about us


editor's note




issue 1

issue 2

issue 3

issue 4

issue 5

issue 6

issue 7

issue 8

issue 9

issue 10

issue 11

issue 12

issue 13

issue 14

issue 15

issue 16

issue 17

issue 18

issue 19

issue 20

issue 21

issue 22

issue 23

Issue 11 :: February 2011


Ron Anderson sound engineered "Americanism." He has a disc coming out in February on Tzadik (John Zorn's label) with the group PAK.


Alexander Baker lives in South West England. He has been variously, simultaneously and sequentially a free jazz and improv percussionist, freelance scriptwriter for radio, tv and theatre, teacher specialising in art, drama and music. During the past two years his sound work has been heard on air, in galleries and at festivals/events in Europe, Canada, the USA and South America.

About the works:

"One Kurt Minute" (1:25)

Kurt Schwitters – sculpture, collage, poems, prose, plays, paintings, performance, p-p-p-p-p…. Flight from tyranny, poverty, ill health; constant creativity, dada jubilation. A merz portrait using material to hand and mouse: my voice, computer voices, text fragments, samples from abandoned projects, building work next door… Thanks to cognito perceptu (freesound); fogma (Bedroom Door Knocks); HerbertBoland (BirdSongEaster2002NL) for samples from the Freesound Project

"The Room Where Meaning is Made is Very Hard to Find" (10:29)

An improvised collage also put together according to the principles of Kurt Schwitters’ ‘merz’. (“His poems were similarly disjointed, often full of furious, meaningless sounds” - comment on Schwitters found at random on web). Some discipline was necessary, so the procedural constraint adopted was serendipity; I suspect this piece draws sustenance from a youthful formative period spent in a weatherbeaten galvanised hut listening to surreal radio comedy and short wave transmissions... www.solublefisherman.wordpress.com

Steve Buchanan _Musician , Dancer complete info:


"Americanism" is a multitracked reel to reel tape composition based on literally thousands of voices simultaneously.The piece is meant to be an sound schema for a basic operational mechanism of the American propaganda machine i.e., Intensive Informational Saturation. The piece was composed/constructed in Oakland circa 1995 by Steve buchanan and Ron Anderson who donated not only the studio time but as well his considerable skills at sound engineering and sound sculpting.

Tom Comitta resides in San Francisco and at youtube.com/tomcomitta.

"Howl in Six Voices" follows the specifics of the textual constraint "inflationary erasure"--a fusion of lipogram and erasure.

Here a found sound file--Allen Ginsberg reading his "Howl for Carl Solomon"--is erased six times, each time including--in their original order--only and all words containing a particular vowel. Accordingly, "HAWL" includes all words containing the vowel [a]. "HEWL" includes all words containing the vowel [e]. "HIWL" includes all words containing the vowel [i]. And so on.

The six erasures together "inflate" Ginsberg's "Howl" by including more words--words containing two or more vowels--than the original.

These guidelines were added to create the sound version:

1. No temporal "breaths" could be added--every word must be snug against those preceding and following it. If there is a temporal gap between words, it happened to fall between two words that shared that particular vowel.

2. Every word had to be given its due time--curtailed just at the beginning and end of its articulation. From action to decay.

Ken Cormier is the author of two collections of stories and poems: Balance Act (Insomniac Press 2000) and The Tragedy in My Neighborhood (Dead Academics Press 2010). His fiction and poetry have appeared recently in Euphony, Storyscape, and 32 Poems, and his radio fiction and documentaries have been aired on public radio affiliates around the US and on BBC-4 in the UK. He teaches Creative Writing at Quinnipiac University in Hamden, CT. For more information on 'Auto Compositions' go to: http://kencormier.com/autocompositions.

Laura Emelianoff is currently inventing and performing with unique acoustic and electronic musical instruments. She is concerned with various expressions of existential anxiety and disruption: dissonance in music, structural vibration, the survival of the arts under oppressive conditions, and with performances based on boiling water, the sounds of matter under stress. Using electricity as a medium, she explores field effects and the possibility of perceptual extension, what she calls ‘liminal audio’.

She has performed at the Museum of Contemporary Art, the Zhou Brothers Center, and the Cultural Center in Chicago, at l’envers and Nuit Blanche in Montreal, and at the Center for New Music and Audio Technologies (CNMAT) at UC Berkeley; and has published in Leonardo Music Journal. Collaborators include Eric Leonardson, Marko Timlin, Zohar Melinek, and Adrian Freed. Laura Emelianoff began graduate studies at Concordia University in 2008 and has been involved with the Topological Media Lab since 2009.

Free Rein (a.k.a. Zero Bureau) was born in Oakland, CA one winter afternoon in late 2008. Their music is completely improvised and recorded live. Andrew Joron (Theremin) is known primarily as an experimental lyric poet. His books include the newly published Trance Archive: Selected and New Poems and The Sound Mirror. He is a translator of the German Marxist philosopher, Ernst Bloch. Brian Lucas (tapes, voice) is a poet/artist who also plays in the improv power trio Granite Dunes and with Big City Orchestra on occasion. Joseph Noble (waterphone) investigates the process by which one creates an architecture of breath. Noble is the author of An Ives Set. His first concert was Blind Faith. More of their music can be heard here: http://freerein.bandcamp.com

Daniel Godston teaches and lives in Chicago. His writings have appeared in Chase Park, After Hours, BlazeVOX, Versal, Beard of Bees, Drunken Boat, 580 Split, Kyoto Journal, Eratica, The Smoking Poet, Horse Less Review, Moria, Apparatus Magazine, EOAGH, Requited Journal, Sentinel Poetry, and other print publications and online journals. His poem “Mask to Skin to Blood to Heart to Bone and Back” was nominated by the editors of 580 Split for the Pushcart Prize. He also composes and performs music, and he works with organizations such as the Borderbend Arts Collective and the World Listening Project on programs that happen year-round.

www.borderbend.org, www.worldlisteningproject.org

gtrabbit currently lives in Pittsburgh, where he reads and makes audio collage, among other things.

Donia Jarrar (b. 1986) is a composer and pianist. Her work has been performed in the Middle East, Europe and the United States. She is currently studying at the University of Michigan School of Music in Ann Arbor on fellowship, pursuing a Masters in Music Composition. Current works in progress include "Tahrir Squares," and "A Queen for Gaza," an opera in 8 minutes for the University of Michigan Museum of Art. You can read more about her work and listen to more samples of her music here: http://doniajarrar.wordpress.com/music/

About "Tahrir Squares":

This is the introduction to a piece I am writing for Egypt called "Tahrir Square(s)." The piano part is entirely improvisatory, one of many different ones I did. It starts with this melancholic raw, unedited material layered over the first two voice messages from speak2tweet I translated in my living room and then will build and build until we finally reach the center of the square. Just the beginning...will continue to upload as it evolves.

Andy June lives and works in Butte, MT.

Amanda Le Claire is an audio producer and writer in Detroit. She works days at WDET-FM and spends nights dabbling in audio and visual storytelling. She can be found online at asallec.tumblr.com.

Joe Milazzo is co-founder of the interdisciplinary arts organization Strophe, co-editor of the online journal [out of nothing], and editor and publisher of Imipolex Press. Joe’s writings on music and experimental sound practice have appeared in Paris Transatlantic Magazine, One Final Note and Bagatellen. His fiction and poetry may be read in the pages of In Posse Review, Drunken Boat, Antennae, Black Clock and elsewhere. Joe lives and works in Dallas, TX, and his virtual location is http://www.slowstudies.net/jmilazzo/.

Moholy Nagy Sextet

Guillermo Gregorio -- clarinet & saxophone
Christopher Preissing -- flute
Dan Godston -- trumpet & small instruments
Clifton Ingram -- acoustic guitar
Alex Wing -- upright bass
Joshua Manchester -- percussion

More at: http://bauhaus9090.org/2009/july/20

Mendi + Keith Obadike make music, art and literature. Their works include The Sour Thunder, an Internet opera (Bridge Records), Crosstalk : American Speech Music (Bridge Records), a suite of new media artworks, Black.Net.Art Actions (published in re : skin on M.I.T Press), Big House / Disclosure, a 200 hour public sound installation (Northwestern University), and a poetry collection, Armor and Flesh (Lotus Press). Their intermedia work has been commissioned by, exhibited at, and performed at the New Museum, The NY African Film Festival and Electronic Arts Intermix, The Yale Cabaret, Whitechapel Art Gallery (London), The Gene Siskel Film Center, The Studio Museum in Harlem, and The Whitney Museum of Art, among other institutions. Their projects have been featured on New York and Chicago public radio, as well as on Juniradio (104.5) in Berlin. Keith received a BA in Art from North Carolina Central University and an MFA in Sound Design from Yale University. He is an assistant professor in the College of Arts and Communication at William Paterson University. Mendi received a BA in English from Spelman College and a PhD in Literature from Duke University. She was a Cotsen Postdoctoral Fellow at Princeton University and is currently an assistant professor in the Department of Humanities and Media Studies at Pratt Institute. They are currently developing a new series of performance works including Four Electric Ghosts, an opera-masquerade (mmanwu) commissioned by the Kitchen (NYC) in 2009, and TaRonda Who Wore White Gloves (agbogho mmwo) , as artists-in-residence at the Tribeca Performing Arts Center in 2010-11.

Karl Petrunak's formal education took place in California where he worked in photography and painting. While an undergraduate at California State University Northridge, he was fortunate to have a number of instructors who were instrumental in forming his sensibilities. One experience that stands out during this time period was being able to meet and converse with Robert Frank. He brought prints from his book The Americans and showed his film Pull My Daisy.

While at the University of California Santa Barbara doing graduate work, Petrunak worked with the painter and musician Richard Dunlap, who became not only a mentor but a close friend to whom Petrunak owes a great deal.

He relocated to New York City in 1984 and Brooklyn in 1991. After moving to Brooklyn, his work once again branched out to include photography and sound as well as painting. His recent exhibition of paintings incorporated the sound piece Abstraction; Not bsence. His work is documented in SoCal Artists Before 1980, an encyclopedia of Southern California artists authored by Lyn Kienholz.

Dale Sherrard (American 1961) is an experimental composer, audio designer, and multimedia performer who maintains that one should always be specific about one's ambiguities. Centered primarily around the concept of text and language as audio material, his work occurs in film scores, scores for modern dance, multichannel installations. He and is currently performing a series of "Faux Lectures" designed to highlight his firm conviction that no one really has anything important to say. He recently collaborated with artist Luca Buvoli on "A VERY BEAUTIFUL DAY AFTER TOMORROW" (UN BELLISSIMO DOPODOMANI) and "Ave Machina" as sound designer and co-composer. Sherrard teaches sound design and theory in the Film Department at the University of Montana and lives alternately in Missoula, Montana;Brooklyn, New York; and Seattle, Washington, depending on where the action is. He is older than he looks and younger than he feels.

KC Trommer’s poems have appeared in AGNI, The Antioch Review, MARGIE, Octopus, Poetry East, The Sycamore Review and other journals. A graduate of the MFA program at University of Michigan, Ann Arbor, KC has been the recipient of an Academy of American Poets prize, as well as fellowships from the Maine Summer Arts Program, the Haystack Mountain School of Crafts, the Vermont Studio Center, and the Prague Summer Program. She lives in New York City with her husband, the novelist and poet Justin Courter.