The Alan Sondheim Mail Archive

April 17, 2012

Bowing for Stephen Dydo and Jerry Everard (best)

Bowing or bowing, bowing down, playing music, doubled tautness: Already
I want to add something (to the essay, to the sound, to etiquette), of
the object, the bow (tying the hair, playing music, positioning the
body), which is an alteric object, other in any case (culture, viola
case), what one might call 'that' object (in the sense that science is
'that' procedure, phenomenology, ideology), which produces, by a
certain and constant swaying (ponytail, body, viola bow), a sound that
seems unnatural, manufactured, elsewhere (swish, the engagement of
strings, perfume), in relation to the bending body (proper position of
the arm, chest, ponytail left and right!), setting up a particular
rhythm (etiquette, fiddling, swaying), in engagement with etiquette
(string tautness and rosin, hierarchy and context, boys and girls),
these actions already so close to the dance (pocket fiddle, twist,
noh), the whole a motif for the swinging of language (notes, respect,
glances), mobile lexicon and phonemes (singing, giggling, foxtrot,
whispers, murmurs), oh! I've lost the essay (song, return, crying,
ribbons) in the beautiful movement of the bow (ship, viola music,
curtseying, smiles, sashays, readings, writings, essays, assays)
back and forth and playing (bowing, ponytail, viola bow, swingings,
lefts and rights!, ribbons, giggles, smiles, swayings, backs and
forths! ups and downs!), playings!

Date: Tue, 17 Apr 2012 20:31:38
From: Jackson Moore <>

You are cordially invited to:

The Sound Research Summit

This Saturday, April 21
3pm-7pm: open exhibit
7pm: public discussion

at Eyebeam Art+Technology Center
540 W. 21st Street, New York (map)

On the afternoon of April 21st, Eyebeam's main exhibition space will be
transformed into a small village dedicated to creative sound research. Using
resources as diverse as atmospheric sensors, string instruments, reverberant
plates, magnetized wires, cell phones, data hubs, and laughter, participants
from Eyebeam's sound research group will convene to run experiments, share
original research, develop work in progress, and explore collaborative

Interaction, encounter, and juxtaposition will be emphasized over sound
isolation?the idea being that sound is transparent enough to permit a human
ecology that transcends the singular focus of the concert format.

? Kyle Clyde will test sound absorbancy, sound bleed, and feedback thresholds
with her giant plate reverb unit.
? Bernhard Garnicnig will examine the resonant frequencies and specific sonic
qualities of networked devices.
? Christine Sun-Kim will experiment with strategies for encoding sounds on
magnetic wire.
? Jackson Moore, John Speck, Russell Baker, and Rob Lee will work on a melodic
pidgin language.
? David Reeder's OSC network will turn a ping pong table in Cambridge into a
metronome in Chelsea, and much much more.
? Mike Clemow will be working over the OSC server with a the roving laptop
brigade, sampling and interacting with the surrounding space.
? Yo Park will lead exercises in laughter, with Andrew Sigler, Cigdem Tankut,
Gulsen Caulk, Gabriel Levicky, Jayoung Chung, Victor De La Cruz, and others.
? Alan Sondheim, Azure Carter, and Chris Diasporra will revisit the discovery
of music: the moment when people first began figuring how to make sound with
? Seth Dellinger will develop his phonemic vocal music.
? Ben Houge will construct his auditory kaleidoscope, and provide sensor data
from the MIT Media Lab for sonification.
? Amelia Marzec will demo Re-wired, a wearable device that translates ambient
sound into haptic feedback.
? Brian House will sonify his compendium of rhythms from everyday life.
? Mary Mattingly brings us the sound of place: the Flock House living system,
and its peripatetic denizens.
? With a special surprise from Hethre Contant's Texas Mockingbirds.

The Sound Research Summit is the inaugural event in Eyebeam's new sound art
event series, Rec. Play.

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