Merida Triad Project #2

Merida June 4, 2009

Yesterday’s meeting laid out the formal structure of the project with different strategies we discussed the day previous. The performance will focus a good deal on language and it’s function as sound, as communication, as abstraction. This theme seems augmented by the challenges of working across two languages – though our meetings are in English, I wonder how difficult it is for Nadia to have to “translate” her poetics into English on the fly as it were. 

For me the challenges (but also an interesting aspect) of the project lie in this “translation” of poetics. To understand how different audiences will respond to different language and sound element. A point made was that the overlap of English and Spanish in mexico is very common and mostly associated to television and overdubbing in movies. Using this technique then requires some additional abstraction or self-awareness to divorce the initial feeling of overdub for the audience.

Another interesting development from the discussions yesterday was the idea of our doing a very text-centric project within an improvised music festival. What I had said almost offhandedly to explain our project in this context was that the mouth is the first instrument, the primary instrument. But thinking about it – it’s actually quite true. The project will focus on the mouth, speaking, communicating, sounds, and silence – and the mouth is one of the first things most people use to emit sound. The cry of a baby. I also was thinking about our use of improvisation in the performance. And what occurs to me – which may be less obvious in the project itself – but this idea of process/improvisation – is very much tied to collaboration in my mind. So the collaboration of the three of us is essentially a form of improvisation – particularly due to the fact that we’ve never worked before like this and our timeframe is short.

Merida Triad Project #1

Merida – June 3, 2009.

Jackie and I met Nadia Escalante for the first last night to start discussing what I’m calling our triad project. We had a couple hours of chatting about our personal work, our aesthetics and ideas about what we’re working on. Nadia spoke of some of her ideas about language and the nature of language as an obstruction to reality. How language can hide a lot about what is happening. She has some interesting perspectives on silence being at the root of language and her words “everything we could express is in silence” is a compelling idea. 

Jackie’s work looks at human interactions, miscommunications, (humorous, sly, sexual, andotherwise). The catalogs of gestures that make up who we we are and how we relate to each other. Also we discussed how the removal of context, or distorting of context was of interest. 

I feel as though my own sound work is moving towards an interest in improvisation as a way of understanding these routes of communication, dialogue, miscommunication, exchange. I think aesthetically I’m interested in the contrast, the tension, the push and pull of opposing or juxtaposed ideas, concepts, sounds, visuals, mediums etc. I like to think of the process of creating art as an activation – of the artist and the audience, a performative gesture that is more than just that of the performer. A complicit act = performance. 

I think all three of us work with these ideas. Something we developed in the meeting was the idea of focus on the everyday – the quotidian – the aphorism. Also the disruption of the everyday and the linear narrative. 

Before the trip we had considered focusing on the mouth as a theme of the performance and project. The mouth as the entrance and the exit, the form of communication, the way that the outside is brought inside. 

This morning we began to work out strategies for the project – different actions that we could use to express some of our ideas. The afternoon meeting will also be focused on developing strategies and planning out the shape of the performance. We’ve decided to use video projections and documentation as well as focus on some language related to the mouth and aphorisms involving the mouth.

But now it’s raining like crazy!

Merida!

Cha’ak’ab Paaxil Festival June 2009 Yucatan, Mexico

Festival de Improvisación Libre, Free Jazz y Noise “Cha’ak’ab Paaxil” 2009
June 5-6, 12-13, 2009

Bonnie Jones – medios electrónicos (Baltimore, USA)
Chris Cogburn – percusiones (Austin, TX)
Remi Álvarez – saxofones tenor y soprano (Ciudad de México)
Milo Tamez – batería y percusiones (Monterrey)
Manrico Montero – objetos, kalimba, guitarra y medios electrónicos (Ciudad de México)
Lawrence Williams – saxofones tenor y soprano (Londres, GB)
Blair Latham – saxofones tenor y alto, clarinete bajo (Cozumel/Nueva Zelanda)
Armando Martín – guitarra eléctrica y electrónicos (Mérida)
Misha Marks – guitarra y electrónicos (DF/Nueva Zelanda)
Juan García – contrabajo (Mérida)
Leonel Traconis – guitarra acústica y electrónicos (Mérida)
Augusto Palma – laptop y medios electrónicos (Mérida)
Elías Puc – laptop y medios electrónicos (Mérida)
José Luis Gil – laptop y medios electrónicos (Mérida)
Antonio Domínguez – medios visuales (Ciudad de México)
Nadia Escalante – poesía (Mérida)
Jackie Milad – medios visuales (Baltimore)

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I’ll be performing in Merida, Yucatan, Mexico presenting new collaborations with Nadia Escalante, Jackie Milad, Chris Cogburn, Juan Garcia, and Manrico Montero.

This performance is supported by Meet the Composer, Global Connections.

MAY 2009 Shows

Saturday, May 2nd. 8pm.
The Lab at Convergence
1801 N. Quaker Lane
Alexandria, Virginia 22302

Come see the best, rarest, and wildest of the 20th century underground!

Theatre Classics is Ric Royer, John Eaton, and John Berndt, who will be performing with Geodesic Gnome.

Join us for an evening of early 20th century obscure and experimental theatre works (including dada, surrealist, and futurist plays), as well as a piece by Daniil Kharms, a short play by Konrad Bayer, and new “interpretations” of American classics such as Our Town and The Crucible.

Just to see stagings of Kharms-a poet destroyed by Stalin-is worth the theatrical excursion.

with an opening sound performance by Bonnie Jones, on circuit boards of digital delay pedals.

Hosted by M. Magnus. This production brought to you by Yockadot Poetics Theatre Project and the Alexandria Performing Arts Association, in conjunction with Convergence.

NPR Story on Sonic Circuits

NPR did a nice story on Sonic Circuits 2008 – I was opening the show that night. Nice story and shout out to the stalwarts in DC who keep experimental music going.

All Things Considered, January 6, 2009 – Washington, D.C., is a gray town, known more for suits than fun. There are lots of lawyers, lobbyists and politicians. But there are also lots of musicians. Washington has a long history as a home to diverse styles of music — from Duke Ellington to hardcore to go-go — and it has been a hotbed of country and bluegrass. Washington and its environs have also been home to some of the hottest guitar players ever to touch the fretboard: Roy Clark, Roy Buchanan, Danny Gatton.

Today, D.C. is home to a different sort of scene: Experimental music is thriving under the city’s official radar. One of its homes is the Velvet Lounge, a neon-lit bar with blood-colored walls on the fringe of the city’s uber-trendy U Street corridor.

An Intense Whine

On a recent evening, a motionless crowd packs the lounge’s dark upper bar. The whine is intense. It’s a relentless, unforgiving, slightly pulsating, shrill cry of a sound. It’s being produced as part of an event called the Sonic Circuits Festival of Experimental Music, which showcases electronic, experimental and avant-garde music. As a slim, serious young woman with a bow at her throat manipulates circuit boards and digital delay pedals, the whine changes, lowering and distorting. Bonnie Jones was born in South Korea and raised by New Jersey dairy farmers. Now, she lives near D.C.

Read the full story on NPR Web site >>

FEBRUARY 2009 Shows

no idea festival 2009

http://www.noideafestival.com/

annette krebs guitar, electronics . berlin
bonnie jones electronics . baltimore
chris cogburn percussion . austin
cooper-moore multi-instrumentalist . nyc
dave dove trombone . houston
jason kahn percussion, electronics . zurich
jawwaad taylor trumpet, electronics, MC . nyc
joshua beckman poetry, electronics . nyc
mario de vega electronics . mexico city / berlin
melanie noel poetry . seattle
tatsuya nakatani percussion . pennsylvania

february 26-28 austin
march 1 houston