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DTSTART;TZID=America/New_York:20190922T200000
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DTSTAMP:20260525T124512
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UID:10001085-1569182400-1569189600@www.bowerbird.org
SUMMARY:Lonnie Holley + Moor Mother
DESCRIPTION:Bowerbird is pleased to present Alabama-born sculptor and musician Lonnie Holley (performing with Nelson Patton -Dave Nelson and Marlon Patton) and Philadelphia-based musician\, poet\, visual artist\, and activist Moor Mother. “Despite undeniable sonic and aesthetic connections to Sun Ra and Arthur Russell\, Lonnie Holley’s music is a law unto itself\, with the inimitable blues orator free-forming at its core”. (vinyl factory) “Lonnie Holley is the closest thing America has to a prophet.” (SF weekly). As Moor Mother\, Ayewa’s work operates at the intersection of spoken word\, rap\, punk\, and free jazz\, examining consciousness\, identity\, blackness\, and the global socio-political landscape through an Afrofuturist lens. \n\nLONNIE HOLLEY \n\n  \nMOOR MOTHER \n\n  \n\nABOUT THE ARTISTS \nLonnie Holley was born on February 10\, 1950 in Birmingham\, Alabama. From the age of five\, Holley worked various jobs: picking up trash at a drive-in movie theatre\, washing dishes\, and cooking. He lived in a whiskey house\, on the state fairgrounds\, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood. Since 1979\, Holley has devoted his life to the practice of improvisational creativity. His art and music\, born out of struggle\, hardship\, but perhaps more importantly\, out of furious curiosity and biological necessity\, has manifested itself in drawing\, painting\, sculpture\, photography\, performance\, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects\, already imbued with cultural and artistic metaphor\, are combined into narrative sculptures that commemorate places\, people\, and events. His work is now in collections of major museums throughout the country\, on permanent display in the United Nations\, and have been displayed in the White House Rose Garden. In January of 2014\, Holley completed a one-month artist-in-residence with the Robert Rauschenberg Foundation in Captiva Island\, Florida\, site of the acclaimed artist’s studio. \nCamae Ayewa (Moor Mother) is a national and international touring musician\, poet\, visual artist\, and workshop facilitator\, and has performed at numerous festivals\, colleges\, galleries\, and museums around the world\, sharing the stage with King Britt\, Roscoe Mitchell\, Claudia Rankine\, bell hooks\, and more. Camae is a vocalist in three collaborative performance groups: Irreversible Entanglements\, MoorJewelry and 700bliss. As a soundscape and visual artist\, their work has been featured at Baltic Biennale\, Samek Art Museum\, Vox Populi\, Pearlman Gallery\, Metropolitan Museum of Art Chicago\, ICA Philadelphia\, Bergan Kunstall\, Hirshhorn Gallery\, and in a 2018 solo show at The Kitchen NYC. As a workshop facilitator\, Camae has presented at Cornell University\, MOFO Festival\, Moogfest\, Black Dot Gallery and others. They are co-founder and curator of Rockers Philly Project\, a 10-year long running event series and festival focused on marginalized musicians and artists spanning multiple genres of music. As Moor Mother\, she released her debut album Fetish Bones on Don Giovanni records to critical acclaim. The album was named third best album of the year by The Wire Magazine\, number one by Jazz Right Now\, and has appeared on numerous end of the year lists from Pitchfork\, Noisy\, Rolling Stone\, and Spin Magazine. She has since released a second LP\, The Motionless Present\, commissioned by CTM X VINYL FACTORY 2017. Thanks to her unstoppable energy\, she has recently performed at a host of vital festivals and venues including Berhaign\, Borealis\, CTM Festival\, Le Guess Who\, Unsound\, Flow and Donau Festival\, Rewire\, Boiler Room\, and MoMA PS1.
URL:https://www.bowerbird.org/event/lonnie-holley-moor-mother/
LOCATION:Holy Apostles and The Mediator\, 260 S 51st St (at Spruce)\, Philadelphia\, PA\, 19139\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/08/lhmm4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190413T193000
DTEND;TZID=America/New_York:20190413T220000
DTSTAMP:20260525T124512
CREATED:20190208T174423Z
LAST-MODIFIED:20190412T150950Z
UID:10000846-1555183800-1555192800@www.bowerbird.org
SUMMARY:Adjacencies\, Petra\, Supreme Connections (Night Two)
DESCRIPTION:Sound\, space\, and psychoacoustic phenomena are explored as three different facets of Maryanne Amacher’s creative work are joined together in a single evening for the first time. The program features two of Amacher’s rare compositions including live instruments: Adjacencies (for percussion and spatialized\, four-channel electronics) and Petra (for two pianos). The artistic collective Supreme Connections will also create a site-specific interpretive installation using archival audio and visual materials. Each work will be staged in a different architectural space inside the beautiful and expansive Holy Apostles and The Mediator Church. \nACCESSIBILITY STATEMENT \nPlease note: Holy Apostles & the Mediator Episcopal Church is not wheelchair accessible.  The entranceway to the main floor is approximately five steps above street level. The middle portion of the evening takers place on on the second floor of the building and requires going up and down one flight of stairs.   \n\nPROGRAM \nSupreme Connections\nperformance installation by Bill Dietz\, Sergei Tcherepnin\, Keiko Prince\, Woody Sullender\, Nora Schultz\, and Amy Cimini. \nAmacher: Adjacencies (1965)\nRobert Cosgrove\, percussion\nRussell Greenberg\, percussion\nDaniel Neumann\, electronics\nWoody Sullender\, electronics \nAmacher: Petra (1991)\nMarianne Schroeder\, piano\nEmily Manzo\, piano \nProgram duration approximately 120 mins. \nThis event is part of   Maryanne Amacher: Perceptual Geographies. \n\nPROGRAM NOTES \nMaryanne Amacher (1938-2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception\, sound spatialization\, creative intelligence\, and aural architecture. A collaborator with John Cage and Merce Cunningham\, Amacher spent her formative years as an artist in Philadelphia\, where she studied at the University of Pennsylvania with composer Karlheinz Stockhausen. She is frequently cited as a pioneer of what has come to be called sound art\, although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of this nascent genre. \nThough Amacher is known primarily as an electronic composer\, early on she wrote a handful of pieces for classical instruments using experimental forms of notation. AUDJOINS\, a Suite For Audjoined Rooms was a collection of such works\, from the early to mid-’60s\, for various spatially staged ensembles. Adjacencies\, a graphic score for two percussionists and electronics\, was written in 1965 (during her time in Philadelphia) and is the only known extant score of that series. The work directs performers by sending their microphone signals to a changing array of speakers surrounding the audience\, combining otherwise distinct worlds of sound. Not performed since 1966\, Lawrence Kumpf’s New York City based presenting organization Blank Forms collaborated with Amacher scholars Amy Cimini and Bill Dietz to unpack and analyze the score for its posthumous realization. The work was given its modern premiere at The Kitchen in 2017 with Ian Antonio and Russell Greenberg of the experimental piano-percussion quartet Yarn/Wire\, with sound distribution by Daniel Neumann and Woody Sullender. \nStarting in the late seventies\, the central focus of Amacher’s practice shifted to the site-specific transformation of architectural space\, involving the measured\, oblique placement of speakers behind walls and under floors to reimagine manmade structures as massive analog sound filters. Moving from the entire-building scale of her Music For Sound Joined Rooms to the Mini Sound Series\, Amacher strategically incorporated a variety of visual elements as cues for suggested spatial navigation. Requiring prolonged venue access as well as considerable equipment\, Amacher was almost never able to mount these costly works in the US before her death in 2009\, presenting them largely in Europe and Japan. Inspired by vernacular serial formats\, she emphasized that the architecturally staged pieces\, as distinguished from a continuous installation or traditional concert genre\, were intended as “an evolving sound work ‘to be continued.’” \nIn 2012 a group of Amacher’s former collaborators took up the baton\, joining forces to collectively engage with the questions of the posthumous life of their friend’s site-adaptive work. Under the name Supreme Connections (the top secret sound lab featured in Amacher’s unrealised treatment\, Intelligent Life)\, the loose formation developed a model for realizing Amacher’s radical approach in keeping with its complex conception of “the work.” Recreating the working methodology of Amacher’s later years through conscious interpretation rather than incongruously faithful reenactments\, Supreme Connections created a series of large-scale “hearing as if” installations at the Funkhaus\, Tate Modern\, Bienal de São Paulo\, and Stedelijk Museum. With a week of 24-hour venue access at their disposal for the collective’s first-ever project in the US\, this iteration of Supreme Connections is comprised of Bill Dietz\, Sergei Tcherepnin\, Keiko Prince\, Woody Sullender\, Nora Schultz\, and Amy Cimini. \nAmacher’s 1991 piece Petra was originally commissioned for the ICSM World Music Days in Boswil\, Switzerland. Written for two pianos\, Petra is a unique example of Amacher’s late work\, a direct extension of her working methodologies for electronic compositions taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. The piece is a sweeping\, durational work based on both Amacher’s impressions of the church at Boswil and science-fiction writer Greg Bear’s short story of the same name\, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame. \nThe piece will be performed by Marianne Schroeder\, who originally performed the piece alongside Amacher in 1991\, and Emily Manzo. Like much of Amacher’s work\, a performance of Petra is not as straightforward as it might appear—there is no definitive score but rather a series of fragments and working notes left to be deciphered. This third ever performance is an expanded version based on a newly discovered notes and scores from the Maryanne Amacher Archive. \n  \n\nThis event is part of   Maryanne Amacher: Perceptual Geographies \n\n\nMajor support for MARYANNE AMACHER: PERCEPTUAL GEOGRAPHIES has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia and the Aaron Copland Fund For Music. Presented in collaboration with Blank Forms.
URL:https://www.bowerbird.org/event/adjacencies-petra-supreme-connections-night-two/
LOCATION:Holy Apostles and The Mediator\, 260 S 51st St (at Spruce)\, Philadelphia\, PA\, 19139\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/02/Amacher_knobs-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190413T130000
DTEND;TZID=America/New_York:20190413T170000
DTSTAMP:20260525T124512
CREATED:20190208T174752Z
LAST-MODIFIED:20190412T151030Z
UID:10000847-1555160400-1555174800@www.bowerbird.org
SUMMARY:Ways of Hearing (workshop)
DESCRIPTION:Ways of Hearing is a multi-part workshop lead by the artist group Supreme Connections that explores the complexity and nuance of Maryanne Amacher’s artistic practice and her idea of “perceptual geography” as an approach to composition. These events will include in depth listening and discussion of archival audio\, and the presentation of unpublished images of scores\, notes\, and texts selected from the Amacher Archive. The workshop is open to all\, but overall group size is limited. Advanced registration is strongly encouraged. \n \nACCESSIBILITY STATEMENT\nPlease note: Holy Apostles & the Mediator Episcopal Church is not wheelchair accessible.  The entranceway to the main floor is approximately five steps above street level. The middle portion of the evening takers place on on the second floor of the building and requires going up and down one flight of stairs.   \n\n\nThis program runs from 1pm to 5pm. Breaks and light refreshments will be provided.  \n  \nToday media exist which begin to mirror the sensitive range of our perceptual modes. As technologies develop to enhance the range and subtlety of our responsive energies\, will the auditory arts do likewise? Will sound art explore emergent technologies to delve consciously into these expanded sensitivities? And in what ways? Taking VR (Virtual Reality 3D sonic imaging and graphics\, telepresence\, and cyberspace) as a point of departure\, this workshop examines possibilities of individualizing sonic architectures for listeners and for spaces – an approach to composition as “perceptual geography.” \nWith today’s programmable immersive technologies\, scenarios can be created which focus on multiple perceptual viewpoints as we respond to auditory events. Ways of hearing — how we locate\, sense and feel sonic events — are in fact the specific factors which characterize experience in immersive sonic architectures; how we particularize acoustic information to construct distinct transformative experiences. How certain sounds are to be perceived — what perceptual modes they trigger\, where and how they will exist for the listener — becomes as important in shaping an aural architecture as the acoustic information: frequencies\, tone colors\, and rhythms. \n“Will certain sounds be locatable\, seem miles away\, feel close\, pulsate vertically above our head\, vibrate an elbow\, suddenly appear in the space\, dramatically disappear as though without a sound? Do we perceive the sound in the room\, in our head\, a great distance away: do we experience all three dimensions clearly at the same time? In the room\, does the sound drift\, float\, fall like rain? Does it make such a clear shape in the air we seem to “see it” in front of our eyes? Is there no sound in the room at all\, but we continue to hear “after-sound” as our mind is processing aural events perceived minutes ago? Do we experience sonic imaging very near\, moving beside (outside and around) one ear only: “feel” patterns as they in fact\, do originate and develop quite specifically inside\, within our ears… \nExcerpted from Maryanne Amacher’s “MUS 352B Workshop in Electronic\, Electroacoustic and Computer Music Composition” course listing at Bard College. \nABOUT SUPREME CONNECTIONS \nIn 2012 a group of Amacher’s former collaborators took up the baton\, joining forces to collectively engage with the questions of the posthumous life of their friend’s site-adaptive work. Under the name SUPREME CONNECTIONS (the top secret sound lab featured in Amacher’s unrealised treatment\, Intelligent Life)\, the loose formation developed a model for realizing Amacher’s radical approach in keeping with its complex conception of “the work.” Recreating the working methodology of Amacher’s later years through conscious interpretation rather than incongruously faithful reenactments\, SUPREME CONNECTIONS created a series of large-scale “hearing as if” installations at the Funkhaus\, Tate Modern\, Bienal de São Paulo\, and Stedelijk Museum. This iteration of SUPREME CONNECTIONS is comprised of Bill Dietz\, Sergei Tcherepnin\, Keiko Prince\, Woody Sullender\, Nora Schultz\, and Amy Cimini. \n  \n\nThis event is part of   Maryanne Amacher: Perceptual Geographies \n\n\nMajor support for MARYANNE AMACHER: PERCEPTUAL GEOGRAPHIES has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia and the Aaron Copland Fund For Music. Presented in collaboration with Blank Forms.
URL:https://www.bowerbird.org/event/ways-of-hearing-workshop/
LOCATION:Holy Apostles and The Mediator\, 260 S 51st St (at Spruce)\, Philadelphia\, PA\, 19139\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/02/IMG_1569.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190412T193000
DTEND;TZID=America/New_York:20190412T220000
DTSTAMP:20260525T124512
CREATED:20190208T155451Z
LAST-MODIFIED:20190412T151014Z
UID:10000845-1555097400-1555106400@www.bowerbird.org
SUMMARY:Adjacencies\, Petra\, Supreme Connections (Night One)
DESCRIPTION:Sound\, space\, and psychoacoustic phenomena are explored as three different facets of Maryanne Amacher’s creative work are joined together in a single evening for the first time. The program features two of Amacher’s rare compositions including live instruments: Adjacencies (for percussion and spatialized\, four-channel electronics) and Petra (for two pianos). The artistic collective Supreme Connections will also create a site-specific interpretive installation using archival audio and visual materials. Each work will be staged in a different architectural space inside the beautiful and expansive Holy Apostles and The Mediator Church. \nACCESSIBILITY STATEMENT\nPlease note: Holy Apostles & the Mediator Episcopal Church is not wheelchair accessible.  The entranceway to the main floor is approximately five steps above street level. The middle portion of the evening takers place on on the second floor of the building and requires going up and down one flight of stairs.   \n\nPROGRAM \nSupreme Connections\nperformance installation by Bill Dietz\, Sergei Tcherepnin\, Keiko Prince\, Woody Sullender\, Nora Schultz\, and Amy Cimini. \nAmacher: Adjacencies (1965)\nRobert Cosgrove\, percussion\nRussell Greenberg\, percussion\nDaniel Neumann\, electronics\nWoody Sullender\, electronics \nAmacher: Petra (1991)\nMarianne Schroeder\, piano\nEmily Manzo\, piano \nProgram duration approximately 120 mins. \nThis event is part of   Maryanne Amacher: Perceptual Geographies. \n\nPROGRAM NOTES \nMaryanne Amacher (1938-2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception\, sound spatialization\, creative intelligence\, and aural architecture. A collaborator with John Cage and Merce Cunningham\, Amacher spent her formative years as an artist in Philadelphia\, where she studied at the University of Pennsylvania with composer Karlheinz Stockhausen. She is frequently cited as a pioneer of what has come to be called sound art\, although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of this nascent genre. \nThough Amacher is known primarily as an electronic composer\, early on she wrote a handful of pieces for classical instruments using experimental forms of notation. AUDJOINS\, a Suite For Audjoined Rooms was a collection of such works\, from the early to mid-’60s\, for various spatially staged ensembles. Adjacencies\, a graphic score for two percussionists and electronics\, was written in 1965 (during her time in Philadelphia) and is the only known extant score of that series. The work directs performers by sending their microphone signals to a changing array of speakers surrounding the audience\, combining otherwise distinct worlds of sound. Not performed since 1966\, Lawrence Kumpf’s New York City based presenting organization Blank Forms collaborated with Amacher scholars Amy Cimini and Bill Dietz to unpack and analyze the score for its posthumous realization. The work was given its modern premiere at The Kitchen in 2017 with Ian Antonio and Russell Greenberg of the experimental piano-percussion quartet Yarn/Wire\, with sound distribution by Daniel Neumann and Woody Sullender. \nStarting in the late seventies\, the central focus of Amacher’s practice shifted to the site-specific transformation of architectural space\, involving the measured\, oblique placement of speakers behind walls and under floors to reimagine manmade structures as massive analog sound filters. Moving from the entire-building scale of her Music For Sound Joined Rooms to the Mini Sound Series\, Amacher strategically incorporated a variety of visual elements as cues for suggested spatial navigation. Requiring prolonged venue access as well as considerable equipment\, Amacher was almost never able to mount these costly works in the US before her death in 2009\, presenting them largely in Europe and Japan. Inspired by vernacular serial formats\, she emphasized that the architecturally staged pieces\, as distinguished from a continuous installation or traditional concert genre\, were intended as “an evolving sound work ‘to be continued.’” \nIn 2012 a group of Amacher’s former collaborators took up the baton\, joining forces to collectively engage with the questions of the posthumous life of their friend’s site-adaptive work. Under the name Supreme Connections (the top secret sound lab featured in Amacher’s unrealised treatment\, Intelligent Life)\, the loose formation developed a model for realizing Amacher’s radical approach in keeping with its complex conception of “the work.” Recreating the working methodology of Amacher’s later years through conscious interpretation rather than incongruously faithful reenactments\, Supreme Connections created a series of large-scale “hearing as if” installations at the Funkhaus\, Tate Modern\, Bienal de São Paulo\, and Stedelijk Museum. With a week of 24-hour venue access at their disposal for the collective’s first-ever project in the US\, this iteration of Supreme Connections is comprised of Bill Dietz\, Sergei Tcherepnin\, Keiko Prince\, Woody Sullender\, Nora Schultz\, and Amy Cimini. \nAmacher’s 1991 piece Petra was originally commissioned for the ICSM World Music Days in Boswil\, Switzerland. Written for two pianos\, Petra is a unique example of Amacher’s late work\, a direct extension of her working methodologies for electronic compositions taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. The piece is a sweeping\, durational work based on both Amacher’s impressions of the church at Boswil and science-fiction writer Greg Bear’s short story of the same name\, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame. \nThe piece will be performed by Marianne Schroeder\, who originally performed the piece alongside Amacher in 1991\, and Emily Manzo. Like much of Amacher’s work\, a performance of Petra is not as straightforward as it might appear—there is no definitive score but rather a series of fragments and working notes left to be deciphered. This third ever performance is an expanded version based on a newly discovered notes and scores from the Maryanne Amacher Archive. \n  \n\nThis event is part of   Maryanne Amacher: Perceptual Geographies \n\n\nMajor support for MARYANNE AMACHER: PERCEPTUAL GEOGRAPHIES has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia and the Aaron Copland Fund For Music. Presented in collaboration with Blank Forms.
URL:https://www.bowerbird.org/event/adjacencies-petra-supreme-connections-night-one/
LOCATION:Holy Apostles and The Mediator\, 260 S 51st St (at Spruce)\, Philadelphia\, PA\, 19139\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/02/Amacher_knobs-2.jpg
END:VEVENT
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