[NetBehaviour] UPCOMING SHOWS - Philadelphia and Providence

[Alan Sondheim]

UPCOMING SHOWS - Philadelphia and Providence

http://www.alansondheim.org/vartrip023.jpg
http://www.alansondheim.org/announce1.mp3
http://www.alansondheim.org/announce2.mp3

Monday, February 20

Azure Carter, Alan Sondheim
With release of our new CD, LIMIT

" Alan Sondheim/Azure Carter, Bad Jazz & Isolde Touch

20 February
20:00 - 23:00

DVAA
704 Catharine St, Philadelphia, Pennsylvania 19147

Fire Museum Presents:

Alan Sondheim/Azure Carter

Bad Jazz

Isolde Touch

Monday, February 20th 8:00 PM
Da Vinci Art alliance
704 Catherine Street
Philadelphia
$7-10 sliding scale

Alan Sondheim & Azure Carter (Providence):

"Avatar Woman is fine example of the kind of subtle blends that
can so easily happen in America, if only its citizenry cared
about such things en masse. Come on, my fellow country men and
women, let your Freak Flags fly again!"  Mark Pinto/Disaster
Amnesiac (edited down)

Bad Jazz (San Francisco):

Formed in late 2014, experimental improvisation trio, Bad Jazz,
has been taking audiences on improvised auditory journeys that
defy the normal explanations of musical theory. Their music is a
stream of consciousness, ebbing and flowing from one texture to
the next. Although the personnel of the group is variable, key
members include Bryan Day, Tania Chen and Ben Salomon. The three
met in San Francisco, California but come from a diverse
geographic background. Tania is from London, England, Bryan
hails from Omaha, Nebraska and Ben originates from Littleton,
New Hampshire. Many of the noises emanating from the group come
from hand made instruments designed and built by the performers.
Other sounds are more traditional, such as piano, random
percussion and analog synthesizers. No sound discrimination
allowed, whether loud, soft, scratchy or melodic. The only rule
is that there are no rules. This makes for new and fresh
performances with performance. Bad Jazz's second release,
Tincture, is available on Oakland's Friends and Relatives
records.

Isolde Touch (Philadelphia):

The music Asha Sheshadri makes as Isolde Touch is boldly
literal. Perhaps literal is inexact; concrete is closer, as her
sounds have a clarity that ties them directly to their origins
(a piano is exactly a piano). Conceptually she deals in
abstraction, but sonically shes unafraid to let her sources
shine through like light beams where they could easily be buried
in fog This is organized music whose physical effects come with
a creative agenda, even if that agenda can be interpreted in
many ways.

links at museumfire.com/events "

==

Thursday, February 23, AS220, Main Stage

With Laurie Amat, Bad Jazz

Azure Carter, Alan Sondheim
With release of our new CD, LIMIT

" DEEP SOUND: Bad Jazz (SF), Laurie Amat (PVD), Alan Sondheim
and Limit-Azure Carter & Luke Damrosch (PVD)

By Jacob Nathan on January 19, 2017
When:
February 23, 2017 @ 9:00 pm  February 24, 2017 @ 1:00 am
Where:
AS220 Main Stage
115 Empire St
Providence, RI 02903
USA
Cost:
$6

DEEP SOUND-Pure Sound and Light features San Franciscos Bad Jazz
(SF) Electro-acoustic improvisation trio and video in from San
Francisco; Laurie Amat singing pure voice improvisation; and
Alan Sondheim and Limit, with Azure Carter.

Bad Jazz (Bryan Day/Tanya Chen/Ben Salomon) is an
improvisational sound art trio based in San Francisco. Using
invented instruments, electronic toys, percussion and piano they
create roughly rendered sonic landscapes.

https://badjazzmusic.bandcamp.com/

Laurie Amat (PVD) explores the vast possibilities of human
sound, using the power of pure voice, breath and body to express
visceral human emotion and story.

She has performed and recorded in venues such as Museo di Santa
Giulia (IT); Bergen Arkitekthgskole (NO); DeYoung Museum (SF);
and the University of Chicagos Rockefeller Chapel.

Her collaborators include the late computer music pioneer Max
Mathews; The Residents; Shores of Latency-Emmanuel Reveneau
(FR); and Timeghost-Adam Morosky (PVD) She is also an AS220
curating artist and the Artistic Director of the Providence Y2K
International Live Looping Festival (PVD Loop).

https://soundcloud.com/amatworks

Alan Sondheim and Limit, with Azure Carter

"Alan Sondheim is a polymath, a restless connecter, explorer of
virtual realms, tinkerer in the currency of questions, ever
curious about impossible articulations of the body, of bodies,
of dust and stars. Or what had seemed impossible. Luke Damrosch,
meanwhile, tracks the flickering web of Alans spells, catches
their reflections, follows them through to their secret
heartbeat. And Azure Carter? Azure assures him, ensures the
voice within the music, soft anchor to a wild ear, filters the
wind of vast expanses into a sigh, a melodic speaking, we are
here, we were here, we may be somewhere else tomorrow."  Jason
Weiss (from Threnody) "




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[NetBehaviour] 3-5pm tomorrow - Superdiversity: Picturing Finsbury Park exhibition at Furtherfield Gallery

[ruth catlow]

Dear All,

You are invited to the opening of our exhibition 3-5pm tomorrow.

It is the culmination of a research residency by artist and cultural 
geographer, Katherine Stansfeld.


Superdiversity: Picturing Finsbury Park 
 
questions what the area means for different people. It is an exploration 
of what place and difference mean in the context of a neighbourhood in 
today’s London, a global city. It attempts to re-socialise ‘the map’ 
through a social research practice.


See you there

Cheers!
Ruth and the FF gang


--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
Registered business address: Ballard Newman, Apex House, Grand Arcade, 
Tally Ho Corner, London N12 0EH.
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Re: [NetBehaviour] inter - intra - action, and then the Chthulucene

[Johannes Birringer]

dear Annie
oh, please I hope you were aware that my responses were quite playful...
and merely raised, perhaps, some general issues about worries (from the theory 
end) that may or may not affect us too much in our work.
hmm barely have I said this, i note that Mark brings up the "dada-esque" as a 
dismissive term, Alan Sondheim announces his "post-theory" texts. 
Annie I don't know why agents would bring up negative feelings, I for one had 
always wanted to be an agent during the cold war, but a
post=anthropocenic one, in relationality with everything, including the 
biologies of multispecies becoming-with, 
under the understanding that to be an agent at all, you must be a many, and 
"one's" work is unthinkable. 

warm regards
Johannes Birringer


[Annie writes]

Thanks for reacting. First of all I am not trying to get a new hype going, I am 
using an existing term coined by Arjen Mulder in 2012 to think about artistic 
practices that somehow take human behaviour as their anchor point, as their 
aesthetic material. it made me a bit sad that the word agency brings along so 
many negative feelings in a lot of people, because for me it is an empowering 
word, it means I can put things in motion. For years I used silently in myself 
the term behavioural art - silently yes, because for someone trained in biology 
"behavioural" is a stained word. It turned out that for others "agency" is just 
as stained.
I can't find other words and will do with these ... , I was very happy with 
Mulder's theoretical embedding of the concept.

Yes, I was struggling with how to relate the concept of Agency Art and Barad's 
ideas (as far as I could understand them) and I think I found my personal 
solution near the end of my second mail :
"Agency Art is made of interaction, but should be constructed, looked at with 
intra-active spectacles."

"Agency Art is art that makes it clear to the receiver via his or her body what 
is at stake, where opportunities for action lie, and which virtual* behaviours 
he or she can actualize. It demonstrates how choices work, and how to create 
patterns that retain their coherence while you remain part of them and 
transform when you move within their field of action." (* virtual understood as 
potentiality, not as a quality or in a re-presentable way)

As for Distant Feeling(s), Johannes, - I am glad you bring that work up - that 
might be the best example in my work of what I am looking for in Agency Art - 
open to all, a meeting, no hierarchy, a frame (the interface) / the apparatus 
is co-constructing the final performance, some rules, every participant 
responds freely and is responsible. (thanks for making it co-happen)

xxx Annie

ps I was not suggesting that you take any technology or medium as  starting 
point, but I know a lot of work using technology does.
And please forgive me for bothering you all with unfinished thoughts.I thought 
some might be interested.
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[NetBehaviour] What is a question? A stranger like Dada / Weird like quaint collage ¯\_( ͡ఠʘᴥ ⊙ಥ‶ʔ)ﾉ/̵͇̿̿/̿ ̿ ̿☞

[marc garrett]

What is a question? A stranger like Dada / Weird like quaint collage ¯\_(
͡ఠʘᴥ ⊙ಥ‶ʔ)ﾉ/̵͇̿̿/̿ ̿ ̿☞

By Rosa Menkman

Rosa Menkman looks at 'the art of creative problem creation' through
digital art works which open up spaces for alternative discourses,
comparing these works with the Dadaist 'logic of the madmen' and
questioning the historical framing of certain artforms as 'weird'.

"The historical circumstances that drove the Dadaists to create the work,
with a sentiment or mindset that bordered on madness, seems impossible to
translate from one period to the next. The urgency that the Dadaists felt,
while driven by their historical circumstances, is no longer accessible to
me. The meaningful context of these works is left behind in another time.
Which makes me question: why are so many works of contemporary digital
artists still described—even dismissed—as Dada-esque? Is it even possible
to be like Dada in 2016?"

http://bit.ly/2kmG2Ti


-- 
-- 

Marc Garrett
Co-Founder, Co-Director and main editor of Furtherfield.
Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change since
1996
Furtherfield Gallery & Commons,
Finsbury Park, London N4 2NQ
www.furtherfield.org
Academic Work for PhD At Birkbeck
https://birkbeck.academia.edu/MarcGarrett 
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Re: [NetBehaviour] inter - intra - action, and then the Chthulucene

[Annie Abrahams]

Dear Johannes,

Thanks for reacting. First of all I am not trying to get a new hype going,
I am using an existing term coined by Arjen Mulder in 2012 to think about
artistic practices that somehow take human behaviour as their anchor point,
as their aesthetic material. it made me a bit sad that the word agency
brings along so many negative feelings in a lot of people, because for me
it is an empowering word, it means I can put things in motion. For years I
used silently in myself the term behavioural art - silently yes, because
for someone trained in biology "behavioural" is a stained word. It turned
out that for others "agency" is just as stained.
I can't find other words and will do with these ... , I was very happy with
Mulder's theoretical embedding of the concept.

Yes, I was struggling with how to relate the concept of Agency Art and
Barad's ideas (as far as I could understand them) and I think I found my
personal solution near the end of my second mail :

*"Agency Art is made of interaction, but should be constructed, looked at
with intra-active spectacles."*
*"Agency Art is art that makes it clear to the receiver via his or her body
what is at stake, where opportunities for action lie, and which virtual*
behaviours he or she can actualize. It demonstrates how choices work, and
how to create patterns that retain their coherence while you remain part of
them and transform when you move within their field of action." (* virtual
understood as potentiality, not as a quality or in a re-presentable way)*

As for *Distant Feeling(s)*, Johannes, - I am glad you bring that work up -
that might be the best example in my work of what I am looking for in
Agency Art - open to all, a meeting, no hierarchy, a frame (the interface)
/ the apparatus is co-constructing the final performance, some rules, every
participant responds freely and is responsible. (thanks for making it
co-happen)

xxx Annie

ps I was not suggesting that you take any technology or medium as  starting
point, but I know a lot of work using technology does.
And please forgive me for bothering you all with unfinished thoughts.I
thought some might be interested.

On Thu, Feb 16, 2017 at 9:57 PM, Johannes Birringer <
johannes.birrin...@brunel.ac.uk> wrote:

> Dear Annie
>
> you did (before you sent the long post today, which I could not read yet)
> make me think, go to your blog,
> and I managed to watch the theory video you had suggested to us. Thanks.
> You even transcribed it, and I sense you have reasons for liking Barad's
> terminology, though Ruth expressed some reservations or cautions.
>
> I suppose, if you wanted more debate,  I could agree with your sense of
> how we are entangled with assemblages, and how things (I glanced at a
> recent book by Jane Bennett, Vibrant Matter:  A Political Ecology of
> Things, 2010)
> emerge, collaboratively, how there are these strange concatenation of
> stuff, and how maybe these are not so distinguishable from performances and
> what we think we do when we intend and carry out. The interconnectedness
> and the machinic I like, and all the recent interest in matter and
> materialism, very nice.
>
> I suppose as with all new theory vernaculars, they on occasion sound sexy
> (body without organs, reterritorialization, folds –  you remember those),
> and then they get repeated and cited, but I think agency has now been
> used for a while, and we can let it be, no?  "Agency art" does not
> convince me, as I also did not, as you imply, take "any technology or
> medium as  starting point [of what? .of the agency?].  When you invite me to
> participate in Distant Feeling, I did so as a performer, not a secret
> agent, nor as a laptop. yes, we came together, there were relations. There
> were interactions too, and they did not deflect responsibility, as Barad
> claims.
>
> As to the agents and such, imagine a new word i now had to learn today
> from reading about Donna Haraway's latest thing:  the Chthulucene !
> (I think it's her critique of the hype of the Anthropocene).
>
> And today, on the empyre list, someone from the US suggested we live in
> the "Trump era."
> That was news to me, I think eras take longer to arise and then be defined
> in retrospect after a strong and lasting impact they may have made in some
> areas or corner of the globe.
>
> with regards
> Johannes Birringer
>
> 
>
> On 13/02/17 09:55, Annie Abrahams wrote:
> Hi netbehaviourists,
>
> Interaction was the word I used 20 years ago when I talked about my work
> in hypertext. Today I need other words: one word, I already wrote about it
> in my last post, is Agency Art. Another might be Intra-action. This word
> could be usefull to analyze my works of collaborative performance art,
> where it is not really clear what is causing what, where the agency is –
> not between clearly distinguisable entities, but coming from within a
> whole, where server conditions, individual computers, webcam and sound
> devices, as well as the voices and