Upcoming Events
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Join us for evening hours on First Friday at the Tannery Arts Center, featuring a two-channel version of Alex Wand’s field recordings project Mapping Sonic Futurities, with a live performance at 7:30pm by the free improvisation trio Tides.
Join us for evening hours on First Friday at the Tannery Arts Center, featuring a two-channel version of Alex Wand’s field recordings project Mapping Sonic Futurities, with a live performance at 7:30pm by the free improvisation trio Tides.
Composer, flutist, and improviser Rachel Beetz presents a new work titled Unofficial — a result of a prolonged period of solo extended technique improvisations on her acoustic flute, augmented by electoacoustic processing. She writes that Unofficial “is an attempt at opening up and searching for a musical expression underneath my official, public identity.” Sally Decker is a composer, performer, and writer based in Oakland, working with nonlinear feedback systems and text. Her work explores the subtle emotional body and sound as a vessel for practicing presence. Her latest release on NNA Tapes, In the Tender Dream, came out in 2021.
Composer, flutist, and improviser Rachel Beetz presents a new work titled Unofficial — a result of a prolonged period of solo extended technique improvisations on her acoustic flute, augmented by electoacoustic processing. She writes that Unofficial “is an attempt at opening up and searching for a musical expression underneath my official, public identity.” Sally Decker is a composer, performer, and writer based in Oakland, working with nonlinear feedback systems and text. Her work explores the subtle emotional body and sound as a vessel for practicing presence. Her latest release on NNA Tapes, In the Tender Dream, came out in 2021.
Sarah Cruse joins Thomas Sage Pedersen for the next Speak for Change Podcast live show, exploring emergence: the process of coming into view or becoming exposed after being concealed. Sarah will begin with a performance exploring the sound of emergence, by improvising and exploring the energy of the room to create a moment of reflection for people in the space. They will explore what emergence feels like in our personal, communal, and political lives.
Sarah Cruse joins Thomas Sage Pedersen for the next Speak for Change Podcast live show, exploring emergence: the process of coming into view or becoming exposed after being concealed. Sarah will begin with a performance exploring the sound of emergence, by improvising and exploring the energy of the room to create a moment of reflection for people in the space. They will explore what emergence feels like in our personal, communal, and political lives.
LA-based artists Byron Westbrook and Alex Pelly present a live Audio/Visual collaboration using electronics and modular video synth. The project expands from their online performance created earlier this year for the cathartic and damaged compositions on Distortion Hue, Westbrook’s recent LP with Hands in the Dark. This live iteration features Pelly’s colorful and dynamic audio-reactive images activated by Westbrook’s sonics made with analog and digital synthesizer, computer and processed cassette tape.
LA-based artists Byron Westbrook and Alex Pelly present a live Audio/Visual collaboration using electronics and modular video synth. The project expands from their online performance created earlier this year for the cathartic and damaged compositions on Distortion Hue, Westbrook’s recent LP with Hands in the Dark. This live iteration features Pelly’s colorful and dynamic audio-reactive images activated by Westbrook’s sonics made with analog and digital synthesizer, computer and processed cassette tape.
An introductory course to using the SuperCollider programming language to make sound and explore generative composition. Look forward to a fun and hands on environment, as we journey through: instrument design, sound synthesis, and algorithmic composition. Participants will leave the workshop with a foundation of skills related to using SuperCollider for creative projects and resources for further development. Points of departure will depend on each student’s unique set of interests and abilities, but may include: music, installation, performance, and interactive art.
An introductory course to using the SuperCollider programming language to make sound and explore generative composition. Look forward to a fun and hands on environment, as we journey through: instrument design, sound synthesis, and algorithmic composition. Participants will leave the workshop with a foundation of skills related to using SuperCollider for creative projects and resources for further development. Points of departure will depend on each student’s unique set of interests and abilities, but may include: music, installation, performance, and interactive art.
Katherine Young’s installation BIOMES 4.1 is part of an ongoing series of works for electronic and acoustic instruments that invites performers to respond to an environment of sound and light analogous to a physical ecosystem. Young assembles an archive of photographic documentation, video, and field recordings on a specific ecological biome—the desert, the marshlands, etc.—and works with performers to develop improvisational strategies and tools that respond to both the materials and the electroacoustic compositions that Young projects throughout the space.
Katherine Young’s installation BIOMES 4.1 is part of an ongoing series of works for electronic and acoustic instruments that invites performers to respond to an environment of sound and light analogous to a physical ecosystem. Young assembles an archive of photographic documentation, video, and field recordings on a specific ecological biome—the desert, the marshlands, etc.—and works with performers to develop improvisational strategies and tools that respond to both the materials and the electroacoustic compositions that Young projects throughout the space.
Yarn/Wire is a New York-based quartet dedicated to the promotion of creative, experimental new music. Described by The Brooklyn Rail as “fascinating and exciting, with playing that is precise and full of purpose,” the ensemble is admired globally for the energy and precision it brings to performances of today’s most adventurous compositions. Founded in 2005, the ensemble seeks to expand the representation of composers so that it might begin to better reflect our communities and experience new creative potential. The ensemble will perform Katherine Young’s installation-composition BIOMES 4.1, as well as a new work by Marcel Zaes.
Yarn/Wire is a New York-based quartet dedicated to the promotion of creative, experimental new music. Described by The Brooklyn Rail as “fascinating and exciting, with playing that is precise and full of purpose,” the ensemble is admired globally for the energy and precision it brings to performances of today’s most adventurous compositions. Founded in 2005, the ensemble seeks to expand the representation of composers so that it might begin to better reflect our communities and experience new creative potential. The ensemble will perform Katherine Young’s installation-composition BIOMES 4.1, as well as a new work by Marcel Zaes.
Anna Friz is a sound and media artist born on the unceded, ancestral and occupied territories of the Coast Salish peoples in the city presently known as Vancouver. She specializes in multichannel radio transmission systems for installation, performance, and broadcast, as well as works in which radio is often the source, subject, and medium of the work. She also creates multi-channel audiovisual installations, and composes works for theater, dance, film, and solo performance that reflect upon media ecologies, land use and infrastructures, time perception, the intimacies of signal space, and critical fictions. Friz is Assistant Professor in the Film and Digital Media Department of the University of California Santa Cruz.
Anna Friz is a sound and media artist born on the unceded, ancestral and occupied territories of the Coast Salish peoples in the city presently known as Vancouver. She specializes in multichannel radio transmission systems for installation, performance, and broadcast, as well as works in which radio is often the source, subject, and medium of the work. She also creates multi-channel audiovisual installations, and composes works for theater, dance, film, and solo performance that reflect upon media ecologies, land use and infrastructures, time perception, the intimacies of signal space, and critical fictions. Friz is Assistant Professor in the Film and Digital Media Department of the University of California Santa Cruz.
The Chromelodia Project (Chris Brown, Kyle Bruckmann, Theresa Wong) performs excerpts from “Occhio,” a composition in an extended just intonation microtonal system devised by composer Harry Partch, comprised of precisely notated microtonal music with electronically generated rhythms that fuel extended improvisations. Santa Cruz musicians Polly Malan and Emily Sinclair open the evening with solo and duo compositions by Charles Dodge, Daijana Wallace, and Jessica Meyer.
The Chromelodia Project (Chris Brown, Kyle Bruckmann, Theresa Wong) performs excerpts from “Occhio,” a composition in an extended just intonation microtonal system devised by composer Harry Partch, comprised of precisely notated microtonal music with electronically generated rhythms that fuel extended improvisations. Santa Cruz musicians Polly Malan and Emily Sinclair open the evening with solo and duo compositions by Charles Dodge, Daijana Wallace, and Jessica Meyer.
RICH GLITCH is a collaborative, interactive workshop where we will journey through the realms of analog video mixing and 80’s style graphics. Steered by our collective vision, we will use vintage video mixers, live camera feed, video synthesis, and found footage to create new video art that looks rich and glitch. We’ll also view and discuss historical examples of video art. Feel free to bring your own found footage via VHS tapes or youtube links.
RICH GLITCH is a collaborative, interactive workshop where we will journey through the realms of analog video mixing and 80’s style graphics. Steered by our collective vision, we will use vintage video mixers, live camera feed, video synthesis, and found footage to create new video art that looks rich and glitch. We’ll also view and discuss historical examples of video art. Feel free to bring your own found footage via VHS tapes or youtube links.
This workshop will be an introduction to acoustic and electronic feedback — when a loop is created between an audio output and an audio input. We will experiment with both kinds of feedback, delving into “no-input” mixing (routing a mixer’s output back into its input), and how to connect acoustic and electronic feedback together in one system to produce dynamic, musical results. Participants will gain valuable insight into how audio mixers work and how to use them as instruments. We will practice setting up feedback systems and will have generous time for experimentation.
This workshop will be an introduction to acoustic and electronic feedback — when a loop is created between an audio output and an audio input. We will experiment with both kinds of feedback, delving into “no-input” mixing (routing a mixer’s output back into its input), and how to connect acoustic and electronic feedback together in one system to produce dynamic, musical results. Participants will gain valuable insight into how audio mixers work and how to use them as instruments. We will practice setting up feedback systems and will have generous time for experimentation.
