avant garde

Sunday Synth Jam: Voltage Controlled Passacaglia, Pages 1 & 2, by Paul Hembree (Premiere)

Performed on the CRuNCh lab 1972 Moog Modular synthesizer, with video projection of an attached oscilloscope.

Executed from a score with parametric envelopes assigned to different performers. Rough synchronization is achieved with stop-watches, and four short sections in the piece (each about a minute long) allow for some controlled improvisation.

Paul Hembree, Chris Rippey, Steve Snowden, and Curtis Peel, performers. Read more…

Sorry synth fans, but this Saturday Synth Porn entry is a little less synthy than usual and a little more porn-y.

The image above is from a performance of Technosexual, from Micha Cardenas and Elle Mehrmand’s Mixed Relations.

Mixed Relations consists of a series of performances and workshops that explore the relations between bodies and technology within mixed realities.

If you can handle avant garde lesbian erotic multi-reality performance art, with motion sensors & a Nintendo Wii, see the details below.

Otherwise, here are the kitties and synthesizers. Read more…

Saturday Synth Porn: Sound of Life (SoL) is a very unusual audio-visual performance by noise performer 23N! that explores the idea of generating noise music from the movements of spermatozoa:

SoL consists in generating sounds and visual dynamically through the tracking of the movement of individual spermatozoa of the semen of the performer observed under a digital microscope. The obtaining of the semen is an intrinsic part of the performance.

Details on the work below. Read more…

Wired talks with Avant-garde cellist Zoe Keating who demonstrates her intricately layered loop-based compositions.

Keating has been described as a one woman string quartet. Keating uses live electronic sampling and looping to layer the sound of her cello, creating rhythmically dense musical structures.

Jeki Zaborov in Zimmer Tel Aviv peforms Blow Job V, by Wojciech Kosma, a performance art piece that explores microphone feedback, modulated by the proximity of the performer’s mouth.

via thejobblow