Tue - Sat, 12 - 6PM / 212.937.6580 / 540 W 21st St. New York, NY 10011
CANCELLED DUE TO SUPERSTORM SANDY
Eyebeam's Sound Research Group and CT-SWaM present:
Subtle Listening: Inner Ear Training for the Sound Artist Two day Workshop for Autumn 2012 in New York City Workshop leader: Kim Cascone
Oct 28 and Oct 29 2012 10am-4pm
with a public presentation on Monday Oct 29 at 9pm
540 West 21st Street New York, NY 10011
Connect on Facebook: http://www.facebook.com/events/438556652857427/
Evening event: free admission
Subtle Listening is a mode of listening where one's imagination is open to the sound world around them, helping their inner ear and outer world intersect.
The ‘Subtle Listening’ workshop is a workshop for musicians, media artists, filmmakers, composers, producers, sound designers, or any type of artist who wants to sharpen their listening skills.
The workshop uses a wide range of techniques culled from Jungian psychology, Hermetic philosophy, paradox and Buddhist meditation, as well as thirty years of my own experience as a sound artist and electro-acoustic music composer.
Through guided meditation, and listening exercises, participants will learn techniques they can use any time to help heighten their sensitivity to the sounds around them.
***please note that Subtle Listening is not: - a hands-on audio production workshop
- a master class in field recording
- how to listen to classical music
Kim Cascone studied electronic music at the Berklee College of Music and at the New School in Manhattan.
He founded Silent Records in 1985 and has released more than 50 albums of electronic music on Silent, anechoic, Sub Rosa, Mille Plateaux, Raster-Noton and Monotype.
Cascone has performed with Merzbow, Keith Rowe, Scanner, John Tilbury, Tony Conrad, Pauline Oliveros and worked as assistant music editor on two David Lynch films.
Cascone founded the .microsound list in 1999, has written for MIT Press and Contemporary Music Review. His writing is included in many books on sound art.
Items needed by workshop participants:
- a laptop with audio software
- an mp3 player – either software, smartphone or standalone player - a pair of good quality headphones – earbuds are OK
- loose comfortable clothing for meditation practice
- two pairs of foam earplugs
- a small notebook for use as a dream journal & sketch book
- a USB stick with room on it for mp3 files
- a blindfold – a scarf that can be tied around ones head will do
- small hand-held items that make noise:
small percussion instruments (bells, triangles, small drums etc) small rocks – no bigger than a palm of a hand
clickers – or any small metal objects
cellophane or aluminum foil
whatever people imagine would be useful
- digital recorders, microphones are optional but can be useful for documentation and workshop work
Following the Subtle Listening Workshop at Eyebeam Kim Cascone will present his 3.1 channel piece Becoming Aion along with pieces developed during the workshop:
(info for workshop: http://subtlelisteningnyc.eventbrite.com/)
Monday, Oct 29 2012 9pm
540 West 21st Street New York, NY 10011
(Donation encouraged) ------------------------------
Kim Cascone 'Becoming Aiôn' (an alchemisphere)
' a technologically organized imagination is an incomplete toolkit'
'Becoming Aiôn' is a thirty-four minute work utilizing Schumann resonances, Spricom frequencies, binaural and monaural beat frequencies and spatial effects to induce an altered state in the listener. The event's structure is derived from the Fibonacci series.
Kim Cascone has a long history involving electronic music: he received his formal training in electronic music at the Berklee College of Music in the early 1970's, and in 1976 continued his studies with Dana McCurdy at the New School in New York City.
After moving to San Francisco in 1983 and gaining experience as an audio technician, Cascone worked with David Lynch as Assistant Music Editor on both Twin Peaks and Wild at Heart.
Cascone left the film industry in 1991 to concentrate on Silent Records, a label that he founded in 1986, transforming it into the U.S.'s premier electronic music label.
At the height of Silent's success, he sold the company in early 1996 to pursue a career as a sound designer and went to work for Thomas Dolby's company Headspace.
After a two year stint at Headspace he worked for Staccato Systems as the Director of Content where he oversaw sound design using algorithmic synthesis for video games.
Kim has been touring Europe since 2001 performing, conducting workshops and lecturing on post- digital aesthetics in sound art. He has released more than 50 solo and collaborative albums since 1984 and has recorded/performed with Merzbow, Keith Rowe, Tony Conrad, Scanner, John Tilbury, and Pauline Oliveros among others.
Cascone was one of the co-founders of the .microsound list which focuses on issues concerning post- digital music and laptop performance (http://www.microsound.org/). His writing has been published in Computer Music Journal (MIT Press), Artbyte, Contemporary Music Review, Soundcultures, Parachute Journal, Junk Jet and Geometer. Cascone is on the advisory board of the sound journal Interference based in Dublin Ireland.
Kim is a citizen of both the USA and Italy, lives on the coast of California, south of San Francisco, with his wife Kathleen and son Cage.
* Discography: http://www.discogs.com/artist/Kim+Cascone
* Essay in Junk Jet
* interview with Kim Cascone in Ctheory http://www.ctheory.net/text_file.asp?pick=322
CT-SWaM (Contemporary Temporary Sound Works And Music) is Eyebeam’s late night concert series
curated by Eyebeam Alumni Daniel Neumann, happening intermittently in Eyebeam’s Main Space. The series focusses on contemporary sound experiments, electro-acoustic multi-channel performance, social relations, improvisation, lowercase artistic presence, and topology – study of place/space with a spatial concept that goes beyond linear, geometrical understandings of space.
An aim is to create unique situations, to stay irregular, to only apply methods that don’t appear as such – regularities should seem incidental and are then very welcome. The work is the focus and its presentation therefore has to be plastic, morphing, not static. Context provides security: if worked within and against it.
Mostly on Mondays, when galleries are Closed.