra: Listening to the world through sensors Bart Woodstrup Northern Illinois University There is a m oment that I find provoking when the instruments in an orchestra begin to tune to one another in preparation for performance. It's not just the sound of the instruments that impresses me, but the sense of an aura as the performers minds and bodies become attuned to one another. I have a similar experience when calibrating a sensor to be used in a data-­‐sonification composition. The sensor, acting as a prosthetic ear to transduce information that is out of reach to our evolutionarily developed way of hearing, is m ore difficult to bring ourselves in tune with. A s I calibrate it to bring it into the desired range, I also have to come to understand the sensor's relationship to the (un)natural world around us. For presentation at the Conference on Deep Listening I would like to discuss my sensor-­‐based music improvisation entitled Samay Chakra (trans. Time Cycle) and demonstrate strategies for improvising with environmental sensor data. Influenced by Classical Hindustani Music, which has a belief system that certain music is meant to be performed at specific times of day and seasons of year, I wished to extend this belief by using a similar rule system as parameters for creating music with sensor data. Samay Chakra is a computer-­‐based, weather interactive sound installation and m usical improvisor. It was programmed using the MAX programming language to perform music according to the basic rules of India's Classical Hindustani Music. The piece extends this belief system through the use of a sensor-­‐based weather station to transpose local weather conditions in real time. Classical Hindustani Music recognizes 8 segments of a day, roughly three hours each. Theses segments are not rigorously observed, yet noon, midnight, sunrise and sunset are usually strictly adhered to. Ragas (melodic modes) have been developed over many centuries to improvise music that is in harmony with time and surroundings. Using sensor information Samay Chakra selects a raga appropriate for time of day or season and improvises music accordingly. The weather station supplies data about the environment that adjusts the tempo, intonation and embellishment of the music according to what would be appropriate for the raga. For instance, the light sensor is used to determine the presence of the sun. This is important at sunrise and sunset due to the fact that some ragas associate a certain note with the the sun, therefore this note will not be played when the sun is not present. Other elements affected by sensors: intonation, duration, embellishment, probability, aesthetic and timbre. Through learning to listen to sensors we can become better improvisors and become more in tune with our world. During a 20-­‐30 minute presentation I will discuss and play examples of how I have implemented this with my work and also share examples of others who are currently developing these techniques. I will also present some strategies for those interested in developing their own music made from sensors. As a New Media artist I seek to understand and manipulate the aesthetics, semiotics, and narratives of various time-­‐
based media. This work often takes the form of traditional musical composition, real-­‐time interactive audio/video performance, multimedia installation and networked experience. I regularly perform live audio and visual synthesis as “vodstrup”, and was a founding member of Pauline Oliveros’ improvisational telepresence ensemble Tintinnabulate. I enjoy hacking solar powered LED lawn lamps, , growing data-­‐visualized plants, and dreaming of ways to carbon-­‐
neutrally power my plethora of electronic gadgets. 60 60 ; 61 LECTURE/CONCERT I DAY THREE, SUNDAY, JULY 14 Listening and playing in DIY-­‐3D sound spaces Björn Eriksson In the summer of 2012 I was doing a two week residency stay at GRIM in Marseille, invited by Jean-­‐Marc Montera. During these two weeks I was working with different approaches of listening and field recordings in the city of Marseille, together with Nathalie Fougeras, and on the second week also with the team of Sobralasolas! I was conducting a series of explorations and recording sessions in different urban spaces, both outside and inside. The concept centered around the idea to find resonant spaces through multilayered fieldrecorded sounds captured in a "DIY-­‐3D" setup in a trajection following a route repeated. Different approaches where made and later during the residency used in improvisations at GRIM. The material and experiences from these recordings sessions and the improvisations is what I want to share in a poster presentation, included some shorter excerpts and pictures and sketches. I regard the m ultilayered 3D field recordings to have a great creative potential and was opening up lots of new ideas and perspectives before not accesible for me. By easy accesible technique these methods are possible to use in a broad field of situations and intentions. Björn Eriksson is a sound artist, experimental musician that works with improvisational approaches in both composing and playings. Plays objects, clarinet, sound files, guitar and electronics. Been a memeber of the Avatar Orchestra Metaverse since it is beginning in 2007. Been collaborating in the Sobralasolas! projects with Jerome Joy, Dinah Bird, Kaffe M atthews, Gregory Whitehead, Caroline Bouisseau. Also active in the Locus Sonus project with streamed field streams. He also works as a teacher in sound art, music production and sound engineering. 61 61 1
; 62 LECTURE/CONCERT II DAY THREE, SUNDAY, JULY 14 Lecture/Concert II 11am-­‐1pm Studio Beta Paroxysmal Steel Ted Krueger Rensselaer Polytechnic Institute This presentation describes a series of experiments with a vibrating steel sheet activated by a constant frequency/constant amplitude signal. A range of unexpected behaviors occur leading to questions about the nature of the boundary of the system, and the role of the material relative to the informational. Ted Krueger is an Associate Professor of Architecture at Rensselaer Polytechnic Institute. His research interests include the architecture for extreme environments, human-­‐environment interaction, and perceptual prosthetics. He has been exhibiting, publishing and lecturing on an international basis for twenty years. Ted holds a PhD in Architecture (by design) from RMIT in Melbourne Australia, and a professional Master of Architecture degree from Columbia following graduate work in architectural history at the University of Chicago and an eclectic undergraduate education in the social sciences and the arts at the U niversity of Wisconsin-­‐Madison and the School of the Art Institute of Chicago. Krueger’s design work and has resulted in numerous publications, exhibitions and lectures on an international basis for the last twenty years. In addition, the work has been recognized by two New York Foundation for the Arts artist grants, a New York State Council for the Arts Project grant, a residency at ArtPark in Lewiston, NY, and chosen as one of the “Emerging Voices’ by the Architecture League of New York. Ted has recently lectured at MIT’s Computation and Design Group, the Royal Academy of Architecture in Copenhagen, Duke University, and the University of Technology-­‐
Sydney. Wired for Sound Jay Kreimer Wired for sound uses a recording of human and environmental sounds as the triggering score for an audience interactive performance. This score is only audible to two volunteer audience members through headphones. The two face each other with hands placed on wooden hand sets wired with galvanic skin response (GSR) sensors. A s the volunteers listen to the sound score in their headphones, their bodies respond and are tracked by the GSR circuits. Each GSR circuit sends a signal to the computer which is converted to midi and drives a synthesizer. Although meditators and trained m usicians can exert some control over the GSR circuit, this human/bio-­‐sensor/synthesizer rig mostly bypasses pre-­‐frontal dominance and responds to a less conscious part of the nervous system. Neural research has located m irror neurons as a physical component of human empathic response. The mirroring, empathic experience takes place as we listen to the emotion in the voices around us. Babies start to cry when another baby cries. This is a variation on a piece I demonstrated at the Academy of Sciences in San Francisco, and performed at the Lab in San Francisco, summer 2012. In that piece, Born Wired, the score consisted of images of eighty expressive faces, projected in sequence onto the gallery wall. Participants, facing the projected faces, laid hands on the GSR hands and attempted to imitate the emotion expressed on the projected faces. While the participant's GSR responses drove soft synths, digital video cameras captured their facial expressions and projected them onto the wall on either side of the target image. Wired for Sound differs in its emphasis on the empathic power of listening deeply to each other in the world. The performed sounds are analogous to the felt sense of the performers responding to the hidden score and each other. The piece 62 62 2
; 63 LECTURE/CONCERT II DAY THREE, SUNDAY, JULY 14 sounds an element of the beautiful and complex system that connects us at an embodied, feeling level with other beings and the larger world. Jay Kreimer is a media artist, crackpot inventor, sculptor and educator. Kreimer has performed a range of music professionally since 1979. In the last ten years he has recorded and toured widely, both solo and with his ensembles Seeded Plain and The Mighty Vitamins, performing in Beijing, San Francisco, NYC, Chicago, Boston, Montreal, London, Dublin, Berlin, Amsterdam, Paris, etc. In these performances, Kreimer played instruments of his own invention. One of Kreimer's instruments, Tallboy, was a finalist in the international Guthman Musical Instrument Invention Competition in 2011. His music has been released in the US, Portugal and Canada, distributed and reviewed internationally. Kreimer has served as a member of the Deep Listening advisory board since 2010. He has provided sound, video and sculptural elements for installations made in collaboration with the textile artist, Wendy Weiss. These works have been shown in galleries and museums in New York, San Francisco, Vancouver, Beijing and many other cities. This body of work focuses on the changing natural environment and employs recycled and repurposed materials extensively. Kreimer has created sound scores for a number of animations by the painter Michael Burton. Kreimer will be documenting brass, drum and 12 volt electronics wedding bands on a Fulbright in India, fall and winter 2013. jaykreimer.com Composing with Otoacoustic Emissions, Ultrasonic Speakers, and Neurobiofeedback Alex Chechile Alex Chechile will perform and discuss the fourth installment of On the Sensations of Tone, a series
of compositions featuring dynamically shifting layers of sound spatialization using otoacoustic
emissions, ultrasonic speakers, and a neurobiofeedback system. Otoacoustic emissions (OAEs) are
sounds generated by the ear when the cochlea vibrates the eardrum. OAEs can be provoked by pure
tone frequency combinations to produce new sounds not present in the stimulus frequencies. The
works contained within On the Sensations of Tone employ OAEs to create an additional dimension of
spatial depth and musical counterpoint. In addition to traditional speakers and OAEs, a tertiary layer
of spatial depth is formed though the use of highly directional ultrasonic speakers that point sound
to specific locations. The speakers create a grid of sound that the audience can hear only when in
the narrow path of the speakers. Throughout the composition, the sound sources dynamically shift
between combinations of traditional speakers, ultrasonic speakers, and the listener’s ears with OAEs.
On The Sensations of Tone features a neurobiofeedback system that integrates physiological and
cognitive information into the performance. Brainwaves pertaining to listening, creativity, and
improvisation during live performance are converted into control data that shapes or direct the
compositional whole via changes in spatialization, rhythm, and timbre of the music. The process
creates an ebb and flow between musical intention and intuition. A moderated discussion on
composing with otoacoustics, ultrasonic speakers, and neurobiofeedback will follow the performance.
Alex Chechile is a New York based artist and composer whose work draws from research in cognition, psychoacoustics, and the physics of sound. Focusing on the tightly connected relationship between sound, physiology, and the creative process, Chechile’s work takes form as compositions, installations, and performances. Alex Chechile has been supported by the NYSCA, Harvestworks, the American Embassy, the Experimental Television Center, Issue Project Room, and the Malcolm Morse Foundation. He has performed at venues including The Orpheum Theatre (Boston), Issue Project Room (NYC), The Stone (NYC), Eyebeam (NYC), The Emily Harvey Foundation (NYC), and the Free103point9 Wave Farm (Acra, NY). His work has been presented at The New York Electronic Arts Festival on Governor's Island, The New American Art Union (Portland, OR), Tbilisi 6 Festival (Tbilisi, Georgia), C02penhagen Fest (DK), PhonoFemme (Vienna, AU), and Linoleum Festival (Moscow, RU). Alex is one of the founding members of Pauline Oliveros’ Tintinnabulate ensemble, has opened for the rock band Primus, and has collaborated with Mercury Rev, Sergei Tcherepnin, Michael Bullock, Jim Finn, Cathleen Grado, Suzanne Thorpe, and Pauline Oliveros. 63 63 1
; 64 IN ABSENTIA In absentia / Papers available after conference Deep Listening in a Visual World Polluted by information Luca Forcucci The paper explores the ‘pollution’ generated by digital visual information and how the auditory sense tends to be neglected. Two case studies investigated by the author in the Amazon rainforest and in Shanghai suggest that the perception of the environment through (deep) listening is a valuable complement to the visual. Furthermore (deep) listening might act as a filter to visual noise. Luca Forcucci is a bi-­‐national Swiss and Italian composer and artist. His work observes the perceptive properties/relations of sound and space (and vice versa) through sound installations, visuals, compositions and performances. In order to explore the field of possibilities for sound in a context of music and art as experience, the works converge with dance, digital performance, poetry, architecture and neuroscience. In this context, he is interested by perception and consciousness. His compositions have spanned through the years from electronic music, which was produced by Al Comet from The Young Gods, to field recordings collected around the world in urban contexts like Sao Paulo, Shanghai, San Francisco and natural ones like the Amazon forest or the Swiss Alps to name a few. Luca is a PhD candidate at De Monfort University with Prof. Leigh Landy and D r. John Richards. Refocusing the Gaze: Performance Practice through Deep Listening Jane Rigler UCCS, VAPA Music Program Currently there is a rapidly growing library of Deep Listening articles that link ancient performance ritual with new performance practices, incorporating (and sometimes instigating invention of) some of the most innovative interactive technologies of our time. This paper will investigate methods developed for further expansion of the performer today, calling on improvisation, composition, physical and gestural studies as well as intuitive approaches. Methods assimilated into my performing and teaching involve many Deep Listening skills and philosophies, even if at the time of incorporating them I didn’t realize they corresponded to the Deep Listening approach to music making. Upon further investigation, it is clear to m e that Deep Listening skills can have a positive impact on the outcome of a performance. It is not within the scope of this paper to discuss all traditions and styles of performance practice, but rather to uncover performance practice issues that performers today who, like m e, play a wide variety of music. My work as a performer involves not only “playing the part” of a flutist/improviser, which includes playing a musical score accurately, and making appropriate on-­‐the-­‐spot decisions, it also contains elements of tapping into another form of being, embodying a “character”, and transforming the awareness of breath and listening more deeply. This way of thinking often also requires m e to re-­‐think of the connection between m y body and mind, as I ask myself questions about how I am walking, standing, balancing, and focusing. Where is my gaze? Where is the breath being directed (out from my back, in through the top of my head, etc.)? Simultaneously, there is the detail of listening to the sound in the room. How is the sound reflecting/reverberating and what is coming back at me? Another aspect to learning music in conjunction with the art of performance is the crystallization of a focused intent of the piece at hand. Combining this multidisciplinary pre-­‐performance practice routine (that includes body/mind/listening awarenesses) forms part of the learning process of any musical work or improvisation so that thoughts do not distract from the technical perfection of the performance. With an integrated mind/body practice, musicians can rely on their performance as a powerful 64 64 2
; 65 IN ABSENTIA vehicle to successfully communicate their intent to the audience. An effective, or “successful” performance could depend on how well the intentions of the performer were relayed to an audience. A great lesson involving a “successful” performance was taught to me by my first flute teacher, Donna Clarke, who reminded me, on the eve of the MTNA national high school competition on m y 18th birthday that, “you’ve already won by overcoming the most critical judge of all, the one person who was holding you back: yourself.” The next day, already feeling triumphant and forgetting about winning or losing, I looked upon the faces of the audience and told them a story through the music I played. I left behind technique and what was “correct” and merely focused on the images in my m ind and the playfulness of the sound. By letting go of my ego and desires to win, I instead made an offering: a piece of my inner life. Despite a less than technically perfect performance, I was still rewarded the 1st prize. From that experience I learned a valuable lesson that people respond more to intent than to perfection; audiences seemed to react more positively to the heart of the performer and to the act of listening than to technical prowess. A s a flutist/performer, I have spent these last 30 years in the never-­‐ending-­‐attainment of technical perfection while simultaneously also studying the art of performance. Now, as a performer, improviser, composer and an educator, many questions arise coming from other musicians, teachers and students about performance practice, especially of contemporary m usic. So often, learning how to play an instrument is separated from the physical act of communicating or intending the sound. How can we help m usic students better understand the connection between what they do physically and what sounds are generated? In what ways can the practice of improvisation and composition improve how performance is taught today? How can performance practice become fundamentally integrated into the art of making music? Because I work in a university where most students come from high school bands and have little to no experience with Deep Listening, improvisation or other collectively creative musical endeavors, my colleagues and I trek an up-­‐hill battle to encourage and promote new ways of listening, learning and performing, not only amongst our students but amongst our campus and community as well. Through improvisation and Deep Listening practices we have found successful ways to bring students, other faculty, staff and the community into an awareness of sound, space, environment and performance practice through engaging concerts, workshops, residencies with guest artists and interdisciplinary collaborations. This paper explores the tireless enterprise of uncovering new perspectives of performance practice through Deep Listening skills. A s a flutist who combines her voice, gesture and instrument in both ancient and new ways through constantly premiering new works as well as interactive electronics, this paper will uncover several strategies that have helped the author to re-­‐think performance as a narrative, not necessarily linear but most certainly interactive. Through a variety of anecdotes from Noh masters, Aikido tumbles, glacier calls, performance “failures” and unlikely heroes, this paper will touch upon the connections between listening to inner and outer voices that create an awareness beyond words and into action and intention. It hopes to unveil concepts in which performance practice can be used as a musical educative tool for exploration for students, audiences and communities. Flutist, composer, educator and producer Jane Rigler performs as a soloist with contemporary and improvisation ensembles premiering new music worldwide. Her research involves interdisciplinary collaborations, interactive electronics and the study of the environment, language and movement. She has presented and performed in festivals, conferences and radios such as in Brisbane, Seoul, Paris, Munich, Buenos Aires, Tokyo, Barcelona, Madrid and many other places. Jane is deeply committed to the process of collaboration with composers, dancers, visual artists and theater artists. Her Japan/US Friendship Commission award in 2009-­‐10 led to diverse performances with artists throughout Japan, evolving into the 2013 sound installation/performance While you sleep located at “Chihan’an”, a designated National Treasure. She is currently Assistant Professor in the (VAPA) Music Program at the University of Colorado (UCCS). www.janerigler.com 65 65 ; 66 DEEP LISTENING CERTIFICATE PROGRAM Instructor Pauline Oliveros, In Association with Heloise Gold and Ione For More Information about the Deep Listening Certificate Program, visit: deeplistening.org/site/content/certificate-­‐program Deep Listening Certificate Holders Ximena A larcón, London, UK Laura Biagi, Siena, Italy Thomas Bickley, Berkeley CA Anne Bourne, Toronto ON, Canada Monique Buzzarté, New York NY Raylene Campbell, Lethbridge A B, Canada Abbie Conant, Trossingen Germany Viv Corringham, Rochester MN Caterina De Re, Seattle WA Stuart Dempster, Seattle WA David Dove, Houston TX Dr. Janet Hammock, Sackville NB, Canada Marc Jensen, Norman OK Kathy Kennedy, Montreal QC Canada Elaine Lillios, Bowling Green OH Stephanie Loveless, Westmount QC Canada Norman Lowrey, Morris Plains NJ George Marsh, Rohnert Park, CA Dominique Mazeaud, Santa Fe NM Kim McCarthy, Chicago IL Brigitte Meyer, St. Gallen Switzerland Shannon Morrow, Durham NC Michelle Nagai, Princeton NJ Vonn New, Hyde Park NY Kristin Norderval, New York NY Carole Rogentine, Bethesda MD Margaret Anne Schedel, Sound Beach, NY Margrit Schenker, Zurich Switzerland Bill Stevens, Raleigh NC Sharon Stewart, Arnhem, The Netherlands Will Swofford Cameron, Brooklyn NY Suzanne Thorpe, Brooklyn NY Phala Tracy, Minneapolis MN Doug Van Nort, Troy NY/Montreal Canada Angelique Van Berlo, Campbellville ON, Canada Katharina von Rütte, Basel Switzerland Sarah Weaver, New York NY Julia White, Chatsworth ON, Canada Gayle Young, Grimsby ON, Canada Jennifer Wilsey, Rohnert Park, CA Christine Zehnder-­‐Probst, Raeterschen Switzerland Sound Sculpting and Deep Listening Through Electronics Pre-­‐Conference Deep Listening Workshop with Doug Van Nort July 9-­‐11, 10am-­‐5pm EMPAC, Studio Beta In this workshop, participants engage in Deep Listening practice, in conjunction with collaborative creation exercises that utilize analog and digital electronics. The goal is to enhance listening and creativity through a mixture of bodywork, breathing/sounding/listening exercises, as well as the use of electronics as a medium for the collective listening and sounding experiences. The workshop thus leverages Van Nort's unique take on Deep Listening practice that is informed by his life as a practitioner of electroacoustic composition/improvisation and sound-­‐focused art/research. Ione’s 18th Annual Dream Festival October – November 2013 We are all Dreamers! The Annual Dream Festival celebrates one of the precious things we have in common-­‐ Dreams! DREAM COMMUNITY Dream Community is a beautiful thing. We are all automatically members of this community, and we share the dream dimensions whether we are rich or poor, young or old. We dream in Angola and we dream in New York City. We dream in all weathers and through all the varying events and emotions of our lives. deeplistening.org/17dreamfestival Dream Boxes are scattered around EMPAC during the conference. Deposit a Dream! 66 66 67 D
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69 69 1
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; 70 INDEX OF PRESENTERS, COMPOSERS AND PERFORMERS Alcarón, Ximena 11-­‐12, 53,66 Lancaster, Linus 23-­‐24 Arner, David 19 Lewis-­‐King, Michelle 24 Baird, Bill 20 Lopes, Filipe 24-­‐25 Bickley, Tom 53-­‐55,66 Lowrey, Norman 36-­‐37, 17, 66 Bjorn, Genevive 20-­‐21 Lynch, Michael 25-­‐26 Blue, China 41 Marcus, Bunita 43 Bulist, Somna M 21 McCarthy, Kimberly 26, 66 Brunner, Lance 41 McEntee, James 26-­‐27 Burgasser, Adam 52 Medoff, Liz 27 Burke, Kianna 21-­‐22 Miller, Leaf 45 Buzzarté, Monique 30, 35,37,66 Montano, Linda 56 Chafe, Chris 38, 41 Mullaney, Hilary 13-­‐14 Chechile, Alex 63 Nagai, Michelle 47-­‐48, 66 Ciufo, Thomas 33 Nazemi, Mark 28, 46 Corringham, Viv 11, 17, 53, 66 Niedenthal, Ralf Martin 46 Dickel, Stijn 30-­‐31 Norderval, Kristin 58, 66 22-­‐23 Oliveros, Pauline 8, 41, 66, 2 Duch, Michael Francis 33 Pearson, Tina 17, 49-­‐50 Epstein, Nomi 57-­‐58 Pertl, Brian 31 Eriksson, Björn 61, 17 Ramagopal Pertl, Leila 16 Faïn, Daria 59 Reinsel, Joseph 51 Forcucci, Luca 64 Richter, Ben 50-­‐51 François, Jean-­‐Charles 31-­‐32 Rickard, Maurice 29 Goebbel, Johannes 38 Rigler, Jane 64-­‐65 Hahn, Tomie 42 Rothenberg, David 35, 39 Hege, Anne 44 Rudy, Jonathan 57 Hickey, Maud 33 Schedel, Margaret 33-­‐36 Hoefs, Jonathan C. 33 Simoni, Mary 33-­‐34 Horowitz, Seth 9, 41 Smith, Ryan Ross 18 Hutchinson, Brenda 17 Stoll, Thomas 56 Ione 66 Taylor, Sean 12-­‐13 Kelley, Lisa Barnard 56 Van Nort, Doug 2, 35-­‐36, 66 Kocik, Robert 59 Warde, Ann 39-­‐41 Kreimer, Jay 62-­‐63 Wilsey, Jennifer 15, 66 Krueger, Ted 62 Woodstrup, Bart 60 Young, Gayle 46-­‐47, 53 Dominguez, Carlos 70 70 ; 71 NOTES 71 71