Surround sound. A listener at the center of a field of sound is surrounded, as if they are the target of a musical ambush. Oscillations as military divisions, phalanxes vibrating at hyper-real frequencies. We are surrounded, and the sound closes us in on all sides. There is no path outward not blocked by music, by sensation; everywhere we turn antagonistic melodies set upon us and thwart our progress. We say we are surrounded, from the sound there is no escape. On September 9th, join us at Dave and Gabe’s at 8pm. They have generously offered to share their 40 channel surround system with us, and we’ve reached out to an extremely talented group of musicians to arrange music for this unique setup. Tickets are available in advance below. We look forward to seeing you there.
Mixed Signals 003
Sat Sept 09 2017 8PM
Future Space https://www.eventbrite.com/e/mixed-signals-003-surround-sound-tickets-37259954527
Address will be sent out by email the day of the event
With performances by
Dave & Gabe
Dave Rife, Gabe Liberti
Dave & Gabe is an interactive installation studio that unites sound, light, and tactility into immersive experiences. Our gracious hosts for the night, Dave & Gabe will be performing a piece to demonstrate the capabilities of their incredible new 40 channel system. Along with aiding in putting together tonight’s event, they have worked with the artists to adapt the performances to this unique system. They are excited to continue to make their spatial audio system available to more artists and audiences in the future.
An opposition surge occurs when a rough surface or particulate cloud becomes brighter when illuminated from behind the observer. In astronomy this can be seen as a abrupt and noticeable increase in the intensity of a celestial body as its phase angle of observation approaches zero. Oppositional Surge is a work which explores sudden changes in intensity using a constrained number of elements.
082117 and 010215
Melody Loveless, Daniel Steffey, Caitlin Cawley
Melody Loveless is a Brooklyn based composer, media artist, and performer. Their work ranges from pieces for electronic and acoustic instruments, multisensory performance, and interactive sound installations that highlight the corporeality of their audience. Daniel Steffey’s music focuses on the boundaries of musical systems, both electronic and acoustic, that are on the verge of collapse. The power in the brittleness of these boundaries, often dictates more than the composer or performers can control, which is very welcomed. Caitlin Cawley is a NYC-based percussionist, improviser, and electronic musician. She is interested in the conversations that artists and audiences can have across the boundaries of genre, discipline and culture.
"Creak" uses industrial recordings, mechanical drones and rhythms to create a dark, layered cinematic ambience, capturing a surreal and internal mood of place, a blur between displaced reality and imposed reality, a subconscious sound space for psycho-spatial rumination and (dis)orientation. [the spatial composition is softly determinant, based off the notion of circumstantial infiltration, a type of ventilation system describing the uncontrolled flow of air from outdoors to indoors through leaks (unplanned openings)]
Kamron Saniee is an electronic musician and composer based in NYC. Inspired by musical cultures ranging from Persian classical to avant-garde electronic movements, his music been noted for its forward energy, textural sound palette and rhythmic intensity. Having previously trained as a classical violinist, Saniee's approach is dynamic and improvisational, resulting in visceral and enlivening live sets. He was one of 8 US producers selected for the 2016 edition of the Red Bull Music Academy and has performed his electronic works in New York, Montréal, Berlin, Budapest and Tokyo. Since 2015, he has explored a parallel project in spatial sound composition, producing numerous live performances and installations for multichannel formats in a style which he terms "ultra-spatial", where a combination of programmatic synthesis and haptic control allows the creation and expressive modulation of intrinsically spatial sonic forms. Allowing for trajectories themselves to become sources through spatial synthesis, his approach contrasts with spatialization paradigms in which sources follow localized trajectories in space, thus transcending the experiential correlation between localization and source.