Saturday, May 30, 2015
Performance: $15 general / $8 members (http://www.brownpapertickets.com/event/1634730)
Floor seating–please bring pillows and blankets
Artist Jacqueline Gordon teams up with acoustic designer Zackery Belanger to map the unique sonic properties of 2626 Bancroft Way, original home of the Berkeley Art Museum. Designed in the Brutalist style by architect Mario Ciampi and opened in 1970, the Museum’s galleries were stark and strong, constructed of massive, nonresonant concrete balconies cantilevered over a cavernous atrium—all of these components tend to retain and mix sound. Throughout its 45-year tenure, celebrated musicians like Terry Riley, Ellen Fullman, and Pauline Oliveros were invited to perform in the building, distinctly exposing the underlying relationships between sound and architecture.
Recognizing a rare opportunity, Gordon and Belanger sought to document the building’s exceptional acoustic properties before the building’s closure. At The Lab, invited composers will interpret acoustic data gathered from the original home of the Berkeley Art Museum live on a custom array of 45 loudspeakers.
Zackery Belanger – "Acoustic Concrete: What Brutalist Architecture Can Teach Us About Sound"
All materials are acoustic, and concrete’s mass and form make it an ideal material for designing to sonic limits. Few architectural styles will likely champion concrete materials in the totalizing manner of Brutalism. So, as one of its last remaining edifices, 2626 Bancroft Way provides us with a trove of information about acoustic design.
PERFORMANCE, Doors at 8:00pm, Performances 8:30pm
Matt Ingalls, Maggi Payne, David Dunn with David Kant, and Jon Leidecker with Willie Winant were all given access to the acoustic data collected from 2626 Bancroft Way. Ingalls created a new piece combining an improvised clarinet recording captured in the museum alongside a virtual reproduction of the Museum’s acoustics. Payne will perform a new 8-channel recording using the impulse responses. Leidecker and Winant will sonically blend 2626 Bancroft Way with the natural acoustics of The Lab, performing Max Neuhaus' realizations of John Cage's score "Fontana Mix" for percussion and feedback.
This project is supported by the generous donations of 185 backers on Kickstarter, and a Foundation for Contemporary Arts Emergency Grant, and equipment donations by Meyer Sound.
For further information about this project please visit acousticdeconstruction.org
Image by J. Parkman Carter
Kristin Erickson is a girl named Kevin — Kevin Blechdom to be precise, the avenging angel of pop music. Armed with a laptop, top notch programming skills, keyboard and a banjo, Ms. Blechdom has brought much needed life into electronic music with her one woman show filled with Song, Dance, Blood and Guts. She received her B.A. And M.F.A. Degrees in electronic music from Mills College, and in 2013 she received her Doctorate of Musical Arts degree from the California Institute of the Arts. Now she works as the Technical Coordinator for the Digital Arts and New Media program at the University of California, Santa Cruz.
The MEGAPOLIS Festival is a multi-day series of events for people to create, experiment with, and experience sound. Artists including documentarians, technologists, musicians, educators, urban planners, scientists, and radio producers come together to celebrate the audio medium and to encourage each other to push the boundaries of sound, art, and thought
Saturday, June 6, 2015
8pm doors, 40 minute performance starts promptly at 8:30pm
$8 general / free for members
“This is an expansion and re-visioning of audio/video noise performances that I made between 1995-1999, many of which were presented at the Lab. The political/cultural context of current San Francisco feels hauntingly similar to the period when these were made. At that time, the Dot Com boom was in full swing, carrying with it in equal parts, a dystopian dread and a techno-utopian optimism. Google was just one of many competing search engines, a generation of tech workers were making their first fortunes, emerging technologies promised to empower us as individuals. At the same time, artist warehouses and art spaces were struggling to survive - many lost their leases to skyrocketing rents and venture capital funded startups. Long-standing communities suffered, and small businesses were forced out. The emotions and struggles from this period are being replayed now in a frighteningly similar fashion, the sites of this struggle are the same. This work comes from that uncertain moment.
For me, the work is particularly important because it expands upon an experiment that was never truly completed. Flickering and strobing linear analog video, radio noise and TV static…. I don’t know what to call it, but it was raw and unfiltered. Searing but beautiful, like staring at the sun. With the technological revolution, video and audio became digital, non-linear. Resolutions expanded, screens flattened, effects became slicker, and the cathode ray tube disappeared. Everything became, well… focused. And with that a particular type of expression vanished. I want to bring this work to a new generation of San Franciscans, struggling with moral, ethical, financial, and practical decisions that affect our city, its future, and the technological narratives now being written.”
- Scott Arford