SF Open Studios Week 3, part 1: Abstract

Week 3 of San Francisco Open Studios features South of Market (SOMA), my neighborhood, and Mission Bay, the corridor along 3rd street further south. This is a rather large piece of territory within the city, and a mixture of old industrial areas and downtown that seems to me very creative. I have decided to divide my experience into three distinct sections: abstract, architectural/urban, and figurative/characters. These are by no means authoritative groupings, they just represent the main areas of my interest among the work that I saw, and a way to separate the large number of artists I saw into something a bit more manageable. And of course many of the artists blue the boundaries between these distinctions. This article presents a few of the artists whose work was primarily abstract.

Paule Dubois Dupuis.  Click to enlarge.

Paule Dubois Dupuis. Pour toi maman. (Click to enlarge)

At South Beach Studios, I once again visited the studio of Paule Dubios Dupuis. I had seen her work last year when I was specifically looking for large abstract paintings, and indeed her rich and vibrant canvases were once again among the largest I saw this weekend. Her paintings feature shapes and areas of color of different sizes with soft of ambiguous borders – the content has a very expressive, even emotional, quality. Her smaller “Graffiti” series is very crisp and tight with shades of black and grey; her exceptionally large Pour toi maman is simultaneously study in color, shape, and use of text, and a moving tribute to her mother.

Clare Kuo.  Boundaries #24. (Click to enlarge.)

Clare Kuo. Boundaries #24. (Click to enlarge.)

At 1035 Market Street, I encountered the work of Clare Kuo. Her large abstract paintings have very strongly defined shapes and boundaries, with large fields of color. Within each, one can see different shades in the brush strokes and fine detail, but it is the large outlined shapes that most stand out. Conceptually and texturally, her paintings remind me a bit of Silvia Poloto’s Observations series (from Open Studios week 1), but with a different vocabulary of shapes.

Andrzej Michael Karwacki. (Click to enlarge)

Andrzej Michael Karwacki. (Click to enlarge)

Also at 1035 Market, Andrzej Michael Karwacki presented both abstract work as well as figurative work, and indeed I did not initially realize they were from the same artist.Karwacki keeps the two bodies of work fairly separate, and noted that the viewers and clients for his abstract and figurative work fell into two very distinct groups. So perhaps I was an exception in having an interest in both. His abstract work was very textural, with brighter natural colors often running down the canvas in a manner that suggests water running down the side of a wall. Some of his paintings also feature plant shapes and patterns. His figurative paintings, by contrast, had a very crisp feel with well defined lines, and reminded me of fashion and glamor photos. These images also incorporated text in the form of poems printed in the background.

One of my favorite “spaces” from the weekend was Pier 70, a collection of dilapidated port and industrial buildings in Mission Bay. I featured one of my own photos from this area in last week’s Wordless Wednesday, and will have more to say about it in a future article.

Phillip Hua. (click to enlarge)

Phillip Hua. (click to enlarge)

I did see several artists at the Noonan Building at Pier 70, including Phillip Hua. I have seen Hua’s abstract work from his De/Construction series before at Hang here in San Francisco. I was attracted to the large shapes lined with smaller dots and splatters; and stark coloring with broad areas of black set against white and bright colors. His more recent work, re:Action involves ink and tape placed on top of pages of the Wall Street Journal. The images of trees that emerge suggest the “reclaiming” of the Journal pages. The newspaper was created from trees, and now it is being used to recreate trees.

In a lower level of the same building, I found the work of John Haines. His metal sculptures feature soft curving lines, circles and smooth textures. The abstract metal shapes have a very organic feel and the thin lines in some of the pieces convey a sense of motion. It also was fun to try and use the circles as “windows” through which to peer at some of the other sculptures.

John Haines. (click to enlarge)

John Haines. (click to enlarge)

Rebecca Fox. (click to enlarge)

Rebecca Fox. (click to enlarge)

It seems that I always end up being drawn to abstract metal sculpture, and thus I ended up again this year atIslais Creek Studios. Some of the artists I saw last year were not showing this time. But I did see Rebecca Fox’s large metal sculptures. Her arrangements of almost perfect circles and other curvilinear forms in arrangements suggest astronomical symbols. The shapes and surfaces have a very smooth, continuous quality to them. They also have a feeling of strength when viewed in person, even some of the pieces composed of thinner circles.

Nearby, Yong Han’s sculptures provided a stark contrast. If Fox’s sculptures are represent simplicity, strength and circles, Han’s are intricate, delicate and very linear. Several of his sculptures featured complex arrangements of wire, bars and rods, sometimes vertical and sometimes at odd angles, and sometimes quite tall. Although not necessarily the tallest of his sculptures, I liked this pair as they reminded me a downtown city block.

Yang Han.  (click to enlarge)

Yang Han. (click to enlarge)

Back in SOMA. Reiko Muranaga’s drawings blended figurative and abstract shapes, such as in the large charcoal-and-ink drawing Session. One can focus on either the thick black curving lines, or the figures that emerge from them. This piece in particular seemed to fit quite well with the red table in front of it.

Reiko Muranaga.  (click to enlarge)

Reiko Muranaga. (click to enlarge)

She has also composed some exceptionally large scrolls of her drawings, although these were not on view. Muranaga also presented her Letters to Monet series features soft fields of colors (light reds, oranges, blues) overlaid with very detailed brush strokes suggesting birds or plants.

At Garage Studios on Bryant Street. Alan Mazzetti’s paintings feature a very geometric vocabulary with clearly delineated shapes and textures. Although the linear and rectangular shapes stand out from a distance, up close one can see the the defining elements are the circles. There the large and clearly visible circles, but also the arrays of smaller circles that together form larger objects, and the circles that are hidden in the textures of the paintings.

Alan Mazzetti.  (click to enlarge)

Alan Mazzetti. (click to enlarge)

At SOMA Studios Mark Harris presented an interest mix of purely abstract work from his Letting Go series featuring energetic curved lines, and prints that ranged from abstract to overtly political. Some of his prints were recycled from previous trials, on which he placed text elements including his iconic “signature” shape.

I had initially seen Jeremy Garza’s work as another example of the use of text in abstract art, with his shapes that resembled a sci-fi language. This was apparently a coincidence, though he noted I was not the first person to point that out during the day.

A few artists blurred the distinction between abstract and architectural (actually, several did whether intentionally or not, like Yong Han’s sculptures above). From a distance, some of the paintings in Nanci Price Scoular’s “journeys” series look like abstract color fields with soft muted tones, but on closer inspection they are revealed to be details from structures, such as the “urban still life” pieces featuring rusted iron rings and gates.

Nanci Price Scoular.  (click to enlarge)

Nanci Price Scoular. (click to enlarge)

Samantha Ricca also crosses the boundary between abstract and architectural, with one series of paintings featuring surved, organic, almost corporeal shapes, and another featuring featuring straight lines and sharply delineated outlines of structures, such as a ferris wheel. Ricca’s studio was back at Pier 70, and a fitting place to conclude until the next article, which will focus on urban and architectural art.

[Images marked with “catsynth.com” are photographs taken with permission of the artists for use in these artists. Other images are reproduced from artists’ websites with their permission.]

Metal Machine Manifesto – Music for 16 Intonarumori

Last Friday, I attended Metal Machine Manifesto—Music for 16 Intonarumori at the Yerba Buenca Center for Arts here in San Francisco.   This concert, a joint performance of SFMOMA and Performa, was part of a celebration of the 100th anniversary of the launch of futurism, or more specifically the Italian Futurist movement launched in 1909. A century ago, the futurists were producing art, music, architecture and performance that still feels very modern, even more so than some of the more conservative post-modern art of recent decades.

In the area of music, one of the most influential composers and writers was Luigi Russolo, who wrote the Art of Noises, and developerd the intonarumori or noise makers.  The work of Russolo and others in futurist music paved the way for experimental and technologically-focused music from George Antheil to the electronic experimental and noise music of today that we at CatSynth perform and celebrate.  Indeed, RoseLee Goldberg in her introductory remarks to the program refers to the music of the futurists as the “original DNA of noise music.”

The intonarumori were hand-cranked instruments designed to produce “noises”.  Their sounds included whirrs and buzzes, clangs, scrapes, and also sirens and mechanically plucked strings.

For this performance, Luciano Chessa, a “foremost Russolo scholar” oversaw the recreation of 16 intonarumori, which were used to perform both pieces by the original futurist composers, and contemporary pieces for these instruments.

The recreated intonarumori looked much like the old pictures, with simple wooden boxes and large cones for sound projection.  You can see and hear some of the futurist noise makers in this video from Chessa and composer/performer Mike Patton:

After the concert I a chance to see the intonarumori up close and even try a couple of them out.  This medium-sized instrument produced repeated plucked-string sounds.

This one was purely mechanical, though another that I tried which produced automobile noises appeared to have an electric motor.

The concert itself featured Luciano Chessa as conductor for most of the pieces, and members of the Magik*Magik Orchestra under the direction of Minna Choi.

It opened with Paolo Buzzi’s 1916 piece Pioggia nel pineto antidannunziana.  This was a rather theatrical piece, with dramatic conducting by Chessa and various words in Italian shouted through a megaphone.  The noise intoners here were used to literally reflect the urban noises of the time such as sirens and the whirring of machinery.

In the the more contemporary pieces, the noise intoners were used in other contexts rather than as simulation and expression of the modern noisy environment, but as instruments that could be played subtly and expressively. Such was the case with Theresa Wong’s Meet me at the Future Garden.  Hits and clangs and mechanically plucked strings were set against Wong’s percussive vocals and Dohee Lee’s more dramatic low voice with loud vowel intonations.  From Wong’s program notes: “2 a.m. sharp, in a primordial cooperation of pulsating forest, I will sing you a song tactitle tick tocking of residual harmonies, caution manifest launching the dominance of mutual respoect and hypersensitivitiy this message sent from my iphone [sp].”

let us return to the old masters, a collaborative composition by members of sfSoundGroup, took its inspiration directly from a quote of Francesco Balilla Pratella ‘s Manifesto of Futurist Musicians to “destroy the produce for ‘well-made’ music”.  The piece itself was composed during the rehearsals for the concert.  The sfSoundGroup members have excelled at extended technique and performance of complex compositions with their traditional instruments, and brought that skill to the intonarumori.

The first half of the concert ended with one of the most disinctive pieces of the evening, Donno Casina by Carla Kihlstedt and Matthias Bossi.  The performance featured two the larger “bass” intonarumori, along with Kihlstedt on vocals and violin, Bossi on accordian, and Moe! Staiano playing a large drum and collection of colorful metal objects.  The distinctly futurist sound of the intonarumori was blended with Kihlstedt’s more contemporary extended vocal and violin techniques, and Moe!’s intense and theatrical percussion performance.

In addition to having the best title of any piece in the concert, James Fei’s New Acoustical Pleasures (A Furious Meow) was the most subtle.    It was made of “quiet noises” with lots of empty space between sounds and relatively little movement, and reminded me of some of John Cage’s more static pieces.  The short, soft tones from the intonarumori were quite a contrast to the loud blaring representations of modern life of the original futurist pieces.

While listening to John Butcher’s penny wands and the native string, I came up with the word “scrapier” to describe the piece.   And I am pretty sure that is not a real word.  Nonetheless, the piece was “scrapier” than the others.  The performance, which featured Gino Robair, included lots of scrapes and grinding sounds building up to a crescendo and then coming to an abrupt stop.  After a brief silence, the scrapes and grinding sounds resumed.  This pattern repeated a couple of times, with variations in each repeitition.

After Fei’s and Butcher’s pieces, the full ensemble returned for Mike Patton’s << KOSTNICE  >>.  All sixteen intonarumori were played together to produce a thick “orchestral” sound along with drums.

Luciano Chessa’s L’acoustic ivresse (Les buits de la Paix) also featured the full ensemble plus bass vocalist Richard Mix.   There were similar thick clusters as in << KOSTNICE >>, but this time framing Mix’s vocals.  There were moments when the vocals and ensemble played off on another, with Mix’s strong bass voice and traditional singing style simultaneously blending and contrasting with intonarumori.  This performance received one of the longer and more spirited rounds of applause of the concert.

Elliott Sharp’s Then Go, which featured Dohee Lee, received a similar reaction.  This was another full-ensemble piece, where the noise tones were very well synchronized to Lee’s dramatic singing.  She also tapped (or stomped) her feet in time with percussive sounds from the ensemble in a strong rhythmic pattern.  Through the rhythm, piece seemed to connect both the futurist sounds (as archetypically modern sounds) with something much more traditional, even primal.

The concert concluded with a realization of a fragment from Luigi Russolo’s 1913 Risveglio di una città.  Like the other original futurist work in the program, this piece directly referenced “sounds of the modern world” like cars and sirens.  This very short fragment of a piece abruptly ended with Chessa dropping his baton.

SF Open Studios, week 1

Just as it was last year, Open Studios is “art overload” – the sheer number of artists and artworks can be quite overwhelming, even just concentrating on a few studios in a small number of blocks in the Potrero Hill and Mission neighborhoods. I concentrated on a few areas of particular interest, such as pure abstraction, conceptual work, urban landscape, and use of technology, but also took notice of other themes such as animals (especially cats) and selected figurative works as well.

The first major stop was Art Explosion Studios on 17th Street (they now have several locations). I usually begin by seeking out larger abstract works (such as might be appropriate for the walls of CatSynth HQ). These could be single large paintings, or collections of smaller objects to form a whole. An example of the latter was Kally Kahn’s black-and-white “pincushion” series.

[click to enlarge]

Kally Kahn

[Click on any image in this article to enlarge.]

Very abstract and geometric, I did not immediately recognize them as pincushions until Kahn pointed it out. The brought to mind science fiction or microbial illustrations, and as such I thought of Miro’s Constellation. The coloring and texture also reminded of Julia Orshatz’s work I had seen a week or so earlier at First Thursday, although Kahn’s pincushions were rounder and less intricate.

In terms of larger abstract canvases, Heike Seefeldt’s Roller Coaster series stood out. Each 3-foot square canvas featured a central color and set of shapes (e.g., spirals, radial patterns, stripes, etc). Most made use of bright colors, but the Devastation sub-series featured darker colors, including one distinctive black canvas with more rectangular shapes.

Heike Seefeldt

Heike Seefeldt

Melisa Phillips

Melisa Phillips

I again found Melisa Phillips’ paintings, featuring stenciled text on large color fields as well as embedded abstract figurative images. She also presented some of her figurative drawings this year, but it was still the larger text-based works that got my attention. There is always the question with works that incorporate text about whether it is a purely visual element, or conveys meaning. Certainly, one recognizes the letters in these paintings as letters and thus as language, but for me part of the appeal is that they don’t appear to mean anything with regards to our normal use of language. (I found myself speaking with another artist, Megan Cutler, on the challenges of using text in art.)

Michelle Champlin’s large canvases featured cityscapes that were imaginary but were inspired by real cities, such as San Francisco.

Click to enlarge

Michelle Champlin

At least one painting featured an outline of the Transamerica Pyramid; another was supposed to represent a neighborhood like the Tenderloin as seen at ground level and incorporated newspaper clippings into the background. Champlin said she was inspired by the cosmopolitan nature of the cities, and the coming together of many different people with different perspectives.

click to enlarge

Jhina Alvarado

Jhina Alvarado’s stark Forgotten Memories series was based on old photographs she collected. It seemed odd to possess “other people’s memories”, which led her to create these series where the people were presented on empty backgrounds, and their eyes covered with black boxes. Alvarado suggests that blocking out the eyes added anonymity, as well as some mystery to the figures, and to separate them from the memories of the original owners of the photographs.

Interestingly, some Alvarado’s work was displayed into the main hall next to another series of paintings in which the main figure’s eyes were hidden. Romolo R Nisnisan Jr’s In the eyes of a hakujin included a large portrait of a blindfolded Asian woman, supposedly a caricature of western mens’ perceptions of Asian women (or at least that’s what the poorly worded artist’s statement suggested).


On my way to Art Explosion, I stopped at a small studio on Potrero Avenue, featuring paintings by Calixto Robles. Several of his large paintings feature iconic and stylized images of jaguars.

Calixto Robles

Calixto Robles

Most were singular portraits like the examples above, although Robles sometimes incorporated them into other pictures with dreamlike or religious imagery.


Sevilla Granger

Sevilla Granger.

At 1890 Bryant Street, I met Sevilla Granger. Most of her canvases feature trees in silhouette surrounded by warm colors. The trees often have sharp bends in their branches and patterns reminiscent of the cypress trees along the California coast. Interestingly, these “arboreal portraits” are sometimes painted over initial abstract layers of paint that are never seen except as texture beneath the surface. She actually presented one of these preliminary images as a finished work, and found that it received a very positive reaction.

Catherine Mackay’s paintings focus on the “visual urban experience”, and her new series Wharves and Warehouses continues this theme. I had seen Mackay’s work before, which featured familiar locations from San Francisco and New York. Unlike her previous paintings, which featured very think paint and strokes that obscured the industrial quality of the scenes, the current series is very finely textured and almost photographic in some cases.

Catherine Mackay

Catherine Mackay

I instantly recognized one of the piers from along the Embarcadero near the Bay Bridge, an area which has been a rich source of material for my own photographs – this led to an opportunity to share some of my own images and discuss our experiences with the urban landscape.

While some artists focused on a particular media, theme or technique, Mr. Rogers was focused on a single character “Bunnymatic.” As the name implies, bunnymatic is a sort of robot/bunny character, inspired at least in part by the characters of Sanrio (e.g., Hello Kitty, etc.). We see bunnymatic in a variety of media (painting, graphics, popsicle sticks, kinetic sculpture) and in a variety of situations, such as playing drums, partying, towering over a skyline, etc.

Click to enlarge

Mr. Rogers. Bunnymatic.

Another comic/cartoon-like image that caught my attention was this one illustration by Matt Delight, featuring a young woman and her pet mollusk.

Matt Delight

Matt Delight


A block or so away was Project Artaud, which houses a warren or live/work artists’ spaces, studios, galleries and a large performance space (where the 2008 San Francisco Electronic Music Festival was held).

Around a corner, I came to the studio of Janet Scheuer, whose colorful paintings feature cats. In particular, they feature her cat who passed away at the venerable age of 21.

Janet Scheuer

Janet Scheuer

In another corridor, I heard electronic music coming from the studio of Saiman Li, where a small group was performing live. The walls were covered with a variety of objects, photos and conceptual works relating to Asian visual imagery and Asian identity.

Saiman Li

Saiman Li


I made a brief detour to Cellspace. I mostly know Cellspace as a performing arts venue rather than a place for visual art. I did see large black abstract sculptures by Corey Best in the main hall. I also saw a few minutes of a dance performance entitled “Happenstance of Social Blunders”. Basically, it seemed to be deliberately clumsy dancing, set to some light jazz music provided by a live band.


Silvia Poloto.  Observations in Deep Blue.

Silvia Poloto. Observations in Deep Blue.

Silvia Poloto.  Void.

Silvia Poloto. Void.

After Cellspace, I visited the private studio of Silvia Poloto. I have a small mixed-media piece of hers, and have always liked her very deliberate arrangements of geometric shapes, color fields, organic elements and the occasional snippet of text. Her studio, like her canvases, was clean and smart and organized and was well suited for displaying some of her larger works.

Some, such as the blue painting from her Observations series, resemble that original small piece and have a the look and feel of a rough drawing.  Others, like those in the Absense Presence series are very smooth and polished, and divided into sections with abstract shapes or photo-realistic elements in each.  A third series, Highland, appeared to combine both styles into a very tall narrow dimensions.

[Images from the artist’s website reproduced with permission.]


From Poloto’s studio, I wandered down Folsom Street to Workspace, Ltd., a large and inviting collection of studios in a converted old industrial building.

Perhaps one of the most unique collections of work I saw was that of John Zaklikowsi. His source materials are a combination of discarded electronics (hard drives, cell phones, etc.), gears and chains, and musical instruments, which he arranges into large and intricate sculptural works. Some are flat wall-mounted collages, including one titled Number Theory; but he also had a grand piano covered with electronics and embedded with flutes, a clarinet and even a tabla.

John Zaklikowsi

John Zaklikowsi

I did not try to play it.

The corridors and studios of Workspace, Ltd also featured a variety of more conventional work. Leslie Andelin’s The Big Bang was a huge canvas covered in rectangles. The bright greenish colors are not really my preference. I did like the industrial and abstract paintings by Amy Curkendall and Alex Zenger, with lots of straight lines and angles. Ali Saif had a large collection of darker abstract canvases, mostly black and silver, with bits of red and other colors – his titles suggested industrial themes like classic cars.

As 6pm approached I did find a place to “decompress” from the artistic and sensory overload. Delfina Piretti had set up a tent as a quiet space where people could compose images from their dreams. While I mostly just wanted a moment without any additional input, I did contribute a drawing, trying to unload a bit of everything from all the different themes and trends into a single image. I left it behind in the book, unlabeled and unsigned.

First Thursday October 2009

It’s been a while since we have a reviewed a First Thursday Art Walk here at CatSynth. It is partly because I have been away the first Thursday of several months, and on the ones that I have been here I felt largely uninspired. However, fall is usually the best season for these events, and several exhibits at 49 Geary did catch my interest this time.

The highlight of the evening was actually the combination of visual art, musical performance and film at Steven Wolf Fine Arts. As I entered, bass clarinetist Jeff Anderle was performing a solo piece. We last saw Anderle at the 2008 Switchboard Music Festival. I then noticed the main visual exhibition Taking Pictures by Nicholas Knight. In these photos, Knight captures gallery viewers in the act of taking photographs of art, particularly with small digital cameras or iPhones. I of course needed to play along and take a photo of his photos of people taking photos of art:

In front of Knight’s work, we see the part of the percussion setup for the next performance by the Magik*Magik Orchestra. The piece by composer David Lang (of Bang on a Can fame) featured flower pots purchased from a hardware and garden-supply store (visible on the lower right of the photograph). However, the pots were very well chosen for intonation and resonance, and the performance had a very harmonic and ethereal quality. The three percussionists also remained very in sync with one other through the long tones. The next piece, which was also by David Lang, was titled Little Eye and featured cello plus percussion. It was a contrast in complexity from the cello and simplicity from the percussionists. The cello melody was very classical or baroque, while the percussionists provided a very modern background texture that featured rubbing on rusted wheels. There were also individual notes on a xylophone and piano/keyboard that added a different texture.

It turns out this performance of David Lang’s works was in support of the soon-to-be-released film (untitled), for which Lang provided the music. The comedy features a new music composer and Chelsea art galleries, and I am quite eager to see it when it comes out.

At the Haines Gallery, I was particularly drawn to the exhibit by Julia Oschatz entitled Odd One Out. The room was painted in a geometric black-and-white pattern, which matched the quality of Oschatz’s largely geometric and abstract drawings on the wall.

The drawings had a very stark quality to them in terms of the shapes and textures. Rather than just abstract geometry, the drawings depicted other worlds. Some seemed to be directly taken from science fiction, others more surreal. There were also several videos featuring a mouse-like character experience all sorts misadventures. On further inspection, I realized that a small version of this character was present in most of the drawings as well. One just had to know to look for it.

Once again, the Elins Eagles-Smith Gallery featured large abstract paintings, this time by Gustavo Ramos Rivera. Rivera’s large canvases are brightly colored and feature large shapes that seem like signs or icons in an unknown language. One can see repeated shapes with different color palettes in each painting. The sculptures that dotted the gallery for the exhibition featured similar motifs and complemented the paintings well.

Aaron Parazette’s paintings at Gregory Lind Gallery seemed reminiscent of Piet Mondrian’s famous neo-plastic works, but with a more varied color palette and some different shapes. The most stark pieces of the evening were Freddy Chandra’s retangular color fields of acrylic, resin and graphite at Brian Gross Fine Art .

We conclude with a very different exhibit that again brings together visual art and music. Fifty Crows Gallery featured the solo exhibition Curse of the Black Gold by photographer Ed Kashi. Perhaps what got my attention more than the photographs themselves was the music of Femi Kuti, son of the legendary Nigerian musician Fela Kuti.

2009 San Francisco Electronic Music Festival

This September was the 10th anniversary of the San Francisco Electronic Music Festival, and I had the opportunity to attend two of the performances. To mark the occasion, many of the original participants in the first festival ten years ago came back to perform.

The festival began with a piece by Miya Masaoka (whom Pamela Z jokingly referred to as the “mother of SFEMF” in her introduction). The LED Kimono project not surprisingly featured a kimono with LEDs, worn by dancer Mariko Masaoka-Drew. The dress itself was very pretty and simple, with a large LED array on the right-hand sleeve. Throughout the performance, different patterns were featured on the LEDa, sometimes very subtle with only a few active, and at other times large oscillating rectangular patterns.

The music began with a very traditional koto performance. There some delay, sampling and pitch-shift effects in the background. The koto was mostly struck or plucked, and occasionally bowed. During the section of the performance, there was almost no dance movement. Over time, more electronics came in, initially low, dronaning, and with overtones that sounded vaguely FM or inharmonic, almost like electrical noise.

As more electronic sounds came in, the dancer began to move, very slowly and subtly. Indeed, most of the movement throughout the piece was very subtle and slow, and did not clearly map to the musical material. On the other hand, the LEDs on the dress did match the rhythms and timbral changes. The first came on during and electronic arpeggio that sounded like classic FM synthesis. There were some dramatic swells with the higher FM-like sounds. The music primarily moved between the elements described, with the long drones and then the fast arpeggiation. But the physical movement of the dancer remained slow. As a result, I found myself mostly focused on the LEDs and the dress.

And the end, I stayed to watch the process of Masaoka-Drew being “unplugged” from the dress, and to fully observe the amount of electronics (and wiring) that were required for it to function.

The second set featured Lukas Ligeti performing his own compositions on the marimba lumina. He began slowly, with very low tones, one so low that the amplitude modulation itself became and audible rhythm. He then layered other sounds over these tones, including some vocal samples that sounded like chatters or whispers. Overall , I would describe his music as a cross between classic minimalism, world music, and electronic music. He described what we was doing as using the marimba lumina to play “samples and funny synths” on his laptop, with a focus on samples were collected from his world travels. One could definitely hear some of the instruments and voices from various places around the world, particularly Africa, in his performance.

The final performance of the evening was by Amy X Neuberg. Her performance was a combination of her “electronic cabaret”, which we have heard several times before and reviewed here at CatSynth; and a new work entitled “The Dude Trilogy”, a series of abstract poems for voice and the Blippo Box. The Blippo Box employs chaotic oscillators and modulation, and can be very difficult to control in a predictable way. However, Neuberg manages to perform it in a very poetic way, and more remarkably is able to match her voice to the sounds of the synthesizer. Rapidly changing vowel sounds matched a fast chaotic filter modulation, the rhythms of spoken word material matching the sequences. At other times her high sung tones followed the unstable high electronic pitches. During the piece, a video camera recorded and projected close-ups of her hands manipulating the instrument, including its theremin-like antenna.

Several of her electronic cabaret pieces were familiar from previous programs. They always are very tight and solid, combining voice, electronics and theatre. She did close with one song I had not heard before. It began with her striking the electronic drum pad repeatedly to produce a “banging piano-chord” pattern, which was matched by her vocals. It ended with a solo and fade-out on the Blippo Box, which almost seemed like a spontaneous moment.


The location of the festival, the restored Brava Theater in the Mission District of San Francisco, was itself an attraction. Besides the large theater space and lobby, the deliberately weathered foyer housed the installation The Exchange by Dukoro, the duo of Agnes Szelag and The Normal Conquest. This installation with subtly placed speakers and sounds generated interactively by visitors, complemented the architecture.


[click to enlarge.]


The Saturday performance opened with [ruidobello], aka Jorge Bachmann performing his piece Coleoptera_0909 for electronics and video. The piece centered around beetles, or scarabs, who are members of the biological order Coleoptera. Videos of scarabs were projected onto the screen. Some were crawling on skin, some were in dishes, a couple were on a corrugated cadrboard surface that resembled a Q-bert board. Initially the beetles were solitary, but then they started to appear in groups. One particular scene involved one poor scarab being madly chased and grabbed at by another (one can only speculate what was going on here). The sounds were based on recordings of natural sounds from scarabs. In the early part of the piece, the relation to the insect noises was quite transparent (i.e., it “sounded like insects”). Later on, the connection between the performed sounds and the original material became more abstract, and sounded like thick pads with delays, time-stretching and pitch-shifting effects. The piece ended with a scarab taking off in flight, and the sound following suit with an ascending glissando.

[ruidobello] was followed by an electronic performance of Gino Robair’s opera I ,Norton. It is an improvisational piece based on the writings of Norton I, “Emperor of the United States and Protector of Mexico”, and a famous character from San Francisco history. In 1859, Joshua Abraham Norton declared himself Emperor Norton I of the United States, and began to issue a series of decrees, including the dissolution of the United States Congress. The opera is based on the text from these decrees, but in an “open-ended structure [that] allows it to be assembled differently for each performance.”

In this version, Tom Duff played Norton I and read from his various edicts, while the spoken words are processed by three electronic performers Chris Brown, Kristin Miltner and Wobbly. Indeed. all the electronic sounds were based on Tom Duff’s voice. At first, the electronic manipulations kept the words intact through various delay, pitch and time effects; but over time the electronics became more complex, with delay lines or samples short enough for the snippets from the original voice to form completely different timbres, and as such became more detached from the stage performance. I found myself focusing heavily on the video work of Tim Thompson along with the theatrical performance, and the electronic sounds became part of the background. One particularly strong visual moment was when Tom Duff/Norton I built a small “city” out of colored translucent cubes and shining flashlights through them. This illuminated construction was then picked up by the video and projected onto the screen. There was a middle section in which our protagonist appeared to go to sleep (perhaps dreaming) and the electronic music became the focus, with the video playing against the sounds (which were still entirely based on previously sampled vocal material). There was an overall calm pace to the entire opera performance, punctuated by the dramatic proclamations and occasional abrupt shifts in timbre or visuals; and one simply became immersed in the whole experience.

Pamela Z concluded the festival with what she described as an “old-new sandwich” with several short pieces. The first “older” pieces included looped rhythms layered with rich vocal textures and harmonies, with one featuring a dramatic simulation of a manual typewriter complete with carriage return. There was a performance of a piece I had originally seen her perform at room: PIPES back in May. The next piece was the “new” part, a work in progress entitled Baggage Allowance. It opened with a video of a baggage carousel, with various people reciting the contents of their luggage (clothing, toiletries, books, etc.). The contents became a little more unusual over time, as people described confiscated items and even an attempt to hide a knife at LAX. A simulated x-ray of a bag included strange objects like a frog and a gun (actually, I suppose I gun isn’t all that strange). This was set against live electronic processing of vocals as well as other sounds such as the popping of bubble wrap. The final piece was another older work involving delays and dramatic harmonic vocals (it was originally done years ago with hardware effects boxes before being ported to modern laptop computers); as a representation of classic electronic music being redone with modern technology, it was a fitting conclusion to the festival.

2009 APAture Festival: Opening and Gallery Exhibition

The two-week APAture festival began last Wednesday with a kick-off event at Goforaloop Gallery. The APAture (Asian Pacific American) festival showcases the work of Asian American artists and is produced by the Kearny Street Workshop, who also co-produced the Present Tense Biennial exhibit, and runs from September 16 through September 26. This article focuses on the visual-art exhibition at the gallery. (You can read about the festival’s music night in a separate article.)

There was no single theme or thread that connected all the works, except for the connection to Asian-Pacific American culture either through authorship or influence. However, it was possible to piece together trends such as identity (or various forms of Asian identity) and the relationship of art and technology.


[Heroes, Martyrs, Legends by Taraneh Hemami. Click image to enlarge.]

Heroes, martyrs, legends by featured artist Taraneh Hemami presented images of students and activists who were executed before, during and after the 1979 Iranian Revolution. The images were created in beads from photos on Internet sites. The beads give these portraits a very grainy quality, which mirrors the pixels found in low-resolution online images. This piece is simultaneously a document of historical people and events, a tribute to activism, and a representation of a technological phenomenon with traditional materials.

Jacqueline Gordon’s Black Matters was interesting as a set abstract objects with a sonic element. The piece consisted of two large black surfaces composed of fabric, and whose shapes were inspired by mandalas. From Gordon’s website, I learned that the speakers are “inked through amplifiers to sine wave oscillators and play a composition of binaural tones.” It was, however, difficult to hear the sounds during the opening reception, with the noises from conversations, the karaoke booth, and such. Fortunately, when I revisited the gallery I was able to get the full experience. There were multiple sine wave oscillators which produced chords that gradually changed over time. Pitches and amplitudes shifted, faded in and out, and when the frequencies got close enough one could hear the beating effects. The oscillators were generally quite stable, but did exhibit minor variations which I found quite interesting.


[Black Matters by Jacqueline Gordon. Click image to enlarge.]

Nearby was Natives and invaders! a large mix-media piece placed directly on the walls of the gallery by artists Natalia Nakazawa and Stephanie Mansolf:


[Natives and invaders! by Natalia Nakazawa
and Stephanie Mansolf. Click image to enlarge.
]

Raised elements of wood, string and other materials pop out from the painted wall in a variety of both geometric and natural shapes. This was one of the more abstract works in the show, and one that I would consider “modernist.” I particular liked its placement next to Black Matters, as the shapes and textures seemed to fit together.

Another work that fused art and technology was a pair of graceful and delicate constructions by Joanne Hashitani made of wires, sticks, LEDs and other natural and artificial materials. They occupied very little space, both in terms of their overall extent and the thinness of the elements, but they nonetheless caught my attention and were among of favorite pieces in the show.


[Untitled by Joanne Hashitani. Click image to enlarge.]

The abstract shapes, which were very linear, but not particularly “angular” seem very natural and ethereal, but at the same time the LEDs and wires make it very modern and technological. They could blend subtly into the wall, which is perhaps the direction that modern technology is taking. From Hashitani’s artist’s statement:

The effects of light alternately make pieces appear and disappear, while moments later they might create a web of shadows. Air currents cause pieces to sway back and forth. Together with the ambiguity of the space and the shifts in scale, I hope this allows the work to reveal itself slowly.

Warren Jee takes a less subtle look at technology with Bug Robot, a life-size humanoid robot with a very “boxy” 1960s/1970s appearance. In the middle of its torso is another, smaller, humanoid robot. This was not an infinite regress, just two levels of “robot inside robot”.


[Bug Robot by Warren Jee. Click image to enlarge.]

Jee’s biography for the exhibition discusses how popular culture recognizes robots as or lacking emotion and other ‘human’ qualities”. Yet in this robots one recognizes all the basic signs of humanity that one recognizes in representations of humans in primitive art. I personally have a soft spot for robots, and the imagined future with humanoid robots that never happened.

The combination of technology and Asian identity was explored in Hui-Ying Tsai’s video and mixed-media installation Who R U. Two video screens, decorated with flowers a large stuffed rabbit, depicted the artist presenting her body in various, poses, motions and frames of reference, with a particular focus on hair (her own and a wig with exaggerated straight black hair). From her statement: “Through repetitive self-deconstruction and re-construction in this video, the contradiction of fitting myself in the stereotype beauty, and at the same time, resisting become the fetishistic object creates a dialogue between my objectized self and my self-awareness.”

Charlene Tan’s Eat Me, I’m Asian was a very playful and very literal take on Asian identity. Like her Cornucopia from the Present Tense Biennial, it featured photocopied replicas of commercial food packaging, this time arranged as a shelf in a grocery store, perhaps from the aisle that carries Asian or other “ethnic foods.” Among the items were various Happy Panda products, and a box of soup base with a cartoon fish (yes, I like cartoon fish).

Sandra Ono’s conceptual works combined seemingly natural and surreal elements. She presents a surface that is at once completely artificial made of fabricated cells, but seems so much like wine grapes or other natural (and edible) objects that one wants to reach out and touch it. Indeed, it seemed to be one of the more popular pieces in the show, with groups gathering around it. Ono’s other work Leak could easily be missed if one did not look down at the solidified puddle of black tar that seemed to be seeping out from under one of the walls.

The Kearny Street Workshop blog has a behind the scenes article that includes additional background and some images of the artists installing their works.

A few additional pieces that caught my attention: Raymond Wong presented a pair of photo-realistic paintings entitled 40:22 based on still images captured motion pictures. Lordy Rodriguez presents a fictionalized map of Wyoming with territories out of place and marked by varying types of ownership (part of his States of America series). Thalia When’s meticulously created You can’t have my soul but everything else is free features an array of hand-drawn faces and stories for each.

The opening night of course featured drinks and music. While the main musical attraction for many attendees was the karaoke booth, I was more drawn to the occasional tracks of long-forgotten 1970s Asian pop being played by DJ Victor Chu. I wish I could find some of these albums myself.

The APAture festival continues this coming Wednesday (September 23). Visit the official website for program details.

Present Tense Biennial, Chinese Culture Center

In August I had the opportunity to take a private curator-led tour of the Present Tense Biennial exhibition at the Chinese Culture Center here in San Francisco before it closed on August 23. The exhibition was a joint project of the Chinese Cultural Center and the Kearny Street Workshop and included 31 artists with works that interpreted contemporary Chinese culture. There was no single direction or theme to these interpretations. There were plays on Chinese language, heritage, stereotypes, geography, artistic techniques, history and iconic objects.


[Nostalgia No 24 by Maleonn. Image courtesy of the CCC online gallery. Click image to enlarge.]

The above image, featured on the posters for the exhibition, is a photograph entitled Nostalgia No. 24 by Chinese artist Maleonn. It features a young man looking at a miniature model of the Tiananmen Gate in Beijing.


[Manuscript of Nature V by Cui Fei. Courtesy of CCC online gallery. Click image to enlarge.]

In keeping with the exhibition title of “Chinese Character”, several works dealt with plays on language. For example, the New-York-based artist Cui Fei’s Manuscript of Nature V was a large wall installation composed of plant tendrils resembling Chinese calligraphy. It was immediately reminiscent of handwritten Chinese characters (as I had seen many times in my recent visits); however, this was an entirely made-up character set.

Tamara Albaitis presented an audio and sculptural installation, with two planar arrays of speakers. Each speaker played a human voice uttering sounds (not strictly phonemes, but vowels, consonants, diphthongs, etc.) from various languages. On one side were sounds from languages arranged strictly horizontally (e.g., English and other Indo-European languages) while on the other were languages that could be written vertically, such as several East Asian languages. One could walk through the middle of the installation, with each bank as a “wall” of linguistic sounds, or around the outside. Out of context, it was not easy to distinguish the sounds from one language or another. One could use directional cues to determine whether a language was “horizontal” or “vertical”, but that served more to demonstrate similarities or “confusion” among languages.


[Larry Lee, Endless Column. Photo courtesy of the CCC online gallery. Click to enlarge.]

In addition to the plays on language, these pieces were in the minority that I would consider to be “modern art” (rather than more loosely defined “contemporary art”). Another was Larry Lee’s Endless column takes a simple and familiar object, the traditional porcelain rice bowl,and arranges them in an “endless column” of spheres that extend from the base to the ceiling of the gallery. From a distance, it appears as a large piece of modernist abstract art, and the rice bowls are purely there for their shape and texture, rather than their function. However, the detail and functional context of the bowls are an interesting contrast to some of Lee’s other abstract sculptures (some of which can be seen at the CCC online gallery) with the simple geometry and solid colors that are the norm for abstract art.

Among my favorite photographs in the exhibition were Thomas Chang’s images of a Chinese-government-sponsored project in the United States that did not go so well. Spendid China was a theme park in Orlando, Florida (where else could it be?) that featured to-scale models of great Chinese monuments, including the Great Wall and others. The park closed in 2003, after which it became a frequent target of vandalism and fell into disrepair. Chang’s photographs document the ruins. I have a long-standing interest in ruined buildings, particularly as they appear in the context of a modern city, so I was intrigued by these photos even without knowing the full context. I think it would actually be interesting to visit this park in its current state.


[Thomas Chang. Great Wall. Splendid China Theme Park, Orlando, Florida.
Image courtesy of the CCC online gallery. Click image to enlarge.
]

Other photograph sets explored the concept of “Chinese identity” as well as the intersection with American identity. Whitespace by David Yun presents portraits of an extended Chinese-American family (presumably taken around Christmas time). There are individuals we conventionally think of as “Asian”, a young blonde girl, and others who look vaguely Latino or Mediteranean, yet these are all blood relatives in the same family. I can certainly identify with a family whose composition defies traditional expectations, with relatives who appear to be from different parts of the world. Yet both my own family and the family presented in Whitespace are quintessentially American, i.e., this is what many American families look like when you get everyone together. Another take on family is presented in Sean Marc Lee’s portraits of his father. We see the typical “American Dad” in the Los Angeles area. But we also a man who seemed to have an exceptionally fun and playful attitude towards life even while raising children; and someone who knew how to “ham it up” for the camera. We see him blowing out candles with his children, posing like a TV still in a 1970s leisure suit in front of a sports car, going for a swim in a mountain lake. We also see him later in life, aging, resting, and receiving medical treatment. There are similarly familiar and intimate portraits of Lee’s father on his flickr site.

Kenneth Lo combines commentary on Asian identity in the United States with a lifelong dream to be a basketball star, in one of the shows more entertaining pieces Happy Feet Lucky Shoes. This conceptual work centers around a new brand of athletic shoes marketed as the AZN INVZN (i.e., the “Asian Invasion”) with their own superstar “K Lo.” There was a commercial, in which a young man is getting crushed on a basketball court. But once he receives the “magic touch” from K Lo along with a pair of “Yellow Fever” shoes, he magically acquires unstoppable basketball prowess (along with straight black hair), overpowering his opponents and winning the admiration of attractive cheongsam-clad young women. In addition to the video, and themed t-shirts for sale, the piece also included a Chinatown storefront made into a shoe store that specialized in the AZN INVZN, and even actual reviews on Yelp.


[Kenneth Lo Happy Feet Luck Shoes storefront. Photos by CatSynth. Click to enlarge images.]

This was one of several installations scattered in the nearby blocks of Chinatown, beyond the boundaries of the standard gallery. Another was Imin Yeh’s storefront of household objects wrapped in the Chinese patterned fabric often used for gift boxes. Among the wrapped objects were dolls, fans, TVs, even an Apple Macbook:


[Imin Yeh. 710 Kearny Street. Photo by CatSynth. Click image to enlarge.]

Charlene Tan’s The Good Life incorporating “wrappings” of a very different sort. The piece was entirely made of photocopied fast-food wrappers from various locations in Asia. Several were clearly recognizable as McDonald’s wrappers, but for unfamiliar items. There was one that caught my in particular. It featured an Asian cartoon cat making the universal facial expression for “yummy!” surrounded by fish, and was presumably a wrapper for a fish sandwich or snack. I wish I could find a picture of that wrapper somewhere online.

We close with another of the neighborhood storefronts, a text-based work by Tucker Nichols in the Chinese for Affirmative Action window, declaring “YES WE ARE”, a riff of Barack Obama’s “Yes we can!” slogan. It faces inward, as if for the occupants of the office to affirm themselves while looking out at the world.


[Window installation by Tucker Nichols. Photo from the Kearny Street Workshop blog.]

A special thanks to Ellen Oh, Executive Director of the Kearny Street Workshop and co-curator of the exhibition, for hosting our tour.

The Kearny Street Workshop will be hosting their annual APAture festival, showcasing Asian Pacific American art. We at CatSynth look forward to attending at least a few of the events.

Containment Scenario: FUEL, Luggage Store Gallery

This performance, entitled FUEL, was part of the Containment Scenario performance series “which explores the current environmental situation through the lens of improvisational music-dance-theater.” This was the third part of a five-part series adopted from the book Containment Scenario: DisloInter MedTextId entCation: Horse Medicine by M. Mara-Ann, who also directed this performance.

This was a multimedia piece with voice, text, instruments, dance and reactive video (Luke Selden). It began with the vocal leads (M. Mara Ann and Sarah Elena Palmer) sitting down in the front of the stage with computer printouts, loudly ruffling and connecting them up with packing tape. As video of bucolic grass scenes and a close-up of a human are projected on the walls behind them (and onto their reflective white dresses), we hear their voices come in, speaking words disjointed and percussively. The voices gradually become more melodic, but all the while the “paperwork” continues. The other performs move slowly onto the stage, all wearing white shirts. As they take their positions, first the guitar (Noah Phillips), then the electronics (Travis Johns), then violin (Emily Packard) and percussion (Anantha R. Krishnan) all came in.

Musically the texture remained very gradual, interspersed with vocals, though the words became clearer and louder over time. This was aided by the fact that the text (presumably from the Containment Scenario source) became synchronously part of the music and the projected media. Text scrolling by on the right video projection was recited in various musical styles, harmonic, percussive, expressive, while the vocalists took turns typing their words into a laptop that would project onto the other screen, sometimes mixed with other videos. During this section, the instrumental music was much more sparse, often silent as the written and spoken words became the focus.

Later textual recitations returned from the video to the computer printouts. At times the words came out as whispers, sometimes more melodically, with the instrumentals returning into the mix. As the performers moved around the stage, there were dramatic visual moments where they became part of the video projection, their white shirts and dresses becoming screens on which the video was reflected and distorted and combined with the flat background.

The dancers (Julie Binkley and Rebecca Wilson) eventually took the printouts used for the back screen and began to wrap each of the musicians in a cocoon of paper. First Travis Johns on electronics was encased, then the each of the others in succession, eventually binding the two vocal leads into a bundle of their own printouts. The piece concluded with the dancers bringing out large number signs (I’m not sure what these were about), and handing them to the vocalists, after which the sounds and words gradually stopped.


The performance of Containment Scenario: FUEL was preceded by two fun sets of improvisational music.

The first set was by Drew Ceccato, playing an electronic valve instrument (EVI) by Steiner and an analog synth by Crumar – a beautiful and intriguing instrument. The set began with a low rumbling, which joined with “watery” sounds and pitch modulation expressively controlled by the EVI to create a subtle rhythm. Over time, this become louder, with wider pitch modulations, beating, percussive sounds before returning to the low rumbling. The music then changed completely for more traditional “analog sounds” with traditional pitched notes, like a conventional wind instrument, though with extremely high pitches at times. It was a very brief, and very intense set, without a moment wasted.

Ceccato was followed by a duo of Gino Robair and Christopher Riggs who was playing “guitar and a box of cool looking stuff”. Of course, Gino Robair had his collection of cool stuff as well, analog synthesizers along with metallic resonant objects and various means of exciting them. It started with a metallic roar, which I believe was created by Riggs’ rubbing the guitar strings. This was combined with the chaotic sound of the Blippo Box and other synths. The two performers appeared to come to an equilibrium of sorts, with sounds repeated and played off one another. Indeed, it was sometimes hard to tell who was playing what sound – and this is a good thing. Robair moved on from the synths to cymbals, with loud dramatic resonances set against the guitar rhythms. I heard a plaintive brass synth set against a more “chattery” guitar; a styrofoam instrument that was “insect-like” in both its appearance and sound; a funny voice vaguely like throat singing made with a tube and a coffee can; and more metal objects excited by motorized fans crawling along the floor. After a climx with angry resonances and a metal on metal thud, lots of motion, convulsing and fast scraping, the sounds faded out.


The turnout for this particular evening was quite impressive, it seemed that all the seats were filled, even the extra “kiddie seats” that the folks at the Luggage Store often put out.

Outsound New Music Summit: Touch the Gear

This is the first of two articles about the Outsound New Music Summit, which took place last week here in San Francisco.

The first night was the Touch the Gear Expo in which the public is invited to try out the musical instruments and equipment of a number of artists from the festival as well as other Outsound events. It was a respectably sized turnout, with a large number of visitors.


[Click to enlarge]

I brought the venerable Wacom Graphics Tablet and PC laptop running Open Sound World for people to play.


[click to enlarge]

It often gets attention during performances, and did so at this hands-on event as well. Because it uses familiar gestures in a visually intuitive way, many people were able to start right away experimenting with it making music with phrasing and articulation. I provided a simple example using FM synthesis as well as chance for people to play a phrase from my piece Charmer:Firmament (which uses additive synthesis).

Tom Duff also demonstrated his own custom software in combination with a controller, in this case an M-Audio drum-pad array. One thing we observed in his demo was how much computing power is available on a contemporary machine, like a Macbook Pro, and that for many live electronic-music applications there is more than enough. But somehow, many applications seem to grow to fit the available space, especially in our domain.

There were several demonstrations that were decidedly more low-tech, involving minimal or in some cases no electronics. Steven Baker presented a collection of resonant dustbins with contact microphones.


[Photograph by Jennifer Chu. Click to enlarge.]

The dustbins were arranged in such a way as to allow two performers to face each other for interactive performance.

I enjoyed getting to try out the hand-cranked instruments of the Crank Ensemble:


[Click to enlarge]

Basically, one turns the crank which creates a mechanical loop of sounds based on the particular instrument’s materials. I have seen the Crank Ensemble perform on a few occasions, but never got to play one of the instruments myself.

I also finally got to try out Tom Nunn’s skatch boxes, which I had seen at the Skronkathon as well as “Tuesdays at Toms”.


[Click to enlarge]

The body of the instrument is a cardboard box, and one plays it by running a comb over the various metal and plastic elements attached to the box. I spent a few minutes exploring the sounds and textures running different combs over the elements, including other combs. It was very playable and expressive, I could definitely make use of one of these!

Another variation on the theme of amplified acoustic objects was Cheryl Leonard’s demonstration in which one could play sand, water, wood, and other natural elements:

Returning now to electronics, and a different kind of “elemental music.” CJ Borosque presented her use of analog effects boxes with no formal input. Analog circuits do have some low-level noise, which is what she is using as a source for feedback, resonance, distortion and other effects. Ferrara Brain Pan demonstrated an analog oscillator than can handle very low frequencies (i.e., less than 1Hz!).

There are also several other live-performance electronics demonstrations. Bob Marsh presented the Alesis Air Synth (no longer in production). Performers pass their hand over the domed surface to manipulate sounds. Similar to the tablet, this is a very intuitive and rich interface. Rick Walker demonstrated a new powerful instrument for recording and controlling multiple live loops, with the ability to manipulate rhythm and meter. I look forward to hearing him use it in a full performance soon. Thomas Dimuzio showed a full rig for live electronics performance, that I believe he used at the electronics-oriented concert the following week.

room: PIPES

On Sunday, I attended the room: PIPES featuring Polly Moller, Pamela Z and Jane Rigler. The Room chambre series, hosted an produced by Pamela Z, take place in the Royce Gallery, an “intimate performance gallery” in the Mission District of San Francisco. The room: PIPES performance featured performances that incorporated flutes.

Before the start of the performance, we were treated to a welcome by “Ellie”, the freight elevator in the building that houses the Royce Gallery. While some music purists might be appalled to have a freight elevator included in a performance, I found it quite charming to incorporate an element of the industrial setting.

Polly Moller presented a new work, Three of Swords. The performance included an arrangement of Tarot cards, a timer and a series of candles to mark sections of the piece. In each selection, a card was drawn, and the music was an improvisation based on that card. The music focused on extended flute techniques; for example, the first draw led to an improvisation with the head of a bass flute using microtones, overblowing, whistles, clicks and other inspiring sounds. The one section of the performance that stood apart from the others was the drawing of the Three of Swords, illustrated to the right, which launched a very detailed but very expressive description of the human heart.

Pamela Z‘s playful and energetic performance did not feature flutes, but instead focus on voice. It began with live looping of tonal and harmonic singing (look up “live looping” here on CatSynth for a primer if you’re not familiar with the technique), and gradually moved to more extended vocal techniques, including clicks, screeches (with electronic processing), whispers, etc. The video in the background displayed an interior of an old industrial or loft space, empty except for a trunk that appeared and disappeared at various times. Sometimes it was open, to reveal drawers and messy clothes.

Jane Rigler opened her set with a virtuosic flute and electronics piece and the welcoming statement “Do not fear the microphone and piccolo.” She then performed her piece A la pintura, inspired by Robert Motherwell’s paintings, which were in turn a response to Spanish poet Rafael Alberti’s poems celebrating painting. Motherwell’s paintings, both as stills and as animations, were projected during the performance, and there were also moments where text was projected, presumably excerpts from Alberti’s poems. Motherwell’s paintings are quite abstract, focusing on textual elements and geometry. To have these images along with strong flute-and-electronics music (a favorite instrumental combination of mine) was a treat.

The performance concluded with a trio improvisation of all three performers. In addition to the flutes and voice, Polly Moller broke out her “tone nut” (doughnut-shaped wind instrument), and Pamela Z played the popular Ocarina iPhone instrument. It’s always interesting to hear how such disparate musicians play off of one another, and this group improvisation could have kept going on for a bit longer…