Tuesday 19 March 2019, 7.30pm
Sarah Hennies / vibraphone
Olivia Block / processed voice and field recordings
Sonic Luz / optosonic synthesisers
Sarah Hennies (b. 1979, Louisville, KY) is a composer based in Ithaca, NY whose work is concerned with a variety of musical, sociopolitical, and psychological issues including queer & trans identity, love, intimacy, psychoacoustics, and percussion. She is primarily a composer of solo and chamber works, but is also active in improvisation, film, performance art, and dance. She presents her work internationally as both a composer and percussionist with notable performances at Le Guess Who (Utrecht), Festival Cable (Nantes), send + receive (Winnipeg), O’ Art Space (Milan), The OBEY Convention (Halifax), Cafe Oto (London), ALICE (Copenhagen), and the Edition Festival (Stockholm). As a composer, she has received commissions across a wide array of performers and ensembles including Bearthoven (NYC), Bent Duo (NYC), Cristian Alvear (Santiago), Claire Chase (NYC), R. Andrew Lee (Denver), LIMINAR (Mexico City), The Living Earth Show (San Francisco), The Thin Edge New Music Collective (Toronto), Two-Way Street (Knoxville), and Yarn/Wire (NYC).
Olivia Block is a media artist and composer. Her body of work includes sound recordings, audio-visual installations, performances, sound design for cinema, and scores for orchestra and chamber music concerts.
Over the last twenty years, Block has pioneered the utilization of audio field recordings and found materials in the realms of music and sound art. She combines field recordings, chamber instruments and electronic textures, resulting in mysterious and vivid electroacoustic sound pieces including Pure Gaze, Mobius Fuse, Karren, and others. Block creates multimedia installations and performances utilizing found sounds from micro cassette tapes, field recordings, video, and curated 35mm slides.
Block’s work reflects her interests in site specificity, ethnographic sound, architectural sound, and found/archival materials from the 1950's-1990's
Her work with expanded cinema and film artists has led to interests related to cinema sound, and visual phenomena like shadows and reflections...(more)
The comeback of the optosonic synthesiser.
Live performance by noid and klaus filip, bringing the technology of optosynthesisers into the era of DIY.
Most traditional synthesisers put a strong emphasis on reproducibility and the stability of pitch. Therefor they need big and complex mechanisms usually realised inside a black box. For Sonic Luz the priority is a maximum of flexibility and the possibility for haptic interaction on all the parts of the tone production. By moving the lamps, the tone-wheels, the light sensors on the table, or changing the discs, the composition of the sounds is manipulated, quickly and intuitively. The machine has no interior that could possibly be hidden, everything is laid open for the audience and generates a performative aspect of great beauty.