(SOUND WITHIN THE CONTEXT) combines the unique structure and grounds of the Schindler House with the dense sound textures of the Chopped Optigan to create an improvised performance environment. About (SOUND WITHIN THE CONTEXT) Potts writes “The Optigan will play a loop based pattern of sounds which will slowly evolve over a two hour period. During the two hours the other performers will present corresponding works simultaneously in other areas of the house and garden. The audience can move through the space and experience subtle, continually shifting juxtapositions in the audio and visual environment.”
JOE POTTS was hailed by The Wire (UK) as “something new and revolutionary.” Though he holds degrees in Fine Arts he studied electronic composition at the California Institute of the Arts dropping in on classes taught by Morton Subotnick and James Tenney. He has composed electro-acoustic music exclusively since 1973 creating Art/Sound installations in the U.S., Italy, Japan and Norway. A founding member of The Los Angeles Free Music Society, a seminal experimental music collective, he is also the “man behind the curtain” in Airway, An art/sound collective that combines walls of sound with subliminal treatments, and treats live musicians as electronic signals which are processed and manipulated. For the past 10 years he has been composing for the “Chopped Optigan” a Seventies optical sampling consol organ that he has customized and rewired in order to create dense undulating chords of up to 64 notes at a time. Recordings of his music can be found on LAFMS, Birdman, Cause and Effect, Staalplaat, organ of Corti, Boudisque and other labels. Musical collaboratiors include David Blum, Chris and Cosey, John Duncan, Mike Kelley, Paul McCarthy, Yoshihide Otomo, Don Preston and Bruce and Norman Yonemoto.
In addition to featuring choreographer Anita Pace, artist Liz Young and musician Tom Sheppard.(SOUND WITHIN THE CONTEXT) reunites Potts with LAFMS alumni Tom Recchion and Vetza.