Our latest CatSynth TV documents yesterday’s edition of inWooble, a monthly synthesizer meetup and jam session at LinkedIn’s offices in downtown San Francisco. I had the opportunity to join this time, and had a good time performing with everyone – I particularly enjoyed the time where we were rhythmically together or forming complex contrapuntal textures across the six modular-synthesizer setups. And the views of downtown SF out the window were pretty cool, too.
Hosts: Franck Martin Juan Rosales Bryan Levay
Participants: M.0 (Maurice Jackson) Amanda Chaudhary Chris Otchy
Greetings, and happy third night of Hannukah! Today we look at the Soundtracks exhibition currently on display at the San Francisco Museum of Modern Art (SFMOMA) through the end of the year. It is also the subject of our most recent CatSynth TV episode.
The exhibition explores the intersection of sound, visualization, and space, and features over 20 artists. There are a variety of interpretations and methods of making sound, from acoustic to mechanical to electronic. None of the sound installations are overpowering, but many do arrest ones attention. Upon arriving at the 7th floor for the exhibition, one is created by Anri Sala’sMoth in B-Flat, which features a mechanically triggered snare drum hanging inverted from the ceiling.
[Anri Sala. Moth in B-Flat (2015_]
The electro-mechanical theme continues with O Grivo’sCantilena, which includes several motorized sound-making sculptures primary made of wood.
[O Grivo. Cantilena (2017)]
These were fun to watch, and I found myself wanting to make one myself (we shall see if that actually occurs).
Simplicity reigned in Céleste Boursier-Mougenot’sclinamen v.3. A large shallow pool of water contained floating ceramic bowls. The frequent collisions of the bowls created a music that was very captivating.
This piece was deeply calming, and I found myself zeroing in on groups of bowls as they collided and separated to form rhythms and harmonies.
Ambient soundscapes were also the heart of an installation by Brian Eno, New Urban Spaces Series #4: “Compact Forest Proposal,”, with a darker tone and more complex technology.
[Brian Eno.New Urban Spaces Series #4: “Compact Forest Proposal” (2001)]
One is free to wander the darkened space amidst the moving columns of LED lights. Every once in a while, the light increases and one gets glimpses of shadowy figures on the wall. The sounds ranged from small percussive synth hits to trumpets to electronic noise.
Electronic noise was also at the heart of Christina Kubisch’s installation Cloud. Kubish’s work explores sonification of data and electricity. The mass of red electrical wires emits electromagnetic radiation, which was interpreted as sound using customized headphone devices.
[Christina Kubisch. Cloud (2011/2017)]
Of all the installations, this was the among the most challenging to take in sensually or to document. I love the concept, and I think it really needs an extended period of time alone to experience fully.
From the large to the small. We had fun with Sphere Packing by Rafael Lozano-Hemmer, which featured several spherical speaker arrays made from those ubiquitous white Apple earbuds.
[Rafael Lozano-Hemmer. Sphere Packing (2013 and 2014)]
Each was playing a different selection of classical music from the 18th, 19th and 20th centuries, rearranged and diffused asynchronously through the speakers. Lozano-Hemmer also had an installation Last Breath that included a recording of breathing by the late Pauline Oliveros.
We conclude with another project visualized as a sphere. Lyota Yagi’sSound sphere featured a sphere wrapped in cassette tape that freely rotated and revolved. Customized pickups rendered the sound from the tape, which is chopped, looped and distorted based on the chaotic motion of the sphere.
[Lyota Yagi. Sound Sphere (2011)]
All of these pieces were inspiring for my own work, as I want to do more sound installation in the coming year. There were more in the main the exhibit and spread around the museum, but beyond what I can cover in this article. We do encourage you to check out our video to hear how some of these pieces sound. And if you are in the Bay Area, we strongly recommend checking the exhibition out before it closes on January 1, 2018.
Far Out Gallery in the Sunset district of San Francisco is currently hosting a solo exhibition of works by Anne Herbst, and we were on hand to see it and cover it on CatSynth TV.
Of course, the cat-imagery particularly caught my eye, but there are many layers beyond that. Even in the cats, one can see some of the other elements that permeate Herbst’s art, including undulating lines and traces of her body that are used both as textures and bounding elements.
There are also the frequent connections to her personal history in the inclusion of faces and hints of other people. The connection to blood comes up both in the use of color, imagery, and the context of a couple of the paintings. It features in a self portrait as well as a piece for her father’s 90th birthday, both of which are featured in the video.
Herbst took the personal history to a new level for this exhibition by re-imagining childhood drawings with her current artistic style and practice.
We see the lines, shapes, and character of her current work brought to the original cat figure from the drawing. One can also notice the blood-like elements and color in this piece.
Creatures of all sorts abound throughout. In addition to the cats, the turtle seems to be a recurring animal, and was featured prominently in the work we most associated with the exhibition title “Ripples.”
Far Out Gallery has been a great discovery for us, a place connecting us more deeply to that sometimes remote western edge of San Francisco. We are happy to have been there for both Anne Herbst’s show and Kasper Rodenborn’s earlier this season. We hope to see more in the future.
Today we look back at the recent show featuring Song & Dance Trio and Lithuanian sound-and-performance artist Arma Agharta at the Luggage Store Gallery in San Francisco. It was the subject of a recent episode of CatSynth TV.
I have seen the members of Song & Dance Trio, Karl Evangelista (guitar), Jordan Glenn (drums) and Cory Wright (baritone saxophone) many times before in many musical contexts, but this was the first time I saw them as a trio. As one can hear in the video, they mixed complex virtuosic avant-garde performance with familiar jazz idioms. And they made it work. There was a strong rhythmic sense throughout the set, with the musicians moving freely between a relaxed shuffle and frenetic staccato runs. The familiar jazz figures sprinkled throughout were fun, but the more experimental interludes were a palette cleanser that made the grooves stand out more strongly.
[Song & Dance Trio (Evangelista, Glenn, Wright)]
Next up was a solo performance by Arma Agharta, a Lithuanian sound-performance-artist who was kicking off the west-coast swing of his United States tour. I didn’t know quite what to expect, even after looking at his interesting setup with a mixture of sound-making objects and electronic instruments.
[Arma Agharta’s colorful electro-acoustic rig]
And then he took the stage wearing a large pointed had and colorful robe. Things started quietly but very quickly turned to a loud, frenzy of sound, movement, and vocals.
[Calm and anything-but-calm moments with Arma Agharta]
This was one of the most physically and sonically intense solo performances I have seen in a while, and the energy was nonstop for most of the duration, with just a few ebbs and pauses. An endurance test for performer and audience alike. I haven’t heard anything quite like it, and it is hard to do justice either in written or video form. The intense sounds were from many layers of electronics, including recorded sounds played at high volume along with Arma Agharta’s own powerful voice howling, bellowing, and other vocalizations.
It was interesting to see such different performances in the same show and to assemble them into a single 3-minute video. But it worked both live and recorded. We wish Arma Agharta well on his next tour (last we saw he was in Turkey) and hope to hear more from him. We, of course, will continue to follow Evangelista, Glenn, and Wright on their musical adventures here in the Bay Area.
Today we look back at the recent performance by Pet the Tiger invented instrument collective in Golden Gate Park. It was part of a series hosted by Dan Gottwald featuring invented-instrument performances in the tunnel near the Conservatory of Flowers. You can see and hear excerpts from the concert this CatSynth TV video.
The centerpiece of the performance was the harmonic-series gamelan, a set of instruments that employ tuning based exclusively on the harmonic series. This leads to just-intonation relationships among pitches, but not necessarily those of conventional Western twelve-tone music. The results are haunting and exquisite. This is especially true of the 5-octave metallophone demonstrated by David Samas in the video, and played by Samas and others in the concert.
There was also a large kalimba-like instrument performed primarily by Samas and Derek Drudge, and a large instrument created and played by Bart Hopkin.
In addition to the metallophones, there were various wind instruments. Peter Whitehead played an instrument that resembled a longitudinal bass flute, and whirling tubes, all of which also conformed to the harmonic series.
There was also a stringed instrument performed by Ian Saxton.
Harmonic series relationships are well known to be very pleasant to the ear, and there was an overall pleasing tone to the music, amplified by the acoustic properties of the tunnel, the lighting and the fellowship of performers and audience. In addition to the long meditative pieces, there were sections combining music with anxious dystopian poetry, and even a rendition of George Harrison’s “Within You Without You” from Sgt. Pepper’s Lonely Hearts Club Band.
Overall, it was a lovely and poignant evening, with the light show from the Conservatory of Flowers in the distance and a warm friendly atmosphere in the tunnel that mitigated the approaching chill of the night in Golden Gate Park. The series is over for the season, but we do expect to hear more of Pet the Tiger and these inventor-musicians in the near future.
Today we look back at last week’s show at Canessa Gallery in San Francisco, featuring Elliott Sharp, Tania Chen + Wobbly, and Euphotic. This show was the subject of CatSynth TV Episode 8, and you can see and hear a bit of each set.
We were quite pleased to see Elliott Sharp. We saw him back in the 1990s, but it’s been a while since he made it to the Bay Area.
He has a unique and idiosyncratic sound, with fast runs, harmonics, and extended techniques, along with electronics. The electronics, which appeared to include some looping, sampling, and delay, did not overpower his guitar playing, and the individual gestures, from frenetic fingerpicking to expressive scratches, came through strongly. Although his style is unusual, it is still quite melodic and harmonic, something that comes out particularly in a solo-performance setting.
The evening opened with Euphotic, a trio project featuring Tom Djll (electronics, trumpet), Cheryl Leonard (instruments from natural found objects) and Bryan Day (invented instruments).
The sound was subtle and detailed, with a lot of short sounds clustering like schools of fish. Djll’s electronics bridged the space between Cheryl Leonard’s organic sounds and Bryan Day’s more chiseled electro-acoustic creations. There was also a quality in Day’s performance that foreshadowed Elliott Sharp’s sound and style later in the evening.
Euphotic was followed by a duo featuring Tania Chen on electronics, voice and found objects, with Wobbly (aka Jon Leidecker) on electronics. He had an array of iPads linked together.
The performance centered around “Feasibility Study”, an episode of the television show Outer Limits, slowed down beyond recognition. Chen’s vocals and found-object performance featured material and ideas from the episode, including chomping on biscuits and pop rocks to represent the rock-like aliens in the video. She also performed a melodic section on an iPad, which complemented Leidecker’s complex electronic processing. His sounds were slower and more undulating, providing an eerie setting for the overall performance.
We had a great time at this show, as did the rest of the audience that filled Canessa Gallery to capacity. We look forward to more interesting music from these artists and from this venue. And thanks to Bryan Day for continuing to host this series.
Today we look back at last weekend’s APAture Book Arts Showcase, hosted by Kearny Street Workshop. You can see a bit of the event, and three of the artists, in our companion video on CatSynth TV.
In the video, we see a reading by featured artist Innosanto Nagara of his recent book A Night at the Planetarium, which introduces readers to the culture and history of Indonesia, and one particularly intense night under Indonesian military rule (while “the general” is clearly Suharto, he is not mentioned by name). It is partly a memoir of the author at a young age and relates the story of a crackdown on his father’s dissident plays. Nagara is although the author of the award-winning and quite delightful A is for Activist (we love the black cat on the cover).
“Book Arts” covers quite a lot of territory in terms of discipline and media. There are formal, published books like Nagara’s, but also other print media like self-published zines. Mixed Rice Zines is the ongoing project of Jess Wu-O, and features voices that are often underrepresented, such as queer voices in the Asian American and mixed-race communities. One edition Queer Azn Musicians particularly spoke to me as a queer musician of South Asian descent.
The zines are self-published, as were many of the other pieces featured in the show. Bridge Ho presented these zines featuring her photography along with words by Michelle Velasquez-Potts. The published pieces are works of art, showing semi-abstract imagery on various printed materials including vellum.
Overall, however, most of the work in the show centered around illustration. Minnie Phan presented a variety of printed illustrations, including on cards, booklets, and her comic book They Call Us Viet Kieu, written after Phan visited Vietnam in 2013. You can hear her talk a bit about the experience in our CatSynth TV episode.
Similarly, we saw a variety of illustrated printed material from Cheez Hayama including these cat cards – each one is hand drawn and slightly different – and California activity book featuring our state bird.
More traditional “comic books” were on display as well, including the Time Fiddler by Ellis Kim. The series, told as detailed and well drawn graphic novels, follows a young woman on an adventure through time travel, space, and romance. And of course, there is a cat.
And with books and graphic novels, we come full circle with This Asian American Life by Katie Quan, featuring the everyday adventures of an Asian-American protagonist. Parts of autobiographical from Quan’s experiences, but also includes shared experiences from friends as well as entirely imagined scenes.
It was a well-attended show with many artists presenting – and selling – their work. We regret not being able to visit or include everyone. Congratulations to KSW and everyone involved on a great event.
Smoke and haze in downtown San Francisco, looking up Ellis Street from a building on Market. You can see what this view looks like under better skies here.
After a couple of relatively good days, the air quality once again took a turn for the worse. As bad as it is, it’s nothing compared to what our friends to the north have gone through with the terrible fires, and our thoughts are with them as they recover.
Today we look back at last weekend’s opening of Art for the Naked Eye at Far Out Gallery in San Francisco. The show covers twenty years of work by local artist Kasper Rodenborn.
You can see and hear a bit about Rodenborn’s art in his own words in our most recent CatSynth TV episode.
Rodenborn’s work falls into several periods and categories. First, there are the more traditional paintings, with surrealist quality that particularly reminds us of Yves Tanguy.
Many of the works feature wildstyle, an homage to Rodenborn’s early days as an underground graffiti artist. But he combines this with other elements, including some that project out of the canvas in the sculptural realm, as in the Rauchenberg-esque elements in Aside from Concrete Existence displayed below.
[Kasper Rodenborn, Aside from Concrete Existence. This piece will be hanging in CatSynth HQ after the show!]
Over time, we observe his work to move in the direction of collage and ultimately assemblages, as in these intricate pieces.
The most recent works are a return to flat surfaces. But these flat pieces have depth and motion, as they respond to changing light colors. They were displayed illuminated by rotating-color LED bulbs.
It was a strong exhibition, we are glad to have attended. And Far Out Gallery was an excellent discovery in the Sunset District of San Francisco – we expect to be back for future shows.