Dr. Hubert Burda on the Digital Wunderkammer

Logistics

Date: Tuesday, September 27th
Times: 6:30pm – 9:00pm
Cost: Free with registration on Eventbrite!
Location: GAFFTA, 998 Market Street, San Francisco, CA 94102

Overview

As digital technology advances at breakneck speed, Images are circulating quicker than ever before. But what is the status of the image in the digital era? We are joined by German art historian Dr. Hubert Burda for an examination of the “iconic turn” that our culture is undergoing.

A pioneer of the media industry will be presenting a concise history of images and how they function today in our digital world. Burda traces the connection between perspectival painting and the television, demonstrating how the image requires a frame, which in turn requires a material vehicle that in our era has become a non-material vehicle with its own formal parameters. Burda shows how images have always been linked to portability, but now migrate to an unprecedented degree, so that anyone with a personal device can globally disseminate, say, footage from a concert via Youtube.

Active Ecosystem (SMF) Interactive Installation at Sacramento Airport

Last Sunday was the soft opening for a new art installation I’ve completed in collaboration with media artist Camille Utterback and animator Michelle Higa. Active Ecosystem (SMF) is an interactive installation that uses themes of the natural world to bring an organic presence into the Sacramento Airport’s brand new Terminal B.

The installation consists of 14 LCD screens attached periodically to the outside of a glass encased three-story elevator shaft in the main open space of the airport. The system takes its cues from the operation of the elevator, current floor position and next locations are mapped onto events in screen space, externalizing the actions of elevator travelers and bringing the outside environment in based on those actions. The content is an internal environment viewed through the window of the screens, particles, fish, and a river span the length of the enclosure.

Animations controlled by the rise and fall of the elevator depict changes in different ecosystems, linking the human movement within the airport to the environment outside.

Conceptually, Active Ecosystem (SMF) continues the airport’s theme of “bringing the outside in,” while capitalizing on what interactive media and dynamic computer systems do best: visualizing time and movement in an open-ended, evolving way. The different scenes in the piece combine both pre-rendered and algorithmically generated animations. Leaves, seeds, fish and other natural elements are hand-drawn, but the movements of those elements are calculated dynamically to always create different behaviors as they grow or move.

Each of the different scenes in Active Ecosystem (SMF) contains multiple responses to the elevator. For example, in the “river” scene, passengers’ pushing a call button on any of the landings starts a series of ripples in the river. When the elevator moves to a new floor, a school of fish follow it. A large, curious fish investigates the elevator wherever it stops. If no one rides the elevator for an extended period of time, an abstract drawing of the river starts to flow. Similarly, in the “tree” scene, falling leaves are blown in different directions as the elevator rises and falls.

In each scene, the elements also change based on time of day and the seasons. The color palette changes from dawn to noon to dusk, mimicking the outside environment. Different local fish, such as king salmon or rainbow trout, swim in the river during the months when they are spawning. Falling autumn leaves are replaced by drifting pollen in the spring.

This project took a massive amount of work from all parties involved. We were aided immeasurably by using the Touch Designer platform as the development platform, a tool I’ve kept coming back to over my last several projects. All outputs are run out of a single server, a rack mount PC with GPU expantion boxes made by Cubix. Touch Designer allows all of the inter-screen drawing and windowing operations to be taken care of, drastically lowering the amount of effort needed to pull off a project of this scale. All content for this project was also developed in Touch, drastically speeding the amount of iteration and collaboration that could be accomplished in a relatively short time span.

The public opening for the new Terminal B is October 6th, with a party on October 7th. If you happen to be flying through, be on the lookout for our piece. It’s my first time speaking to an elevator.

Sound Research Meetup: Ambisonics

Logistics

Date: Wednesday, September 21st
Times: 7pm – 8:30pm
Cost: $5 – $20 suggested donation (no one turned away for lack of funds)
Location: GAFFTA, 998 Market Street, San Francisco, CA 94102

Overview

We’re back for round two of the Sound Research group. Our first meetup had great turnout of some of the field’s preeminent audio researchers and we expect that this one will be even better! The topic for this meetup is Ambisonics.

ambisonics [ˌæmbɪˈsɒnɪks] n.
Ambisonics is a surround sound system first developed in the 1970s. Its main difference from other surround techniques is that it separates transmission channels from speaker feeds, the speaker feeds being derived using a decoder situated in the living room. Decoders can be implemented in either hardware or software. Typically more speakers are used than transmission channels, and the more speakers used then the more stable the resulting soundfield. Speakers can be arranged in a number of configurations, regular polygons being the most popular.

Luckily there will be no shortage of experts in the house. Eric Benjamin of Dolby Labs will be presenting some of his research. Eric is the author of a multitude of papers pertaining to Ambisonics decoding, Ambisonic localization, tetrahedral microphone techniques, and configuration of irregular loudspeaker arrays. His work has opened the door for many sound artists interested in 3 dimensional sound and is largely recognized in the spatial audio community as being groundbreaking research.

Aside from GAFFTA’s 8-channel speaker array, we will have a 2nd order Ambisonics system for listening experiments and demos. The sound system belongs to independent sound artist and Ambisonics enthusiast Elan Rosenman. Elan will discuss his experiences configuring his sound system.

This speaker array consists of 12 speakers mounted to 10’x10’x11’8.75” cubic steel frame. (The frame is extended higher to compensate for the loudspeaker offset). By placing a speaker at the center point of each 12 sections (facing the center at 45 degrees), a geometric relationship is created that meets the requirements for a “full-sphere” 2nd order ambisonic system. The frame is made out of 1.5 inch steel square tubing consisting of ~5‟ sections that are connected with larger diameter brackets and couplers. The pieces slide together and are secured with set screws. The speakers mount in the same fashion to the mid-point of each section.

Agenda

7:00pm – 7:30pm : Presentations
7:30pm – 8:00pm : Demos / Listening
8:00pm – 8:30pm : Discussion / Show and Tell

Eric Benjamin

Presenter

Eric Benjamin, formerly of Dolby laboratories, is a consultant for Surround Research and for other consumer electronics companies. He has been a Papers Chairperson of five Audio Engineering Society (AES) Conventions and Conferences and is an active researcher in the areas of audio reproduction and quality.

Elan Rosenman

Presenter

Elan is a pioneer in exploring different applications for spatial audio and ambisonics, including physical healing, personal development, and interactive programs. Elan is passionate about realizing the potential of sound and music to impact the mind, body and spirit. He is the founder of Soun3d, a San Francisco based audio production company that specializes in creating immersive audio environments through the design and installation of ambisonic playback systems.

Elan began his education at Northern Arizona University with an undergraduate degree in Arts Management and Anthropology, and went on to study audio production and techniques for sound therapy at the Globe Institute of Psychoacoustics in San Francisco. He began his career in music working in Radio Promotion at Columbia Records in New York City and Crescent Moon Records in Miami, then as a Producer and on-air host for Mana’o Radio in Maui.

San Francisco Symphony 100 Year Anniversary Gala Projection Mapping

A couple of weeks ago my colleagues at Obscura Digital and I completed the architectural projections for the San Francisco Symphony’s 100 Year Anniversary Gala, “Fanfare for a New Century”. Over 2,700 attendees came to see our augmentation of the interior of Davies Symphony Hall with a architecturally aligned video canvas.

The bill for this ’11-’12 season opener included Copland’s 1938 Billy the Kid Ballet Suite, Lang Lang on the piano for Liszt Piano Concerto No. 1 in E-flat major, Itzhak Perlman’s performance of his famed Mendelssohn’s Violin Concerto in E minor Opus 64, Britten’s The Young Person’s Guide to the Orchestra Opus 34.

Obscura visuals lined the walls during the pre-performance audience seating and intermission. But the real spectacle of the night was our accompaniment to the encore of John Adams’ Short Ride on a Fast Machine. This piece consisted of a fly-through of San Francisco starting from satellite views down to a tour of its most famous landmarks. Shots of driving across the Golden Gate and Bay bridges, and of abstract driving scenes, were timed along with the orchestral performance, creating a stunning tribute to the orchestra and composer to whom they have been so closely linked.

We are proud to have been a part of this event, the latest in a series of collaborations with SF Symphony conductor Michael Tilson Thomas. Earlier this year we illuminated the Sydney Opera House for the YouTube Symphony Orchestra with MTT conducting.

While these pieces are great spectacles in the finest Baroque tradition it’s my hope that we can find other adventurous ensembles to further push the boundaries of audio/visual mixed media work. While tasteful and carefully crafted accompaniment thus far these works have gone no farther, due to the traditional inertia inherent to the centuries old institution of the orchestra. We need new works that treat the architecture and accompaniment as a single integrated work with the visuals as a inexorable part of the experience, and badly.

Read more at the San Francisco Examiner or SF Gate.

Soundwave: HUMANITIES, Call for Works

Today the call for works for the 2012 edition of the Soundwave festival has been announced. The theme is “Humanities”, a fitting topic for the last year of creation. The deadline is October 10th for proposals.

The next season of Soundwave will explore our sonic connections to the human condition. For HUMANITIES, Soundwave seeks artists, composers and musicians to investigate our human experience, and examine the future of our human constructs, cultures and rituals through sound.
From Season 4’s outward examination of the environment to Season 5’s inward reflection of our own being and existence, the 2012 festival attempts to voice what makes us human in the backdrop of the MesoAmerican Long Count Calendar “Rebirth” and the ensuing mythologies and theories.

Soundwave seeks experience-driven performances that reinterpret the connections between sound and our human experience through its instrumentation, concept, visual collaboration, installation, audience interaction, or production by local and international sound and media artists, technologists, designers, musicians, and composers.

the questions
How can the human body, mind and spirit affect sound? What are the future sonic traditions of our cultures (ethnic, social, community)? How will technology affect our humanity and our sonic experience and traditions? What does it means to be human? (How we live, where we come from, how we think, and how we construct existence (physical, emotional, spiritual)). How will we construct our humanness (ideas about higher power/purpose, myths, legends, cultures and traditions, human consciousness, metaphysical constructs, human identity, human exchange, and our relation to the world)? How do we measure existence now and in the future? What does evolution look like/sound like for the self, body, mind/intellect, and the world?

concepts to consider
electric body impulses; mind-manipulated sound technologies and recordings; body sonics; body instrumentation; brain waves to soundwaves; re-imaginations of ritual acoustics, spiritual, cultural, social acoustics, sonic legends, myths, folklore and fables; new concepts of the Griots, Bards, & Minstrals; hybridized traditions/cultures; imagined utopias; evolutions, regeneration, rebirth, and revolutions; how the world came to be in present form/ future form; supernatural heroes, gods, shamans; magic, illusions and faith; re-imagination and re-interpretations of existence; regenerations and cycles of life; re-interpretation of the home/soul/heart; new ways of experiencing human instinct and desire; human-enabled sonic technologies; dance collaborations, film collaborations, theatrics, and other artist imaginations.

season 5 mission
HUMANITIES hopes to engage artists and audiences with new voices exploring / celebrating / challenging human existence, and re-inventing a world of human possibility. It hopes to inspire thought and action while showcasing sound’s inherent connection to our physical and spiritual bodies and innovative artistic voices for the ‘rebirth’ of our humanity.

important dates
Open Call Deadline: October 10 2011
Artist Notification: November 2011
Artist Performance Development: Jan-June 2012
Performance Dates: July through Sept 2012

festival details
Dates and Venues: Soundwave will take place on various dates between July and September 2012 at various venues in San Francisco. We work with the invited artist to schedule available dates, as well as venues appropriate for their work. Typically, specific dates and venues are confirmed three months in advance.

Artist Fees: Fees to performing artists are modest. Amount is dependent on grant awards and fundraising currently in process. Typically, fees are confirmed three months in advance of performance date.

Accommodations: We are unable to offer accommodation fees for international artists and American artists outside of the Bay Area. We can offer housing, with limited availability, in private homes of friendly and enthusiastic friends of Soundwave to sleep and store belongings.

Travel: We invite all artists to submit proposals, but we are unable to offer financial assistance to cover travel costs for those outside the Bay Area. We ask our international artists and American artists outside of the Bay Area to apply for travel funding through their national arts councils and private foundations in their home country (ie. Canadian Artists – Canada Council for the Arts). We will need to be notified of your travel award or notification of self-travel by March 01, 2012 or the invitation will be rescinded. We do occasionally apply for grants specifically for our International artists and American artists outside the Bay Area. Artists that apply early will have better access to these grants. These grants, however, would not be enough to offset travel and accommodation costs, so we encourage those to continue to apply for travel grants.

Jury: A curatorial committee made up of MEDIATE directors and creative professionals from diverse sonic and artistic backgrounds will rigorously jury proposals based on congruity of theme, ingenuity of project, diversity of artists’ perspective, and feasibility of production.

proposal guidelines
All proposals MUST include:

• Your artistic resume and website (including past performances, exhibitions, commissions, discography, videography)
• A concise project description limited to 500 words. Indicate whether this is a completed project, a work-in-progress or yet to be realized, as well as, the performance duration of your work (most performances are limited to 20-30 minutes long with merited exceptions). Please indicated if it is time specific so we may have the ability to accommodate. Supply dates of availability for performance in San Francisco, if any.
• 3 past works you wish to showcase in support of your proposal (documentation in the form of recordings, images, video, etc.)
• A detailed list of your technical needs and space requirements
• A 100-200 word typed bio of quality for publication in press materials
• High resolution photograph(s) of yourself, your group and/or your work for press materials. Digital images must be a minimum of 8X10 at 300 dpi. In Jpeg or Tiff format with the extension attached (.jpg or .tif). Do not embed photographs in Word or any other program.
• Any support materials such as press articles, CDs, MP3s, videos, documentation, diagrams that will strengthen and enhance your proposal.
• Artists outside Bay Area/International Artists: MUST also provide information of how they will fund their travel (specify self-travel or application to travel grants), and whether they can attend in the event travel assistance is unsuccessful. Your ability to be self-sufficient in travel is favorable, however it will not strengthen/weaken the merits of your proposal.

how to submit
Email:submissions@me-di-ate.net (DO NOT send image, audio or text attachments the email over 5MB. We prefer you providing links to these supporting materials and hi-res pictures. Alternately, these materials can be mailed to the address below.
Mail: MEDIATE, P.O. Box 170305, San Francisco, CA, 94117-0305, USA

Inquiries and Questions: connect@me-di-ate.net

KMI 12-Step Foot Controller Preview

Here is the first first look at the new KMI 12-Step foot controller. Building off many of the same design features as the SoftStep, the 12-Step provides a chromatic octave of pressure sensitive keys. Each key is not only velocity sensitive, but provides bend capabilities in one dimension by rocking your foot. Just like the SoftStep, the 12-Step comes with a suite of software allowing rich routing capability.

K-Bow with the Kronos Quartet

Last week saw another round of rehearsals with the K-Bow over at the Kronos Quartet’s studio. In development is a groundbreaking piece — if not the first string quartet with true computer interaction, it is definitely the quartet with the richest possibilities to date.

Kronos has been outfitted with K-Bow systems on all four instruments, complete with our software suite enabling a huge range of effects to be controlled in realtime from all of the instruments. Composer and sound ecologist Doug Quin is writing the piece, taking advantage of both the DSP capabilities of the K-Bow software and its sample playback and manipulation. Drawing on his archive of recordings he captured in Antartica, Doug is building a soundscape that uses the virtuosic abilities of one of the world’s great string quartets as its vehicle.

I’m looking forward to the première of this work later this year in Syracuse, and hopefully it will open the door for more string musicians to realize the potential of interactive technologies to re-contextualize one of the most venerable art forms so it remains vital for the centuries to come.

Hyperaudio at LGM 2011

Last May I quickly presented an introduction to the possibilities of the popcorn.js framework at the 2011 Libre Graphics Meeting in Montréal.

Eyebeam / GAFFTA Sound Research Panel

Next Wednesday, August 3rd, I will be a part of a panel launching the new Grey Area Foundation for the Arts/Eyebeam Sound Research Meetup. We’ll be discussing a range of advanced audio projects in spatialization and multichannel presentations from perspectives of both composition and technical logistics. I’ll be talking about the Recombinant Media Labs’ Cinechamber, the Laoban Soundsystem, Virtual Reality systems, and interactive installations; it should be a vibrant discussion.

I’m delighted to be joined by Roddy Schrock, Marc Weidenbaum, and Luc Meier for this first of many discussions on advanced sound at Gray Area. We’d be happy to see you there.

Date: Wednesday, August 3rd
Times: 6pm – 8pm
Cost: $5 – $20 suggested donation (no one turned away for lack of funds)
Location: GAFFTA, 998 Market Street, San Francisco, CA 94131

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Overview:

Calling all San Francisco audiophiles! Join us August 3rd for the first rendition of the GAFFTA/Eyebeam Sound Research Meetup. Come share your experience, ask questions, and learn about what other sound researchers in the Bay Area area are working on.

This will be a joint presentation of Eyebeam and GAFFTA showcasing current works and research from the Eyebeam Sound Research Group and San Francisco-based sound artists/theorists/hackers/etc…Our goal is to present current work in a collaborative manner through a process-oriented, wide-spectrum meeting. Both Eyebeam and GAFFTA share many interest areas of art, technology, sound and working ethos.

There will be a panel after a series of short presentations moderated by Luc Meier of SwissNex. The panel will discuss topics such as what goes into curating a a piece of sound art, performance capabilities in a multichannel environment, sound localization in 3D space, ambisonics vs. other playback systems, netlabel culture, and psychoacoustics.

Feel free to bring your questions, ideas, and research to the open discussion that will ensue after the panel.

6:00pm – 6:45pm : Presentations

6:45pm – 7:15pm : Panel

7:15pm – 8:00pm : Open Discussion

Presenters:

 

Roddy Schrock, formerly of Tokyo-based noise unit Tog, makes digital music and sound art. His work has been presented at ShoboShobo Festival, Ostrava New Music Days, Theater Poo Shinjuku, Sonic Circuits Festival, Signal Flow Festival, Tokyo Improv. Festival, San Francisco MOMA, SoundScrape, MATA NYC Festival, Spasibar Oslo, Zentrale Randlage Berlin, Kuunstvlai Festival Amsterdam, Hammer Museum, Deitch Art Parade, SuperDeluxe Tokyo, and Art Miami Basel. He studied at Mills College, primarily with Alvin Curran and Fred Frith with post-grad studies at the Royal Conservatory of the Hague. He is a co-founder of Kunsole (wildly pragmatic avant-pop sound + image + performance collective).

As a cultural worker, Schrock is Associate Director: Creative Residencies at Eyebeam Art + Technology Center.

Marc Weidenbaum founded Disquiet.com (a website about the intersection of sound, art, and technology) in 1996. He has written for Nature, Boing Boing, Down Beat, and NewMusicBox.org, among other publications. He founded Tower Records’ first web publication, co-founded its classical music magazine, and has executive-produced remixes for Tabletmag.com. Comics he’s edited have appeared in Adrian Tomine’s Scrapbook, Justin Green’s Musical Legends, and other books.

Marc will be discussing “Sound as Commentary: Recent Experiments in the Netlabel Remix Community.”

Barry Threw is a technologist working to enable digital artwork. He develops systems and tools for rich immersive and interactive media experience; combining sound, video, network, and audience interactions. He has a background in engineering and composition with a dual major in Music Production & Engineering, and Music Synthesis, from the Berklee College of Music in Boston, MA; and an MFA in Electronic Music & Recording Media from Mills College in Oakland, CA. He is the software director for Keith McMillen Instruments, a Berkeley CA based company developing advanced technology to bridge string instruments with the computer. In addition, he is a technician and software designer with Recombinant Media Labs, the premiere surround cinema presentation facility based San Francisco, CA. He also serves on the board of directors for the BEAM Foundation; a Berkeley, CA non-profit foundation seeking to spark a new Western classical music movement based on the technologies and aesthetics of the 21st century. Barry serves the Gray Area Foundation with technical consultation for the arts exhibitions presented at their gallery spaces and events.

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Moderator:

Luc Meier is the Interdisciplinary Programs Manager at swissnex San Francisco, a Swiss knowledge outpost for science, education, art and innovation.

Tickets for ME’DI.ATE Playback Fundraiser Available

Tickets are now available for the ME’DI.ATE Playback fundraiser events including both Audiobus shows, the Battery Townsley performances, and Sound Lab performances. This fundraising drive hopes to raise at least $10,000 to help us continue to support artists and create innovative exhibitions and events, including our biennial Soundwave Festival.

PLAYBACK is ME’DI.ATE Art Group’s special fundraising series that showcases our most acclaimed events and raises money for our newly incorporated non-profit. Our goal is to raise $10,000 to be able to continue supporting artists and creating innovative exhibitions and events, including our biennial Soundwave Festival. PLAYBACK is presented in partnership with City Sightseeing San Francisco, National Park Service and ARUP and curated by Alan So and Jorge Bachmann.

Audio Bus: The Genie

Audio Bus: Christopher Willits

Battery Townsley

SoundLab

Also, tickets for the raffle are available.

We are raffling off some great prizes donated from our generous MEDIATE/Soundwave family and community friends including passes to de Young Museum, the Legion of Honor, The Lab, Volti, and CentralWorks, cookbooks from Williams-Sonoma, designer lamp from Kenneth Wingard Home, gift certicate from Burma Superstar, amongst many others. Each prize is valued at least $50 up to $300 and drawings will take place during our five upcoming events. You do not need to attend and you have many chances to win throughout the summer! One ticket for a mere $5, three for $10, or 10 for $25! You could win $500 worth of goods and services for spending as little as $25! And it all goes to a good cause supporting our non-profit to develop innovative art and music programs.

SEE PRIZES & BUY TIX: http://www.me-di-ate.net/playback-raffle-extravaganza/

PLAYBACK > AudioBus

Created in 2008, AudioBus is a moving live concert venue on an open-top double decker bus, giving audiences an adventurous sonic experience where musicians compose their own San Francisco route and perform live scores to the scenery moving past them. On July 29th hop on the Genie (http://www.myspace.com/thegenie) tour, Bay-Area’s own scratch-guitar phenom taking you past stunning murals and lively sights of The Mission District. On July 30th hop on the Christopher Willits (http://christopherwillits.com/) tour as he guides you through the wonderland of  Golden Gate Park onto Ocean Beach as he performs with dreamy vibrations and electric reverberations.  Double-decker buses are vintage UK-imported open-top biodiesel buses with installed Sennheiser headphones provided for audiences. Sponsored in part by CitySightseeing San Francisco.

PLAYBACK > Battery Townsley

Battery Townsley, Fort Cronkhite, Marin Headlands (off Rodeo Beach)
Marin, CA

ONLINE TICKETS AVAILABLE STARTING 6/27

Arrive by 5:30pm. 20 minute hike to performance site. Showtime: 6pm. Site can be windy and foggy even on a sunny day. We highly recommend warm clothes, blankets and proper foot attire. Limited Attendance.

Introduced in 2010, Battery Townsley explored the extreme resonances inside and around of this historic WWII harbor fortification overlooking the ocean in the hills of the Marin Headlands. August 7 features performances by electroacoustic duo Date Palms w/ Trevor Montgomery & Michael Elrod, vocal dance ensemble M. Mara Ann’s Sugar Pine Tesla, and composer/sound artist Edward Schocker.

DATE PALMS W/ TREVOR MONTGOMERY & MICHAEL ELROD
‘Of Psalms’ is a strange, yet fantastic fusing of Eastern style raga drones, and hypnotic Spacemen 3 style bass buzz. The music is almost like some sort of slowcore, spacerock, dronedrift that is abstract and minimal. http://www.datepalmsofpsalms.com/

M. MARA-ANN’S SUGAR PINE TESLA
As an artist working with language, M. Mara-Ann expresses her creativity through writing, singing, and intermedia performance. She created the vocal/dance ensemble “Sugar Pine Tesla” which features:
Sarah-Elena Palmer (voice)
Julie Binkley (dance)
Caroline Penwarden (voice)
Sonsherée Giles (dance)
Jen Harper (voice)
Vanessa Beggs-Skacel (voice)
Alexa Hall (voice)
M. Mara-Ann (voice)

http://www.medusa.org/

EDWARD SCHOCKER
Edward Schocker’s music is a unique mixture of alternate tuning systems and unique instruments, combined with theater/opera. He has collaborated with many dancers, artists and writers to create a unique combination of sound, movement, and text. Enjoying international recognition, Edward’s music has been performed in numerous countries throughout the world. http://edwardschocker.com/

PLAYBACK > SoundLab

ARUP
San Francisco, CA

FRIDAY 9/23: 7:30pm, 8:15pm, 9:00pm, 9:45pm SHARP!
Battery Townsley: Jacob Felix Heule (drums) & Kanoko Nishi (koto)
Battery Townsley: Gregg Kowalsky (tape)
Special Composition: HoraFlora & Shane Myrbeck

SATURDAY 9/24: 7:30pm, 8:15pm, 9:00pm, 9:45pm SHARP!
Battery Townsley: Danny Paul Grody (guitar/voice)
Unweathered Embers: Myrmyr (20 vocalists and musicians)
Special Composition: HoraFlora & Shane Myrbeck

Limit SIX per show. Please arrive 30mins before showtime. Venue is located in a high security, office environment which requires security processing.

SoundLab is an intimate listening chamber designed by the acoustic engineers of ARUP (http://www.arup.com/Services/Acoustic_Consulting.aspx/) that recreates an ambisonic enviroment true to real life situations. On September 23 & 24, sound artists HoraFlora & Shane Myrbeck create a special ambisonic composition while SoundLab recreates the stunning performances at Battery Townsley by Gregg Kowalsky, Danny Paul Grody, and Jacob Felix Heule & Kanoko Nishi and St. Mark’s Lutheran Church by Myrmyr and 20 vocalists and musicians from last season’s Soundwave ((4)).

HORAFLORA & SHANE MYRBECK

http://horaflora.blogspot.com/

GREGG KOWALSKY

http://greggkowalsky.net/

DANNY PAUL GRODY

http://dannypaulgrody.com/

JACOB FELIX HEULE

http://www.heule.us/

KANOKO NISHI

http://www.myspace.com/kanokonishi

MYRMYR

http://www.myrmyr.net/