1. What led you to the kind of work you make now?
A lot of things. One of the big ones is my non-music job. I do a lot of woodworking and machining, because of that I’ve spent a lot of time with earplugs in. I’ve started to notice this pleasant difference in hearing between what is close to me [the sounds in my ears] and the sounds outside of my earplugs. It’s made me very interested in how a…
1. What led you to integrate humming into performance? Can you tell us a little about your Hums and how they evolved?
My interest in humming started with an interest in how sound acts on people subconsciously, and an interest in sympathetic vibration. I had been doing installations where I realized, in retrospect, my main interest had been in how sound acts on and pulls people through space, based on their seemingly innate curiosity about sounds whose source was…
If you’re a follower of SASSAS on Facebook or Twitter or on our mailing list, you’ve probably noticed that we’re in a fundraising frenzy. We are working on overdrive to bridge the gap that exists between our ambitions and our size — closing the gap on our programming expense deficit while laying the groundwork for crossing the magic $100,000 budget threshold that would enable us to apply for increased levels of funding to support our programming!
It’s grant season and we’ve just…
Did you catch The future of new music is at risk if we continue to undervalue composers in The Guardian last month? WE AGREE! That’s why we’re trying to up our game!
We’re happy to announce that our Kickstarter campaign for the free sound. concerts at the Baldwin Hills Scenic Overlook has been selected by ArtBasel (yes THAT ArtBasel) as one of 4 featured projects for their new crowdfunding initiative. We feel this increased visibility will benefit…
Great to see this article on the amazing Chas Smith in Artillery. We’re happy to have hosted him in a few concerts (and note to self – must get that Cold Blue concert video online!). Here’s what IS online. Check it out.
…
This week, the founders of the Southland Ensemble – Eric KM Clark, James Klopfleisch, and Christine Tavolacci – will lead SASSAS’ Kids Play Oliveros workshops. On Sunday, September 7, they will lead students from The Harmony Project in a free concert of Oliveros’ music at 2pm at CFAER.
The Southland Ensemble will also perform works by Pauline Oliveros at Human Resources on Sept. 9, 8pm.
What led you to the work you’re making now?The majority of us…
There were a few new faces at the August 10th soundShoppe.
Christopher Echols (The Mercury Seven) showed up for his first, with a shoebox. Inside was one of his birthday presents, a Korg “Little Bits” modular synthesizer. It was amazing. It is a bunch of plastic parts that look like Lego pieces with knobs on them. You stick the individual blocks together to make the patches (they have magnetic sides.) The result…
What led you to the work you’re making now?
For a while, I’ve been really interested in the phenomenon of resonance, and most of my personal work has been oriented towards exploring this physical event both conceptually and perceptually. I think this is because of the nature of my primordial instrument, the voice, and its production through an utter bodily experience .
Who are some other musicians and/or artists you admire and why?
I tend to admire the people I…
What led you to the work you’re making now?
My main focus in the last few years has been performing experimental vocals integrated with movement, a full bodied experience. The physical movement of the body is inseparable from the character of the voice. Integrating these two has led my vocalizing to be very dynamic and highly expressive, opening new possibilities of sound.
I arrived at this form of art over a long period of time spent singing as different personalities…
What led you to the work you’re making now? I’m especially curious about the transition from the work you were doing with banjo to a more sculptural practice.
I came to the current performance work from a number of pathways, one being my frustrations working within the limitations of the more codified ‘improvised music’ context. While I was primarily playing banjo, I also worked with Maryanne Amacher and Ei Arakawa, two very different artists who dealt with the performance environment…
