October 29, JACK, 505 1/2 Waverly Ave, Brooklyn
Electro-acoustic music, light and text.
Bonnie Jones + Richard Garet
Nate Wooley + Philip White
Bonnie Jones (Baltimore) and Richard Garet (New York City) will create a shifting terrain of live video, text, voice, and electronic sounds; the performance will combine both improvised collaboration as well as areas guided by the video and/or text projections; the project explores the creation of environments that explore the real and artificial / the material and ephemeral – in effect, short circuiting the senses.
Phillip Stearns presents abstract analog and digital hybrid computation + light. A performative electronic event.
Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised by dairy farmers in New Jersey, and currently resides in Baltimore, MD. Bonnie creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual). She is interested in how people perceive, “read” and interact with these sounds and texts given our current technological moment. Bonnie has received commissions from the London ICA and has presented her work in the US, Europe, and Asia and collaborates frequently with writers and musicians including Ric Royer, Carla Harryman, Andy Hayleck, Joe Foster, Andrea Neumann, Liz Tonne, and Chris Cogburn. She received her MFA at the Milton Avery School of the Arts at Bard College.http://www.bonniejones.wordpress.com
Richard Garet holds an MFA from Bard College. Recent exhibitions include Soundings: A Contemporary Score, Museum of Modern Art, New York (2013); Extraneous to the Message, Julian Navarro Projects, 36-01 36th Street, L.I.C, NY (2013); The Spacious Now and the Scale of the Instantaneous, Studio 10, 56 Bogart St., Brooklyn, NY (2012); Activating the Medium Festival, 23five, San Francisco MOMA, 151 Third Street, San Francisco, CA (2011); among many other national and international exhibitions. His work has been profiled and reviewed globally and his sonic constructions have been published through sound art labels such as 23five, And-Oar, Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, White_Line Editions, OBS, Sourdine, and Contour Editions.
Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley’s solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings “exquisitely hostile”.
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him “an iconoclastic trumpeter”, and Downbeat’s Jazz Musician of the Year, Dave Douglas has said, “Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole”. His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he will perform at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums.
The music of composer, performer and improviser Philip White is known for its ecstatic intensity and expressive sonic palette. Working with an array of homemade electronics at the intersection of noise, jazz and contemporary concert music, White exploits the tension between rigorous, closed electronic systems and the urgency of human compulsion.
Drawn to the chaotic, autonomous behavior of feedback based instruments, Philip seeks to discover new ways to engage with, steer, or even struggle to control them. He considers control of his systems a parameter on equal footing with pitch, timbre or loudness. His homemade electronic instruments combine to create a self-determining and often explosive sound world which he extends to his compositions for ensemble and work with other artists.
An active collaborator, Philip performs regularly with R WE WHO R WE (with composer Ted Hearne), Colonic Youth (with James Ilgenfritz, Dan Blake and Kevin Shea), thenumber46 (with Suzanne Thorpe), Taylor Levine and Chris Pitsiokos. He recently created the electronic music for Yotam Haber’s A More Convenient Season (with the Alabamy Symphony and 90 person choir) and provided the composition and sound design to dancer/choreographer Nora Chipamuire’s rite riot.
Philip has been an artist in residence at Electronic Music Foundation, Harvestworks, High Concept Labs and the Rensing Center and received grants from New Music USA, the Jerome Foundation. He has lectured at Wesleyan University, University of Chicago, University of South Carolina and the College of Charleston. He received his BA in Music from the College of Charleston and an MFA in Electronic and Recorded Media from Mills College.
Based in Brooklyn, NY, Phillip Stearns is the creator of the Year of the Glitch, a yearlong glitch-a-day project, and Glitch Textiles, a project exploring the intersection of digital art and textile design. He received his MFA in music composition and integrated media from the California Institute of Arts in 2007 and his BS in music technology from the University of Colorado at Denver in 2005.
His work has been exhibited internationally at electronics arts festivals, museums, and galleries including: Turku Biennial 2013, WRO Biennale 2013, Transmediale 2013, Denver Art Museum (2013), The Photographer’s Gallery London (2012), The Camera Club of New York (2012), Eyebeam (2012, 2007), Harvestworks (2010, 2012); Gli.tc/H 2112; Festival De Arte Digital 2010; FILE 2009; NIME 2009; Filmer La Musique 2009; FONLAD 2009; Torrance Art Museum (2008, 2007); Optica Film Festival & (2011 2008). He has participated in residencies at the Making Lab of the 4th APAP ( Korea 2013), Textielmuseum in Tilburg, NL (2013), Institute for Electronic Arts (2012, 2013), Museums Quartier (Vienna 2010), STEIM (Amsterdam 2007, 2013), Experimental Television Center (2009), Harvestworks (NY 2010), Free103Point9 (2012). He has presented and led workshops at several international institutions including the Universidad De Chile (Santiago 2013), Santiago Maker Space (2013), Pomona College (2013), Recyclism Hacklab (Dublin 2013), and the Science Gallery (Dublin 2013).