July 10 – 12, 2020
Trio performance with Ben Hall, Luke Stewart
April 29, 2020
February 23, 2020
425 E 31st Street, Baltimore, MD 21218
A night of solos and collaborations featuring UK-based composer and performer Ryoko Akama.
She works with installations and sounds who approaches listening situations that magnify silence, time and space. Her sculptural work engages with mundane objects and invisible energies such as magnetism and gravity, employing small and fragile objects such as paper balloons and glass bottles in order to create tiny aural and visual occurrences that embody ‘almost nothing’ aesthetics. She also composes text scores and performs a diversity of alternative scores in collaboration with other artists and musicians. She co-curates ame and co-runs the independent publisher mumei publishing and melange edition. Selected installations include: the way they are (Yorkshire Sculpture Park, 2019, UK), composition of happiness (Spanien19C, 2019, Denmark), kosetsu (Stedelijk Museum, 2019, Amsterdam), ploughs and harrows (Konfrontation Festival, 2018, Austria), listening with the city (Internationales Musikinstitut Darmstadt, 2018, Germany), odds and ends (Bunkier Sztuki Gallery, 2018, Poland), loiner or (Industrial Museum of Leeds, 2018, UK), Object Migration (Avant Art Festival + Sanatorium Dź wię ku, 2017, Poland) and 1→ 5 (Uppsala Art Museum, 2016, Sweden)
I am a composer and I live in Baltimore, Md. I write a discrete, occasionally severe music that takes as its starting point the performers’ relationship to their instruments and craft, as well as their social arrangement on stage. I use clear sounds and elongated repetitions which accumulate into a space of warmth, in which both listener and performer can be made open to and hyper-aware of their environment, and themselves. Born in Rochester, N.Y. in 1984, I studied at UC San Diego and Ithaca College. I received a PhD from Harvard University under Chaya Czernowin. I am currently Assistant Professor and Director of Integrated Arts at the University of Baltimore. I attended classes and workshops at the Brevard Music Center, the Darmstadt New Music Summer Courses, and the Akademie Schloss Solitude in Stuttgart. I have further studied music composition with Steven Takasugi, Robert Morris, John Luther Adams, Dana Wilson, and Antoine Beuger. I occasionally write on music and perform on piano, voice, and various other found object / percussive / improvised instruments.
Baltimore-based electronic musician, member of the Red Room Collective and High Zero Foundation. https://bonnie-jones.com/
February 1, 2020
11:00am – 1:00pm
DIY Electronic Instruments: An Interactive Workshop w/ Bonnie Jones, TECHNE
TECHNE Co-Founder, Bonnie Jones introduces young students to DIY electronic instruments as part of the PeabodyHacks 2020 Hackathon at Peabody Institute in Baltimore, MD.
Join electronic musician Bonnie Jones for an interactive introduction to DIY electronic instruments! Hands-on fun with homemade contact microphones, photo-oscillator instruments, circuit bent guitar pedals, and more! Explore and collaborate with unusual new electronic sounds!
February 14 – 16, 2020
I’ll be leading a workshop that I call “Performing the Past, Composing the Present, Altering the Future”
Bonnie’s session explores the physical and material dimensions of sound and field recordings. We’ll explore how this informs musical composition and live performance. Using recordings collected by students, we’ll improvise soundscapes and explore alternate performance strategies that combine sound with text, video, and other media.
In 1992, the anthropologist Steven Feld coined the term acoustemology, a combination of acoustics and epistemology to argue for “sound as a way of knowing.” In doing so it inquires into what is knowable, and how it becomes known, through sounding and listening.
In this three-day intensive workshop, lead instructor Zach Poff will use field recording to explore sound as a way of knowing that embraces phenomenology, relationality, and reflexivity. We will practice knowing through sound, listening with an ear toward the relationships between humans, non-humans, and processes that surround us. We will practice knowing with sound as we contribute our own gestures back into the network of sounding subjects through domains like radio, sound art, music, and film.
This workshop features listening sessions, hands-on recording demonstrations, introductions to novel sensors like contact microphones and hydrophones, and participatory and performative group work. Each session is anchored by a presentation from an invited guest artist: Viv Corringham, Bonnie Jones and Monteith McCollum.
Sound disrespects boundaries and connects disciplines so this workshop is open to anyone with a passion for sound: filmmakers, sound artists, podcasters, musicians, writers, or simply curious listeners.
Participants will get in-class experience with an array of professional recording equipment, but it will be beneficial to bring your own. (See Technical Requirements below.) Each day will conclude with opportunities for participant work-in-progress critiques.
November 11, 2019
UMBC, Room 216, Performing Arts and Humanities Building
The Center for Innovation, Research and Creativity in the Arts presents sound artist Bonnie Jones.
November 9, 2019
@ Normal’s Books & Records
425 E 31st St, Baltimore, Maryland 21218
Mark Cetilia is a sound / media artist working at the nexus of analog and digital technologies. Exploring the possibilities of generative systems in art, design, and sound practice, Cetilia’s work is an exercise in carefully controlled chaos. He is a member of the media art group Redux, recipients of a Creative Capital grant in Emerging Fields, and the electroacoustic ensemble Mem1, described by the Oxford University Press’ Grove Dictionary of American Music as “a complex cybernetic entity” whose “evolving, custom-built systems are as important an aspect of the duo’s achievements as their ever-innovative sound.”
Cetilia holds a Ph.D in Computer Music and Multimedia from Brown University, and an MFA in Digital + Media from the Rhode Island School of Design. His work has been screened / installed at the Institute for Contemporary Art (London), Oboro (Montréal), and O’ (Milan); he has performed widely at venues including Café OTO (London), STEIM (Amsterdam), Los Angeles Contemporary Exhibitions, and Roulette (NYC). His sound works have been published by Interval, Radical Matters, Dragon’s Eye Recordings, and the Estuary Ltd. imprint, which he runs with his partner Laura Cetilia.
Shawn Greenlee is a composer, sound artist, and Associate Professor at the Rhode Island School of Design (RISD). He has performed extensively across the United States and Europe, appearing on several conferences, festivals, and tours. These include New Interfaces for Musical Expression (2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others. Greenlee’s solo and group discography spans over fifty releases to date. At RISD, Greenlee is the Programs Head for the Division of Experimental and Foundation Studies. In 2008, he completed his Ph.D. in Computer Music and New Media at Brown University. In 2014, he was awarded the MacColl Johnson Fellowship for music composition by the Rhode Island Foundation.
Bonnie Jones is an Korean-American improvising musician, poet, and educator working primarily with electronic sound and text. Her work uses electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual) to make visible/audible the often invisible, fluid, and in-between states of self and identity.
Jones has been an active improvising musician since 1999, and has released several recordings of collaborative and solo projects including green just as I could see (Erstwhile, 2012), with Andrea Neumann; AS:IS (Olof Bright, 2012), with Christine Abdelnour and Andrea Neumann; Clandestine Cassette Series #2 (Northern Spy, 2011); Arena Ladidros (Another Timbre, 2010), with Chris Cogburn and Bhob Rainey; NINA (Simple Geometry, 2010), with Chris Cogburn and Liz Tonne; Jones Family Farm (Compost and Height, 2008); Vines (emr, 2006); One Day (Erstwhile, 2008), with Toshimaru Nakamura; and English (Copula, 2004), with Joe Foster.
October 24 -December 5, 2019
The Galleries at CCBC, Essex
Reception: October 24, 6 – 8p.m.
Artists: Erick Antonio Benitez, Bonnie Jones, Gina Gwen Palacios, Press Press, Helen Zughaib
Curator: Jessica Walton
Our collective history is one full of migration, and we all seek refuge. Our collective history is also full of borders created by cultural divisions, politics, war, and fear. These borders categorize and label us when the reality is more complex. This exhibition focusses on artwork that explores these histories of migration and the borders that try to prevent it. It also explores in between spaces, in between identities, and the struggles of finding home.
CELEBRATING TWENTY-ONE YEARS!
September 19th through 22nd
Bob Bellerue improvised feedback manipulation
Danishta Rivero voice, electronics
Bonnie Jones electronics
Nik Francis percussion, electronics
Bonnie Jones electronics
Sarah Hennies vibraphone, percussion
Biliana Voutchkova violin, voice
Le Quan Ninh surrounded bass drum
The night of random! The luck of the draw will determine which musicians I will perform with