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DTSTART;TZID=America/New_York:20260423T200000
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DTSTAMP:20260430T074731
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SUMMARY:Experiments in Neuroaesthetics: Evoking Voices from Biological Systems
DESCRIPTION:Bowerbird is pleased to co-present Gene Coleman’s program Experiments in Neuroaesthetics: Evoking Voices from Biological Systems. \nIn the music of Giacinto Scelsi\, Luigi Nono and Pauline Oliveros\, and in the films of Stan Brakhage\, there was a desire to reveal the “inner voices”. Working with new biodata technologies and systems\, we reach a new reality\, where the inner voices of the body\, mind\, via biological systems\, can be Evoked – seen and heard in unprecedented ways. How can we create music and art in this new reality? This program shows three different approaches\, which are linked by use of The Source\, a Biodata device that can translate electric biorhythms into various media. The program features work by: KAVI (Ilze Briede)\, The Quantum Global Organoid Orchestra (q.GOO)\, and The Neuro Music Ensemble Conjure. \n\nPROGRAM \nKAVI: Emergent Feedback Loops: Cybernetics and the Human Brain \nqGOO (Quantum Global Organoid Orchestra): q.GOO_ PhiladelphiaNeuroMusicAI/42026 \nGene Coleman: EVOCARE (2026) for string quartet and neuro electronics\nConjure Neuro Music Ensemble + Guests\nAdam Vidiksis\, Neuro electronics\nSam Wells\, Neuro electronics\nTom Kraines\, Cello\nGene Coleman (Composition and Direction)\nWith special guests\nMelinda Rice and Molly Germer\, Violins\nMaren Rothfritz\, Viola \n\nABOUT THE PROGRAM \nKAVI (Ilze Briede)\, a Latvian–Canadian artist and researcher working across visual art\, digital design\, interactive installation\, and live audiovisual performance. Her work Emergent Feedback Loops: Cybernetics and the Human Brain\, uses her biodata to generate complex visual structures\, accompanied by improvisational responses from musicians. Her work examines how physiological data—such as brain activity and other biosignals—can function as generative inputs for artistic systems. This performance presents ongoing dissertation research and a research-creation inquiry within computational arts\, exploring the integration of live human brain data into cybernetic systems. Drawing on unprocessed neural signals\, the work resists reductionist models of data interpretation and knowledge construction\, aiming to create more authentic\, unpredictable experiences that foreground emergence\, unpredictability\, and co-evolution. A feedback loop among performers\, the computational system\, and spectators forms a dynamic\, interdependent ecology in which visual\, sonic\, and spatial elements continuously evolve in real time. This research is supported by a developing biophysical sensing device from BioMECI called The Source\, designed to collect and translate physiological signals into performative outputs. Through this system\, brain activity becomes an active agent within a cybernetic environment\, enabling new forms of interaction and perception. Positioned at the intersection of art\, science\, and technology\, this work proposes a framework for data-driven performance centered on relationality\, embodiment\, and collective world-building. \nThe Quantum Global Organoid Orchestra (q.GOO) presents its composition\nq.GOO_PhiladelphiaNeuroMusicAI/42026. This work extends contemporary practice in media art\, neuroscience\, and AI by making perceptible the hidden rhythms of living neural matter and prompting new questions about perception\, agency\, and the future of embodied computation. \nThe Neuro Music Ensemble Conjure performs EVOCARE\, a composition by Gene Coleman for string quartet and neuro electronics. Coleman calls this “Neuro Music” – music modeled on the auditory pathways of the brain and nervous system. EVOCARE reveals the inner voices of the body and mind using a new Biodata technology called The Source\, which translates our nervous system rhythms into sound. EVOCARE is a dynamic dialog between acoustic music and the Biorhythms of perception\, interoception\, affect\, emotion and thought. \nThis program is produced by The Institute for Music and Neuroaesthetics\, Bowerbird and The Rotunda \n\nABOUT THE ARTISTS \nIlze Briede (artist name Kavi) is a Latvian–Canadian artist and researcher working across visual art\, digital design\, interactive installation\, and live audiovisual performance. Her creative and pedagogical practice engages with biophysical sensing\, creative coding\, and projection-based media to explore the aesthetic and epistemological potential of physiological data. Kavi is currently a PhD candidate in Digital Media at York University\, Toronto\, where her research investigates the design of cybernetic systems for performance and immersive narrative environments driven by real-time biophysical signals. Her work examines how physiological data—such as brain activity and other biosignals—can function as generative inputs for artistic systems\, enabling alternative modes of perception\, participation\, and knowledge production.\nwww.ka-vi.com/ \nGene Coleman is a composer\, musician and director. Among his Awards: Guest Composer at Chigiana International Festival (2026)\, Composer in Residence at Contemporanea Monferrato (2024)\, New Jersey Arts Council Fellowship (2024)\, Nichibei Creative Arts Fellow (2021 and 2001)\, Artistic Director of Site/Sound Philadelphia (2019)\, Fromm Foundation Commission (2019)\, Director of Philadelphia Composers Forum (2016-19)\, Guggenheim Fellow in Music Composition (2014)\, Berlin Prize for Music from the American Academy in Berlin (2013) and William Penn Composer in Residence at The American Academy in Rome (2012). He has created many works for various instrumentation and media. Central to his interests is the inventive use of sound\, image and time. He sees Art as a way to create experiences that expand our understanding and feelings of the world. For many years he has explored global transformations of culture with his group Ensemble N_JP and music’s relationship with science\, video and architecture. His most recent research and compositions explore Neuro Music\, Neuroaesthetics and Neurotechnologies. In 2023 his album of Neuro Music compositions called “Exploratorium” was published by the UK label False Walls. He studied painting\, music and film making at the School of the Art Institute of Chicago\, where his teachers included experimental film artists Stan Brakhage and Ernie Gehr\, composer Robert Snyder\, and visual artists Barbara Rossi and Oliver Jackson. Coleman is an Affiliated Researcher for Music and Neuroaesthetics in the META Lab at the University of California Santa Barbara. He is the founder and director of the Institute for Music and Neuroaesthetics\, a research space for musicians\, artists and people in Neuroscience. More at: https://www.genecolemancomposer.com/ and https://www.falsewalls.co.uk/release/exploratorium/  \nThe Quantum Global Organoid Orchestra (q.GOO) is an experimental art–science collaboration that brings together living neural tissue\, generative media\, and networked human participation to explore new forms of emergent\, cross-species creativity. The project centers on brain organoids—lab-grown clusters of neural cells cultivated in partnered neurobiology labs—which produce spontaneous electrical activity. This neural activity is captured through microelectrode arrays (MEAs) and translated in real-time into sound\, visual structures\, and computational behaviors. In this sense\, the organoids function as active “performers” within a hybrid ensemble composed of biological\, human\, and machine processes. \nFeaturing the following contributors: \ntransLAB: Marcos Novak (director)\, Nefeli Manoudaki\, Iason Paterakis\, Mert Toka and Diarmid Flatley\nATMOS Implementation: Lucian Parisi\nn-D::StudioLab: Mark-David Hosale (director) and Ilze [Kavi] Briede\nSBCAST: Alan Macy (director) \nScientific collaborators:\nThe Kosik Neurobiology Lab: Kenneth Kosik (director) and Tjitse van der Molen \nAbstract: \nBeyond AI models\, the constantly and rapidly evolving q.GOO project assembles Superconductivity for Minds: a globally distributed ecology in which actual and artificial brain organoids\, bio-inspired algorithmic and quantum computational processes\, spectral sound\, coupled human-computer collaboration\, and networked planetary environments begin to co-compose intelligence through Agentic Media Ecologies and Perforated Systems. This project explores what becomes thinkable when the “emergent possible” of the hybrid natural-artificial environment itself becomes agentive —reciprocally both data-driven and data-driving— when cognition is distributed across heterogeneous Umwelten\, and when the path toward Superoptimal AGI/ASI runs not through isolated systems\, but through recursively coupled permeable\, porous\, and perforated outer and inner worlds. \nModelled on complex ecosystems such as coral reefs\, rainforests\, and the planet itself\, and also perception\, cognition\, civilization\, and culture as emergent systems\, the project and its variants are structured operationally by the notion of “perforated systems” — systems that\, like living cells\, consist of an autonomous internal behavior protected by a permeable\, porous\, or literally perforated “membrane.” This arrangement allows all parts to maintain their integrity but also to send and receive energy and information to and from each other and from the overall environment. Diverse coordinating processes provide algorithmic environmental homeostasis by adjusting the data flowing through the perforations. \nThis “free-but-perforated” operational strategy is also a statement regarding human collaboration and environmental sustainability. Each participant contributes a “species” that is free to be whatever it needs to be\, provided it remains “perforated” and can receive and send data and information that can alter its behavior. The work thus instantiates a “media ecosystem” where the result is ecosystemically regulated by the health of the whole\, which is always richer and more interesting than the sum of its parts. \nThe Quantum Global Organoid Orchestra (q.GOO) is an experimental art–science collaboration that brings together living neural tissue\, generative media\, and networked human participation to explore new forms of emergent\, cross-species creativity. The project centers on brain organoids—lab-grown clusters of neural cells cultivated in partnered neurobiology labs—which produce spontaneous electrical activity. This neural activity is captured through microelectrode arrays (MEAs) and translated in real-time into sound\, visual structures\, and computational behaviors. In this sense\, the organoids function as active “performers” within a hybrid ensemble composed of biological\, human\, and machine processes. \nq.GOO evolves from the SIGGRAPH 2023 Synaptic Time Tunnel project and the Protonoesis series by collaborators at UCSB’s transLAB (directed by Marcos Novak) and the Kosik Neurobiology Lab (directed by Ken Kosik). These works form closed-loop systems in which organoid signals influence generative algorithms\, which in turn shape the audiovisual environment surrounding the installation. Audience members encounter an immersive\, multi-modal field where neural activity\, machine interpretation\, and human agency intermingle\, suggesting a form of “distributed cognition” that exceeds any one participant. \nThe project invites reflection on the aesthetic and ethical dimensions of working with living neural material\, asking what it means to situate organoids—entities neither fully biological subjects nor inert tools—as participants within artistic systems. q.GOO foregrounds sensation\, emergence\, and relationality. It proposes a speculative model of collective intelligence\, where biological and computational systems co-produce meaning. Through this\, the Quantum Global Organoid Orchestra extends contemporary practice in media art\, neuroscience\, and AI by making perceptible the hidden rhythms of living neural matter and prompting new questions about perception\, agency\, and the future of embodied computation.
URL:https://www.bowerbird.org/event/experiments-in-neuroaesthetics/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/04/apr-23-gene-coleman-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T190000
DTEND;TZID=America/New_York:20260412T210000
DTSTAMP:20260430T074731
CREATED:20251222T155208Z
LAST-MODIFIED:20260408T155027Z
UID:10001294-1776020400-1776027600@www.bowerbird.org
SUMMARY:Alash Ensemble
DESCRIPTION:**Please note: The performance starts at 7:00pm. Seating and admission to the building for the performance will be on a first come first served basis. Doors will open at 6:15pm. RSVPing helps us to anticipate attendance but does not guarantee entry. If you RSVP but do not check in by 6:50pm\, we may give your spot away to someone waiting in line.** \n  \nBowerbird is pleased to present Philadelphia favorites Alash at The Rotunda for two FREE concerts – 2pm and 7pm. \nAlash are masters of Tuvan throat singing (xöömei)\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. \nPresented with The Rotunda. \n\n\n 
URL:https://www.bowerbird.org/event/alash-ensemble-2026-7pm/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T140000
DTEND;TZID=America/New_York:20260412T160000
DTSTAMP:20260430T074731
CREATED:20251222T155726Z
LAST-MODIFIED:20260408T154420Z
UID:10001295-1776002400-1776009600@www.bowerbird.org
SUMMARY:Alash Ensemble
DESCRIPTION:**Please note: The performance starts at 2:00pm. Seating and admission to the building for the performance will be on a first come first served basis. Doors will open at 1:15pm. RSVPing helps us to anticipate attendance but does not guarantee entry. If you RSVP but do not check in by 1:50pm\, we may give your spot away to someone waiting in line.** \nBowerbird is pleased to present Philadelphia favorites Alash at The Rotunda for two FREE concerts – 2pm and 7pm. \nAlash are masters of Tuvan throat singing (xöömei)\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. \nPresented with The Rotunda. \n\n\n 
URL:https://www.bowerbird.org/event/alash-2pm-april-2026/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/12/Bowerbird-Main-Img-54-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260320T200000
DTEND;TZID=America/New_York:20260320T220000
DTSTAMP:20260430T074731
CREATED:20260212T182453Z
LAST-MODIFIED:20260213T152630Z
UID:10001313-1774036800-1774044000@www.bowerbird.org
SUMMARY:Screening: Cunningham Ballett and Channels/Inserts
DESCRIPTION:David Tudor’s musical partnership with the Merce Cunningham Dance Company spanned nearly five decades\, from the company’s founding in 1953 until Tudor’s death in 1996. As a founding member\, Tudor served not only as a virtuoso performer of revolutionary piano works but also as an essential collaborator in shaping the company’s sonic identity. Working alongside John Cage\, Gordon Mumma\, Christian Wolff\, and Takehisa Kosugi\, Tudor helped pioneer a radical approach to the relationship between sound and movement—one in which music and dance coexisted independently yet in the same time and space. This screening\, the second of two film programs dedicated to Tudor’s work with the Cunningham company\, presents “Cunningham Ballett” (1958) and “Channels/Inserts” (1982). \n\nPROGRAM:\nCunningham Ballett (1958) | 24 min\, black & white\, sound\, digital transfer\nPerformance for Camera: Brussels\, Belgium\, 1958. This film for television includes “Changeling” (1957)\, “Suite for Two” (1956)\, and “Springweather and People” (1955). Dancers: Carolyn Brown and Merce Cunningham. Musicians: John Cage and David Tudor.\nChannels/Inserts (1982) | 31:40 min\, color\, sound\, 16 mm film on HD video\nChoreography: Merce Cunningham. Direction/Editing: Charles Atlas. Music: David Tudor\, “Phonemes” \n\nABOUT THE FILMS \nTo create Channels/Inserts\, Cunningham and Atlas divided the Cunningham Dance Company’s Westbeth studio into sixteen possible areas for dancing and used chance methods based on the I Ching to determine the order in which these spaces would be used\, the number of dancers to be seen\, and the events that would occur in each space. Atlas employed cross-cutting and animated mattes or wipes to indicate a simultaneity of dance events occurring in different spaces\, as well as to allow for diversity in the continuity of the image. The sound score is a recording of David Tudor’s PHONEMES. \nDancers are dressed in everyday clothing and at times stop dancing to congregate casually. This cessation\, of course\, is legible neither as dance nor “not-dance\,” but is in-between and liminal\, pointing to Cunningham’s persistent interest in “pedestrian” movement. Movement\, the choreographer seems to indicate\, exists in a continual tension—the everyday appears in the dance phrase and the dance phrase appears in the everyday\, or bear each other’s traces. The dancing body is always-already an everyday body and in turn\, the everyday body always-already contains the potential for movement read as dance. \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/screening-cunningham-ballett-and-channels-inserts/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/02/Tudor-Cunningham-Ballett.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260220T200000
DTEND;TZID=America/New_York:20260220T220000
DTSTAMP:20260430T074731
CREATED:20260117T165738Z
LAST-MODIFIED:20260213T133023Z
UID:10001309-1771617600-1771624800@www.bowerbird.org
SUMMARY:Screening: Variations V and RainForest
DESCRIPTION:David Tudor’s musical partnership with the Merce Cunningham Dance Company spanned nearly five decades\, from the company’s founding in 1953 until Tudor’s death in 1996. As a founding member\, Tudor served not only as a virtuoso performer of revolutionary piano works but also as an essential collaborator in shaping the company’s sonic identity. Working alongside John Cage\, Gordon Mumma\, Christian Wolff\, and Takehisa Kosugi\, Tudor helped pioneer a radical approach to the relationship between sound and movement—one in which music and dance coexisted independently yet in the same time and space.  This screening\, the first of two film programs dedicated to Tudor’s work with the Cunningham company\, presents “Variations V” (1965) and “RainForest” (1968). \n\nPROGRAM: \nVariations V (1966) | 49:05\, black & white\, sound\, 16 mm film on video\nChoreography: Merce Cunningham. Director: Arne Arnbom. Music: John Cage\, “Variations V.” performed by Cage\, David Tudor\, and Gordon Mumma. Distortion of TV images: Nam June Paik. Film images: Stan VanDerBeek.  \nRainForest (1968) | 28 min\, color\, sound\, digital transfer\nFilmed by D.A. Pennebaker (Leacock and Pennebaker) as part of the 1968 Buffalo Arts Festival’s program “Who’s Afraid of the Avant-Garde.” Choreography: Merce Cunningham. Music: David Tudor\, “Rainforest.” Costumes: Jasper Johns. Sets: Andy Warhol. \n\n\n\nABOUT THE FILMS \nFirst composed and performed in 1965\, Variations V is a true testament to 1960’s experiments with “intermedia”—a coexistence and cutting across of artistic genres that profoundly informed Cunningham’s choreographic practice. Video is materially integrated into the performance\, with projections by Stan VanDerBeek and overlaid TV distortions by Nam June Paik enveloping the dancers. Twelve sound-sensitive electronic poles dot the stage; sound is triggered by the dancers’ movements and then altered or delayed by the musicians. Variations V predates Cunningham’s “video-dances\,” demonstrating a different moment in his relation to the technology. \nA kind of explicit\, corporeal engagement with video as medium is reflected in the performance’s sound component. Sound\, like video\, exists in this dance visually and even kinetically. The viewer of this 1966 archival performance gains access to the locus of sound production\, seeing John Cage and David Tudor perched over a wide spread of electronic equipment. Cunningham pays attention to the musicians’ movements in his 1968 book Changes: Notes on Choreography\, their “constant scuttling” moving “back and forth on the platform to fix things\, wiring that came out\, a plug\, etc.” The performance moves dialectically between its phenomenological whole and the “varied” elements of sound\, video and dance that constitute it. \nUnlike most of Cage and Cunningham’s collaborations\, sound and movement are more technically codependent than autonomous in Variations V. Cunningham writes in Changes\, “John decided to find out if there might not be ways that sound could be affected by movement\, and he and David Tudor proceeded to find out that there were.” \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/screening-variations-v-and-rainforest/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Tudor
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260116T200000
DTEND;TZID=America/New_York:20260116T220000
DTSTAMP:20260430T074731
CREATED:20251219T202600Z
LAST-MODIFIED:20260220T201038Z
UID:10001291-1768593600-1768600800@www.bowerbird.org
SUMMARY:Tudor & Cage
DESCRIPTION:Bowerbird is pleased to present percussionist Stuart Jackson performing David Tudor’s Coefficient: Frictional Percussion and Electronics (1991). This late electro-acoustic work\, originally composed for percussionist Michael Pugliese\, exists not as a traditional score but as a set of materials\, circuits\, and performance practices developed through experimentation. Frictional gestures—scraping\, rubbing\, sustained contact—activate microphones and transducers\, creating a feedback system where acoustic actions continuously shape and destabilize the electronics. The result is a dense\, evolving sound environment in which percussion and electronics become inseparable. Jackson developed his version of Coefficient through extensive archival research and hands-on experimentation with Tudor’s materials. Because no fixed score exists\, his realization emerged through an iterative process of reconstruction and refinement—treating Tudor’s materials not as instructions to reproduce\, but as a framework to activate. Jackson will perform the work and discuss his research process\, offering insight into how this materially elusive piece can be brought into the present through practice. \n\nPROGRAM \nPresentation on the reconstruction of Tudor’s Coefficient: Frictional Percussion and Electronics \n– pause – \nJohn Cage: Solo for Cymbal (1960) \nDavid Tudor: Coefficient: Frictional Percussion and Electronics (1991) \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nABOUT THE ARTISTS \nStuart Jackson is a percussionist and uilleann piper from Virginia\, currently based in Montréal\, Canada. As a researcher\, he specializes in reconstructing poorly documented and unpublished electroacoustic works from the 20th century. This project on reviving experimental compositions has received support from the Fonds de recherche du Quèbec and the Paul Sacher Stiftung in Basel\, Switzerland. \nHe has presented solo percussion concerts at the Musée d’art contemporain de Montréal (MAC) and Ausgang Plaza in Montréal\, and performed as an uilleann pipe soloist with the Soho Rep Theatre and the Wordless Music Orchestra. With the Montréal percussion ensemble Sixtrum\, he has performed at the Timespans Festival in New York City\, Semaine du Neuf in Montréal\, and the Musica Festival (with Les Percussions de Strasbourg) in Strasbourg\, France. He is currently a post-doctoral fellow at the Université de Montréal working with Jonathan Goldman and Guillaume Boutard. \nco-presented with The Rotunda \n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/stuart-jackson-plays-tudor-and-cage/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Tudor
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/12/Jan-16_-Tudor-Cage.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251212T200000
DTEND;TZID=America/New_York:20251212T220000
DTSTAMP:20260430T074731
CREATED:20251124T155854Z
LAST-MODIFIED:20251215T161119Z
UID:10001290-1765569600-1765576800@www.bowerbird.org
SUMMARY:In The Mirror of Maya Deren
DESCRIPTION:Bowerbird is pleased to present a special screening of In The Mirror of Maya Deren at The Rotunda. \n“More than anything else\, cinema consists of the eye for the magic—that which perceives and reveals the marvelous in whatsoever it looks upon.” –Maya Deren \nWith In The Mirror of Maya Deren\, documentary filmmaker Martina Kudlacek has fashioned not only a fascinating portrait of a groundbreaking and influential artist\, but a pitch-perfect introduction to her strikingly beautiful and poetic body of work. Crowned “Fellini and Bergman wrapped in one gloriously possessed body” by the L.A. Weekly\, Maya Deren (née Eleanora Derenkovskaya) is arguably the most important and innovative avant-garde filmmaker in the history of American cinema. Using locations from the Hollywood hills to Haiti\, Deren made such mesmerizing films as At Land\, Ritual in Transfigured Time\, and her masterpiece\, Meshes of the Afternoon\, which won a prestigious international experimental filmmaking prize at the 1947 Cannes Film Festival. Starting with excerpts from these films\, In The Mirror of Maya Deren seamlessly and effectively interweaves archival footage with observances from acolytes and contemporaries such as filmmakers Stan Brakhage and Jonas Mekas\, dance pioneer Katherine Dunham\, and Living Theater founder Judith Malina. With an original score by experimental composer John Zorn. \n\nABOUT THE ARTISTS \nOne of the most important American experimental filmmakers and entrepreneurial promoters of the avant-garde in the 1940s and 1950s\, Maya Deren was also a choreographer\, dancer\, film theorist\, poet\, lecturer\, writer and photographer. \nThe function of film\, Deren believed\, like most art forms\, was to create an experience; each one of her films would evoke new conclusions\, lending her focus to be dynamic and always-evolving. She combined her interests in dance\, Haitian culture and subjective psychology in a series of surreal\, perceptual\, black and white short films. Using editing\, multiple exposures\, jump cutting\, superimposition\, slow-motion and other camera techniques\, Deren created continued motion through discontinued space. She abandoned the established notions of physical space and time turning her vision into a stream of consciousness. \nPerhaps one of the most influential experimental films in American cinema was her collaboration with Alexander Hammid on Meshes of the Afternoon (1943). She continued to make several more films of her own\, including At Land (1944)\, A Study in Choreography for Camera (1945)\, and Ritual in Transfigured Time (1946) – writing\, producing\, directing\, editing\, and photographing them with help from only one other person\, Hella Heyman\, as camerawoman. She also appeared in a few of her films but never credited herself as an actress\, downplaying her roles as anonymous figures rather than iconic deities. \nJohn Zorn is an American avant-garde composer\, arranger\, record producer\, saxophonist and multi-instrumentalist. Zorn’s recorded output is prolific with hundreds of album credits as a performer\, composer\, or producer. His work has touched on a wide range of musical genres\, often within a single composition\, but he is best-known for his avant-garde\, jazz\, improvised and contemporary classical music. Zorn has led the punk jazz band Naked City\, the klezmer-influenced quartet Masada and composed the associated ‘Masada Songbooks’\, written concert music for classical ensembles\, and produced music for film and documentary. Zorn has stated that “I’ve got an incredibly short attention span. My music is jam-packed with information that is changing very fast… All the various styles are organically connected to one another. I’m an additive person – the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can’t see the connections\, but they are there.” \nAfter releasing albums on several independent US and European labels\, Zorn signed with Elektra Nonesuch and attracted wide acclaim in 1985 when he released ”The Big Gundown” with his interpretations of music composed by Ennio Morricone. This was followed by the album ”Spillane” in 1987\, and the first album by Naked City in 1989 which all attracted further worldwide attention. Zorn then recorded on the Japanese DIW label and curated the Avant subsidiary label before forming Tzadik in 1995\, where he has been prolific\, issuing several new recordings each year and releasing works by many other musicians. \nZorn established himself within the New York City downtown music movement in the early 1980s but has since composed and performed with a wide range of musicians working in diverse musical areas. By the early 1990s Zorn was working extensively in Japan\, attracted by that culture’s openness about borrowing and remixing ingredients from elsewhere\, where he performed and recorded under the name Dekoboko Hajime\, before returning to New York as a permanent base in the mid 1990’s. Zorn has undertaken many tours of Europe\, Asia\, and the Middle East\, often performing at festivals with varying ensembles to display his diverse output. \n\n\n\nCo-presented with The Rotunda
URL:https://www.bowerbird.org/event/in-the-mirror-of-maya-deren/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/11/Bowerbird-Main-Img-2025-11-24T105406.979.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251121T200000
DTEND;TZID=America/New_York:20251121T220000
DTSTAMP:20260430T074731
CREATED:20251029T165641Z
LAST-MODIFIED:20251124T160114Z
UID:10001288-1763755200-1763762400@www.bowerbird.org
SUMMARY:Cornelius Cardew: Treatise
DESCRIPTION:Bowerbird is pleased to present the Arcana New Music Ensemble performing Cornelius Cardew’s groundbreaking work Treatise at The Rotunda. \nComposed between 1962-1967\, Treatise employs an entirely graphic score with symbols that at times looks like traditional music notation then morphs into beautiful esoteric shapes\, curved lines\, and large black dots. Without any instruction for performance and almost 200 pages long\, the work requires careful discussion and interpretation by the musicians to realize the work. \nARCANA NEW MUSIC ENSEMBLE \nNicholas Handahl – flute\nNoa Even – saxophone\nMelinda Rice – violin\nCarlos Santiago – violin\nAlyssa Almeida – cello\nAndy Thierauf – percussion \n\nABOUT THE ARTISTS \nCardew was born into a family of artists in 1936. He grew up in Cornwall\, England where until his admittance\, at age 17\, to the Royal Academy of Music in London. Trained as a pianist and cellist\, Cardew had a great interest in the new ideas that were beginning to bloom around contemporary music at that time. He taught himself guitar so that he could take part in the British premiere of Pierre Boulez’s early complex masterwork Le marteau sans maître. As a young composer\, Cornelius immersed himself in the hyper-serialist works of Boulez and Karlheinz Stockhausen\, while also exploring the emerging discipline of composition for electronics. This latter interest led to his attendance of the Studio for Electronic Music in Köln where he began his relationship as Stockhausen’s assistant\, most notably working with the German on the score to his massive work for four orchestras and choirs: Carré. \nAfter hearing a concert of John Cage and David Tudor in 1958 Cardew turned away from the structure of Boulez and Stockhausen toward the new languages of indeterminate music being explored by Cage\, Christian Wolff\, Morton Feldman\, and Earle Brown. It is arguable that Cardew took the graphic score and performer weighted composition of the New York school to a logical conclusion with works like the text based composition The Great Learning and Treatise. These compositions\, by withholding interpretation of the signs that make up the scores\, removed the expectation in performance to a much greater degree than most of his peers and predecessors. \nIn 1966\, he joined AMM\, an experimental improvising group in London with an instrumentation that grew around the central figures of Eddie Prévost\, John Tilbury\, and Keith Rowe. Even though the group maintained a strict improvisatory ideal\, it featured Christian Wolff at one point\, as well as Cardew. This relationship seems to have had a hand into leading Cardew further away from traditionally notated composition toward his graphic notation work of the 1960s. \nIn 1969\, as a result of The Great Learning\, Cardew formed The Scratch Orchestra with like-minded composers Michael Parsons and Howard Skempton. This group favored a populist approach to performance\, featuring a combination of trained and untrained musicians\, professed a “reverse seniority” hierarchy (or anti-hierarchy) and relied on graphic rather than traditional notation so that anyone could participate. The group operated until about 1974 at which time the politics of the group were leading to new avenues and a third period of activity and redefinition for Cardew. \nBeginning in the early 1970s\, Cardew concentrated his musical efforts on the political by creating music whose purpose was simultaneously populist\, Marxist\, Maoist\, and also critical of the excesses of the avant-garde tradition represented by Stockhausen and Cage. Moving from hyper-serialism to the new rigor of graphic notation\, Cardew’s music from this last period took English folk music tradition as the delivery system for populist political statements such as We Sing for the Future and Smash the Social Contract. Cardew was a co-founding member of the Central Committee of the Revolutionary Communist Party of Britain starting in 1979 and his political commitment began to overtake his musical output\, culminating in controversial text Stockhausen Serves Imperialism. He died on December 13\, 1981; the victim of a mysterious hit and run car accident. The driver was never located. \nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Composers featured in recent programs include Julius Eastman\, Sarah Hennies\, Raven Chacon\, Anahita Abbasi\, Morton Feldman\, Galina Ustvolskaya\, Pauline Oliveros\, Tom Johnson\, Moondog\, and James Tenney. Arcana has performed at the Philadelphia Museum of Art\, Fleisher Art Memorial\, The Rotunda\, The Kitchen (NYC)\, and collaborated with Variant Six\, Prometheus Chamber Orchestra\, Pig Iron Theater Company\, and Wildflower Composers.
URL:https://www.bowerbird.org/event/cornelius-cardew-treatise/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/10/Bowerbird-Main-Img-2025-10-29T124822.809.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T200000
DTEND;TZID=America/New_York:20251017T220000
DTSTAMP:20260430T074731
CREATED:20250716T173115Z
LAST-MODIFIED:20251018T143529Z
UID:10001278-1760731200-1760738400@www.bowerbird.org
SUMMARY:Don Slepian
DESCRIPTION:Bowerbird is pleased to present Don Slepian celebrating the forty-fifth anniversary of his album Sea of Bliss\, which has been reissued on Numero Group. Opening the evening will be sound artist Saapato. \n\nABOUT THE ARTISTS \nDon Slepian\, a composer\, performer\, and music technologist\, is celebrated as a pioneer in the ambient and new age music movement\, blending classical influences with cutting-edge electronic techniques. From serving as artist-in-residence at Bell Laboratories and Synthesizer Soloist with the Honolulu Symphony to performing at esteemed venues like Lincoln Center\, WNYC’s New Sounds\, and the Centre Pompidou\, his career spans decades of innovation and acclaim. Recently\, he has sold out shows at the Philosophical Research Society\, accompanied therapeutic psychedelic ceremonies\, lectured at Stanford University\, appeared on Dublab radio\, and is preparing a tour celebrating the forty-fifth anniversary of his seminal record Sea of Bliss. Now based in the Pocono Mountains\, Slepian continues to compose\, perform\, and build innovative instruments\, cementing his legacy as a visionary in the field.\ndonslepian.com\nSea of Bliss \nSaapato is the music project of upstate NY based sound artist Brendan Principato. His work focuses on the intersection of ecology and music\, using a distinct blend of manipulated field recordings and lush electronic soundscapes to encourage listeners to reconsider their place within nature. He spent August 2023 in residence with the Alaska State Park Service recording bird migrations and the salmon run outside of Juneau. In September of 2022 he was in residence with the National Park Service on Fire Island\, NY documenting “shoulder season” in rare and rapidly disappearing swale and dune habitats.\nsaapato.com \n\nMars by Don Slepian \nDecomposition: Fox on a Highway by Saapato
URL:https://www.bowerbird.org/event/don-slepian/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/07/Bowerbird-Main-Img-2025-07-16T133317.939.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250516T200000
DTEND;TZID=America/New_York:20250516T220000
DTSTAMP:20260430T074731
CREATED:20250317T151450Z
LAST-MODIFIED:20250521T141335Z
UID:10001258-1747425600-1747432800@www.bowerbird.org
SUMMARY:Nmperign
DESCRIPTION:Bowerbird is pleased to present Nmperign the saxophone/trumpet duo of Bhob Rainey and Greg Kelley at The Rotunda. The duo is known for exploring the quiet side of free improvisation often basing its music around long tones and extended-technique effects to evoke the sounds of electronic drones. \nThe evening will open with a set by Lauren Pakradooni and Bill Nace. \n\nABOUT THE ARTISTS \nBhob Rainey is a Philadelphia-based composer\, saxophonist\, and sound designer celebrated for his innovative contributions to contemporary\, experimental\, and improvised music. A recipient of the prestigious Pew Fellowship in the Arts and co-founder of the influential improvisational duo nmperign\, Rainey has garnered acclaim for his groundbreaking work across disciplines\, including collaborations in theater\, dance\, and visual art. With performances and commissions spanning prestigious venues and festivals worldwide\, his work continuously challenges boundaries of musical thought and instrumental technique.\nbhobrainey.com \nGreg Kelley has performed throughout North America\, Europe\, Japan\, Argentina & Mexico at numerous festivals\, in clubs\, outdoors\, in living rooms\, in a bank\, and at least once on a vibrating floor. He has collaborated with a number of musicians across the globe performing experimental music\, free jazz and noise\, appearing on over 100 recordings in the process. He constantly seeks to push the boundaries of the trumpet and of “music.”\nordinaryfanfares.com \nLauren Pakradooni\, an artist and musician living in the Philadelphia region\, has performed under the monikers Tether and Pak for the past two decades in performance and recordings. She manipulates and layers handmade cassette tape loops into compositions structured around created sonic spaces of melody and dissonance teetering on song. She has released recordings with Hot Releases\, Scumbag Relations\, Sleepy Cobalt Sounds\, Price Tapes\, Dungeon Taxis\, Rare Youth\, Stenze Quo Musik\, Eggy Records\, among others.\nlaurenpakradooni.com \nBill Nace is an artist and musician based in Philadelphia\, PA. He has collaborated with an extraordinary range of musicians\, including Michael Morley\, Graham Lambkin\, Sakina Abdou\, Twig Harper\, Jooklo Duo\, chik white\, John Truscinski\, Thurston Moore\, Jake Meginsky\, Jessica Rylan\, Paul Flaherty\, Wally Shoup\, Aaron Dilloway\, and Kim Gordon\, with whom he regularly plays as one half of the duo Body/Head. His last solo LP Through a Room was released on Drag City Records He has been a featured musician in festivals such as ATP (curated by Jim Jarmusch and held in Monticello\, NY)\, Colour Out of Space(Brighton\, UK)\, Supersonic Festival (Birmingham\, UK)\, International Festival Musique Actuelle (Victoriaville\, QC)\, and Homegrown (Boston\, MA). He has performed in a wide variety of venues\, running the gamut from the Musee d’Art Contemporain (Strasbourg\, France) to The Stone (NYC) to Bennington College (Vermont). Nace’s range has been described as “veering from sculptural\, almost Remko-Scha-esque chime to Loren Connors-style elegance in only a few short moves.” (Mimaroglu Music\, 2010). In addition to Drag City and Three Lobed\, recordings can be found on Ecstatic Peace (Northampton\, MA)\, Ultra Eczema (Belgium)\, Holidays (Italy)\, Throne Heap (VA)\, HP Cycle (Toronto\, ON)\, as well as on Nace’s own label Open Mouth.\nopenmouthrecords.blogspot.com \n\nOmmatidia by Nmperign
URL:https://www.bowerbird.org/event/nmperign-2025/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/03/Bowerbird-Main-Img-94.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250418T200000
DTEND;TZID=America/New_York:20250418T220000
DTSTAMP:20260430T074731
CREATED:20250116T165052Z
LAST-MODIFIED:20250421T164230Z
UID:10001248-1745006400-1745013600@www.bowerbird.org
SUMMARY:Zelzeleh (Faraway Ghost & Sunken Cages)
DESCRIPTION:Bowerbird and Fire Museum present the duo Zelzeleh of Iranian vocalist Kamyar Arsani (Faraway Ghost) and Indian-born percussionist/producer Ravish Momin (Sunken Cages) with an opening set by Savan DePaul aka Ishtar Sr. Their collaboration combines Persian poetry with Mumbai street rhythms\, layered over intricate electronic soundscapes. Arsani’s mastery of Persian classical modes (dastgahs) and his evocative vocals merge seamlessly with Momin’s polyrhythmic live-looping and electronic drumming. Together\, they create a unique sound described as “Digital Sufi Music.” \n\nABOUT THE ARTISTS \nRavish Momin (Sunken Cages)\nRavish Momin is a drummer and electronic music producer whose work draws on Indian and Black music traditions as well as global underground dance music. He has performed internationally for over two decades\, including appearances at the Kennedy Center\, Big Ears Festival\, and Le Guess Who? Festival. As Sunken Cages\, Momin integrates live-looping and electronic drums into his performances. He has collaborated with a wide range of artists and is signed to Akuphone Records (France). \nKamyar Arsani (Faraway Ghost)\nKamyar Arsani is an Iranian multi-instrumentalist\, vocalist\, and songwriter based in Washington\, D.C. A performer and teacher of the daf\, Arsani’s music bridges classical Persian traditions with experimental electronic sounds. He has performed at venues such as the Kennedy Center and the Library of Congress and is the lyricist and singer for the punk band Shadow Riot. Arsani’s work explores a diverse range of musical styles while remaining deeply rooted in Persian musical heritage. \nSavan DePaul \nSavan DePaul (they/them\, she/her\, dey/dem)\, who also goes by the future pop moniker Ishtar Sr.\, is a singer\, rapper\, producer\, engineer\, and visual artist living in West Philadelphia. DePaul’s music encompasses many styles\, from abstract hip hop polemics to futuristic R&B experiences to dance pop anthems. The Ishtar Sr. project specifically consists of an Afrofuturistic blend of glitch pop and club/rave-centric R&B nestling various odes to Blackness\, sexual autonomy\, and queer revenge/retaliation. Ishtar released the “HOLYHOUSE b/w/ Fourth Planet Funk” single with Astro Nautico in 2020 and two projects with Grimalkin Records (the 2021 debut album Divine Ecdysis and the 2022 mixtape Ecdysis Incomplete) in addition to some self-released singles and EPs. She is currently working on her second and third studio albums. \n  \n\n
URL:https://www.bowerbird.org/event/faraway-ghost-x-sunken-cages/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/01/Bowerbird-Main-Img-85.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250321T200000
DTEND;TZID=America/New_York:20250321T220000
DTSTAMP:20260430T074731
CREATED:20250127T163558Z
LAST-MODIFIED:20250324T150832Z
UID:10001250-1742587200-1742594400@www.bowerbird.org
SUMMARY:Nathan Davis
DESCRIPTION:Bowerbird is pleased to present Nathan Davis in a solo performance at The Rotunda. \nFinding narrative in natural processes and acoustic phenomena\, Nathan Davis’s solo work elucidates essential characters of instruments and objects. This concert presents his recent work with the bowed psaltery alongside pieces for river stones and amplified computer\, supported by and immersive video projections. \n“It is beautiful\, haunting\, immersive. A meditative sound world to live in for a time and think about once you’ve left… In Davis’ hands\, the psaltery soars and twangs\, pings and croons. Gentle and meditative at one moment\, sharp and melancholy the next\, evoking fluid shapes and celestial voices moving together through a complex\, slowly shifting soundscape. It is both of this world and somehow beyond it.” – Megan Westberg – STRINGS Magazine \n\nABOUT THE ARTISTS \nNathan Davis “writes music that deals deftly and poetically with timbre and sonority” (NY Times). His opera/ballet “Hagoromo” was produced by American Opera Projects and premiered at the BAM Next Wave Festival with the International Contemporary Ensemble\, the Brooklyn Youth Chorus\, choreographer David Neumann\, and dancers Wendy Whelan\, and Jock Soto. Lincoln Center presented the premiere of “Bells”\, a site-specific work for ensemble\, multi-channel audio\, and live broadcast to audience members’ mobile phones. \nNathan received other commissions from GMEM and Ensemble CBarré (Marseille)\, FringeArts and the Pew Center for Arts & Heritage\, Donaueschinger Musiktage (Germany)\, Yarn/Wire\, Claire Chase\, Ekmeles\, Miller Theatre\, Ojai Music Festival\, the Calder Quartet\, and Third Coast Percussion\, with premieres at Tanglewood\, Park Avenue Armory\, Guggenheim Museum\, and Carnegie Hall. His music has been released on Starkland\, Tundra\, New Focus\, Bridge\, Infrequent Seams\, and Sono Luminus. \nAn Aaron Copland Fellow at the Bogliasco Foundation\, Davis received awards and fellowships from the Camargo Foundation\, New Music USA\, NYSCA\, Meet The Composer\, Fromm Foundation\, Jerome Foundation\, American Music Center\, MATA\, and ASCAP. He and Phyllis Chen won an NY Innovative Theater Award for their score to Sylvia Milo’s play “The Other Mozart”. \nAn active percussionist and multi-instrumentalist\, Nathan has premiered hundreds of works by luminaries and by emerging composers\, and he appeared as a concerto soloist on hammered dulcimer with the Seattle Symphony\, Tokyo Symphony\, and Nagoya Philharmonic. Davis holds degrees in composition and in percussion from Rice\, Yale\, and the Rotterdams Conservatorium on a Fulbright Fellowship\, and he teaches composition and electronic music at The New School. www.nathandavis.com
URL:https://www.bowerbird.org/event/nathan-davis/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/01/Bowerbird-Main-Img-87.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250318T193000
DTEND;TZID=America/New_York:20250318T213000
DTSTAMP:20260430T074731
CREATED:20250210T164850Z
LAST-MODIFIED:20250319T141837Z
UID:10001252-1742326200-1742333400@www.bowerbird.org
SUMMARY:ALASH
DESCRIPTION:Bowerbird is pleased to present Philadelphia favorites Alash at The Rotunda for a FREE concert. Alash are masters of Tuvan throat singing (xöömei)\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. \nPresented with The Rotunda. \n**Please note: The performance starts at 7:30pm. Seating and admission to the building for the performance will be on a first come first served basis. Doors will open at 6:45pm. RSVPing helps us to anticipate attendance but does not guarantee entry. If you RSVP but do not check in by 7:20pm\, we may give your spot away to someone waiting in line.** \n\n\n 
URL:https://www.bowerbird.org/event/alash-2025/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/02/Bowerbird-Main-Img-90.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250221T200000
DTEND;TZID=America/New_York:20250221T220000
DTSTAMP:20260430T074731
CREATED:20250205T184607Z
LAST-MODIFIED:20250224T155326Z
UID:10001251-1740168000-1740175200@www.bowerbird.org
SUMMARY:Jonas Mekas: Guns of the Trees
DESCRIPTION:Bowerbird is pleased to present a special screening of Guns of the Trees by filmmaker Jonas Mekas and original musical score by Lucia Dlugoszewski. \nJonas Mekas’s first feature—which he wrote\, produced\, directed\, co-photographed and edited—is an entrancing snapshot of the counterculture in the early 1960s and a work of beatnik existentialism concerning the fine line between generational hope and despair. Past and present intertwine as a young woman (Frances Stillman) searches for a reason to go on living amid a bout of paralyzing depression; she encounters a succession of characters (including a cynical intellectual\, played by Mekas’s brother and frequent collaborator\, Adolfas) who seem to represent some chance at salvation\, but the dark cloud overhead refuses to dissipate. In Mekas’s own words\, his scrappy yet ambitious and above all lyrical film “deals with the thoughts\, feelings\, and anguished strivings of my generation\, faced with the moral perplexity of our times.” \nGuns of the Trees | Jonas Mekas | 1962 | 35mm (digitized) | 75 minutes \n\nABOUT THE ARTISTS \nJonas Mekas (1922 – 2019) was a Lithuanian-American filmmaker\, poet\, and artist who has been called “the godfather of American avant-garde cinema”. He was born in 1922 in the farming village of Semeniškiai\, Lithuania. In 1944\, he and his brother Adolfas were taken by the Nazis to a forced labor camp in Elmshorn\, Germany. After the War he studied philosophy at the University of Mainz. At the end of 1949 the UN Refugee Organization brought both brothers to New York City\, where they settled down in Williamsburg\, Brooklyn. Two months after his arrival in New York he borrowed money to buy his first Bolex camera and began to record brief moments of his life. He soon got deeply involved in the American Avant-Garde film movement. In 1954\, together with his brother\, he started Film Culture magazine\, which soon became the most important film publication in the US. In 1958 he began his legendary Movie Journal column in the Village Voice. In 1962 he founded the Film-Makers’ Cooperative\, and in 1964 the Film-Makers’ Cinematheque\, which eventually grew into Anthology Film Archives\, one of the world’s largest and most important repositories of avant-garde cinema\, and a screening venue. During all this time he continued writing poetry and making films. To this date he has published more than 25 books of prose and poetry\, which have been translated into over a dozen languages. His Lithuanian poetry is now part of Lithuanian classic literature and his films can be found in leading museums around the world. He is largely credited for developing the diaristic forms of cinema. Mekas has also been active as an academic\, teaching at the New School for Social Research\, the International Center for Photography\, Cooper Union\, New York University\, and MIT. \nLucia Dlugoszewski (1925–2000) was a Polish-American composer\, poet\, choreographer\, performer\, and inventor known for her radical approaches to sound and performance. She was a pioneer in experimental music\, developing a unique performance practice on the grand piano called the “timbre piano\,” which involved playing inside the instrument with mallets and other objects. In addition\, she designed and built numerous innovative percussion instruments\, expanding the sonic possibilities of contemporary music. Dlugoszewski was closely associated with modern dance and served as music director and later artistic director of the Erick Hawkins Dance Company (EHDC) for many years. She composed extensively for Hawkins’s choreography\, crafting highly intricate scores that blended acoustic\, electronic\, and unconventional sound sources. Despite the originality and complexity of her work\, she remained somewhat outside the mainstream of contemporary classical music\, and in recent years\, efforts have been made to rediscover and celebrate her contributions. \n\n
URL:https://www.bowerbird.org/event/jonas-mekas-guns-of-the-trees/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/02/Jonas-Mekas-Guns-of-Trees-.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250117T200000
DTEND;TZID=America/New_York:20250117T220000
DTSTAMP:20260430T074731
CREATED:20241111T163003Z
LAST-MODIFIED:20250118T141000Z
UID:10001243-1737144000-1737151200@www.bowerbird.org
SUMMARY:Laraaji
DESCRIPTION:*Please note: The performance starts at 8:00pm. Those who reserved tickets will be able to enter at 7:30pm with seating on a first come first served basis; then standing room only. After 8pm\, those without reserved tickets may enter depending on capacity* \n  \nWe are thrilled to welcome back Laraaji\, a key figure in the evolution of ambient music whose distinctive sound has been captivating listeners for decades. Philadelphia-born and New Jersey-raised\, Laraaji has pursued spiritual transcendence through music since the mid-1970s. After years of developing an aesthetic shaped by Eastern philosophies and transcendental research in his longtime Harlem home\, Laraaji’s breakthrough came when Brian Eno discovered him busking in Washington Square Park in 1979\, improvising celestial meditations on his electric zither. This encounter led to a collaboration on Eno’s influential Ambient series\, resulting in the 1980 album Day of Radiance. \nSince then\, Laraaji has become a defining figure in new age and ambient music\, known for his commitment to hand-crafted sounds over synthesizers and his embrace of a human presence in his performances. Whether playing monochord instruments\, singing\, or using electronics-kissed percussion\, his music remains rooted in a cosmic African-American tradition. His soundscapes are as hypnotically beautiful as they are rich with moments of tension and dissonance\, bringing depth to his trance-inducing explorations. For over four decades\, Laraaji’s work has continued to evolve\, inviting listeners into deep states of reflection while remaining grounded in a deeply personal musical journey. \n\n\n  \n\n 
URL:https://www.bowerbird.org/event/laraaji-2025/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2024/11/Bowerbird-Main-Img-21-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241220T200000
DTEND;TZID=America/New_York:20241220T220000
DTSTAMP:20260430T074731
CREATED:20241104T171842Z
LAST-MODIFIED:20241223T162633Z
UID:10001242-1734724800-1734732000@www.bowerbird.org
SUMMARY:The Adventures of Prince Achmed
DESCRIPTION:Bowerbird is delighted to present a special screening of Lotte Reiniger’s pioneering animated film\, The Adventures of Prince Achmed. \nWhen The Adventures of Prince Achmed premiered in Germany on September 23\, 1926\, it was hailed as the first full-length animated film. More than seventy-five years later\, this enchanting film still stands as one of the great classics of animation — beautiful\, mesmerizing and utterly seductive. \nTaken from The Arabian Nights\, the film tells the story of a wicked sorcerer who tricks Prince Achmed into mounting a magical flying horse and sends the rider off on a flight to his death. But the prince foils the magician’s plan and soars headlong into a series of wondrous adventures — joining forces with Aladdin and the Witch of the Fiery Mountains\, doing battle with the sorcerer’s army of monsters and demons\, and falling in love with the beautiful Princess Peri Banu. \nThis cinematic treasure has been beautifully restored with its spectacular color tinting and with a new orchestral recording of the magnificent 1926 score by Wolfgang Zeller. Thrilling\, sensuous and dazzling\, Prince Achmed will enthrall children and film enthusiasts of all ages. \n\nABOUT THE ARTIST \nLotte Reiniger made over sixty films\, of which eleven are considered lost and fifty to have survived. The film maker is best known for her pioneering silhouette films\, in which paper and cardboard cut-out figures\, weighted with lead\, and hinged at the joints were hand-manipulated from frame to frame and shot via stop motion photography. The figures were placed on an animation table and usually lit from below. In some of her later sound films the figures were lit both from above and below\, depending on the desired visual effect. Framed with elaborate backgrounds made from varying layers of translucent paper or colorful acetate foils for color films\, Reiniger’s characters were created and animated with exceptional skill and precision. \nIn addition to producing silhouette animation films\, Reiniger was equally engaged by live shadow puppetry\, which was at times recorded on film and used in live-action films. For example\, in 1933\, Reiniger made a shadow play sequence for G.W. Pabst’s Don Quixote (1933). In 1937 she created “Le Pont Cassé\,” which translates to “the Broken Bridge\,” a short shadow play sequence filmed for Jean Renoir’s La Marseillaise (1938). This famed shadow play was the most popular piece by François Dominique Séraphin\, founder of the Theatre Séraphin in Versailles in 1770. Reiniger’s filmed play emulated Séraphin’s style and was thus an homage to the roots of European shadow play. \n\n
URL:https://www.bowerbird.org/event/the-adventures-of-prince-achmed/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2024/11/Bowerbird-Main-Img-79.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241115T200000
DTEND;TZID=America/New_York:20241115T220000
DTSTAMP:20260430T074731
CREATED:20240930T151755Z
LAST-MODIFIED:20241118T155655Z
UID:10001241-1731700800-1731708000@www.bowerbird.org
SUMMARY:Moondog on the Keys
DESCRIPTION:Bowerbird is pleased to present Moondog on the Keys\, a concert featuring piano works by the maverick composer Moondog performed by trimbist Julian Calv\, pianist Alex Stewart\, and vocalist/percussionist Sarah Penna. Moondog aka Louis Hardin composed music creating an unexpected link between the resurgent science of counterpoint\, Arapaho\, Navajo\, Blackfoot\, and Sioux rhythms and song forms\, the art of jazz improvisation\, and the beginnings of a repetitive and minimalist aesthetic. The concert will span Moondog’s career and include comments about the music from Julian– who studied with Moondog’s only student\, Stefan Lakatos. \n\nABOUT THE ARTISTS \nJulian Calv is a musicologist and performer who specializes in the music of Moondog. He graduated from Moravian University in 2021 with a Bachelor of Music degree and plays the trimba\, a percussion instrument invented by Moondog. Moondog’s only trimba student\, Stefan Lakatos\, was the teacher of Julian. He does both studio and live projects. His 2023 vinyl release “Route 4/Thorn and Roots” presents two percussion compositions based on rhythmic patterns utilized by Moondog. Following this on November 9th 2024\, Julian’s debut album Nonstop Motion will be released– presenting original compositions alongside never before recorded Moondog compositions. He’s brought Moondog’s music to uncharted territories too. On July 18th\, 2024\, he performed with his vocal sextet Non Prophets at the Southern State Correctional Facility\, in Springfield Vermont\, to a captive audience – some of whom had never heard live music in the last seventeen years. This project was the first of a lifetime of activism projects Julian hopes to continue. \nAlex Stewart is a musician\, architect\, and man about town. He loves living in Newport\, NH. He directs the adult choir and bell choir at the South Congregational Church where he plays organ and piano each week. He directs the Kearsarge Community Band in nearby New London. He also accompanies several community and school ensembles\, performs with the NH Troubadours and the Newport Opera House Association\, serves on the Choral Arts Foundation of the Upper Valley\, and does other stuff. He is grateful for this opportunity\, and hopes you’re having fun. \nSarah Penna is a musician and all around nature lover. She graduated from Moravian university in 2021 where she studied music education along with vocal\, and piano\, performance. Her honors project “The Human Faith Melody and the Power of the Common Soul: Charles Ives and the Concord Transcendentalists” was completed in 2021 and is a culmination of her music studies and spiritual interests. Sarah continues to unify community and music through her work with the Vermont State parks and performances with Julian. \n\nEncore by Julian Calv
URL:https://www.bowerbird.org/event/moondog-on-the-keys/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2024/09/Bowerbird-Main-Img-78.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241017T200000
DTEND;TZID=America/New_York:20241017T220000
DTSTAMP:20260430T074731
CREATED:20240715T163633Z
LAST-MODIFIED:20241021T144627Z
UID:10001236-1729195200-1729202400@www.bowerbird.org
SUMMARY:Exploratorium
DESCRIPTION:Bowerbird is pleased to present a concert of works from Gene Coleman’s recent album Exploratorium and solo performance by Toshimaru Nakamura. \nPROGRAM  \nKATA (2021) film version of the work\nEnsemble N_JP\nSansuzu Tsuruzawa (voice and shamisen)\nAkikazu Nakamura (shakuhachi)\nAdam Vidiksis (percussion and electronics)\nKo Ishikawa (sho)\nNaoko Kikuchi (koto)\nNick Millevoi (e-guitar)\nHemmi String Quartet Yasutaka Hemmi (violin 1)\nMarino Nagira (violin 2)\nYuta Tsubonouchi (viola)\nYasunori Onishi (cello)\nGene Coleman (composition\, video and musical direction)\n*US Premiere \nNeuro Music I: Dialog of Thought and Intuition (2024)\nTom Kraines (cello)\nToshimaru Nakamura (live electronics)\nAdam Vidiksis (neuro electronics)\n*World Premiere \nRippling Waves (2024) Text score for ensemble based on haiku by Matsuo Basho\nToshimaru Nakamura (live electronics)\nAnne Ishii (percussion)\nAdam Vidiksis (percussion)\nNick Millevoi (e-guitar)\nTom Kraines (cello)\nGene Coleman (direction) \nThe evening will conclude with a solo performance by Toshimaru Nakamura. \nAlbum available here:\nhttps://www.falsewalls.co.uk/release/exploratorium/ \nhttps://falsewalls1.bandcamp.com/album/exploratorium  \nFocused on his recent compositions based on models from auditory neuroscience the album includes Coleman’s 2nd string quartet\, three works for voices and electronics and a new work for a large ensemble titled “Across Time (Transonic Symphony #1)”. \n\nABOUT THE ARTISTS \nGene Coleman is a composer\, musician and video director\, who has created over 70 works for various instrumentation and media. Central to his work is the inventive use of sound\, image and time\, and the desire to create experiences that expand our understanding of the world. Since 2001 he has explored the global transformation of culture and music’s relationship with video\, science and architecture. He began composing and performing both composed and improvised music in the late 1980s; founded the groups Ensemble Noamnesia\, Ensemble N_JP\, and Transonic Orchestra; was artistic director of the Transonic festival at the House of World Cultures (Berlin)\, Director of the American Composers Forum (Philadelphia)\, artistic director of the Public Art festival Site/Sound (Philadelphia) and a Creative Arts Fellow of the US Japan Friendship Commission. He has an extensive discography of both composed and improvised music\, including the False Walls CD Storobo Imp. with Uchihashi Kazuhisa (2004). Since 2016\, his works have explored the concepts of Neuro Music and audiovisual composition based on Neuroscience. Gene is a 2014 Guggenheim Fellow and received the 2013 Berlin Prize for Music from the American Academy in Berlin.\nwww.genecolemancomposer.com \nComposer Gene Coleman formed Ensemble N_JP in 2001 as a vehicle for his on going work with musicians from Japan. Through concert programs\, multimedia works and educational projects\, the group explores connections between contemporary and traditional forms of art. N_JP is made up of musicians who work with Coleman on a project-by-project basis. It unites outstanding Japanese and US musicians from the traditional\, experimental and contemporary classical music communities\, along with guest artists from Europe. Ensemble N_JP has performed in a number of important festivals and venues since it’s inception\, these include the I-House of Tokyo\, Pitt Inn Shinjuku\, Kidailack Art House (Tokyo)\, The House of World Cultures Berlin\, The Dresden Society Theater\, The Chicago Museum of Contemporary Art\, Lake Forest College\, The Chicago World Music Festival\, I-House Philadelphia\, The Blurred Edges Festival in Hamburg\, The Renaissance Society at the University of Chicago\, The Japan Society NY\, University of Illinois Urbana\, The Philadelphia Museum of Art\, MaerzMusik Festival\, Warsaw Autumn Festival and The Museum of Modern Art\, New York. \nToshimaru Nakamura’s instrument is the no-input mixing board\, which describes a way of using a standard mixing board as an electronic music instrument\, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the the sounds it can create but\, more importantly\, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces\, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach to the use of the mixing board in the mid-1990’s and has since then appeared on over one hundred audio publications\, including nine solo CD’s. \n  \n\nThis program is supported by mediaThefoundation\, The Institute for Music and Neuroaesthetics\, and The New Jersey Arts Council
URL:https://www.bowerbird.org/event/exploratorium-2/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2023/08/Bowerbird-Main-Img-40.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240621T200000
DTEND;TZID=America/New_York:20240621T220000
DTSTAMP:20260430T074731
CREATED:20240515T154853Z
LAST-MODIFIED:20240624T171523Z
UID:10001229-1719000000-1719007200@www.bowerbird.org
SUMMARY:Screening: John Cage Meets Sun Ra
DESCRIPTION:Bowerbird is pleased to present a special screening of John Cage Meets Sun Ra: The Complete Concert at The Rotunda. \nRecorded at Sideshows by the Seashore along the Coney Island boardwalk on June 8th\, 1986 as documented by John Polizzi under the commission of event producers Rick Russo and Bronwyn Rucker. \nFrom Pitchfork: “John Cage Meets Sun Ra: The Complete Concert gradually emerges as something greater than a footnote. That’s not because the pairing results in an ‘avant super duo.’ As it happens\, the two artists tend to trade off soloing\, and only play together audibly at one point during this hour-plus set\, recorded at Coney Island. Yet despite the arms-length embrace\, the overall concert has a surprisingly seamless quality.” \nCo-presented with The Rotunda \n\n
URL:https://www.bowerbird.org/event/screening-john-cage-meets-sun-ra/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2024/05/Shiraz-Main-Bowerbird-Main-Img-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240520T200000
DTEND;TZID=America/New_York:20240520T200000
DTSTAMP:20260430T074731
CREATED:20240206T203301Z
LAST-MODIFIED:20240529T142310Z
UID:10001224-1716235200-1716235200@www.bowerbird.org
SUMMARY:Claire Rousay
DESCRIPTION:Bowerbird is pleased to present LA-based musician and artist claire rousay at The Rotunda with opening set by Apologist. claire rousay\, known for challenging conventions in experimental and ambient music forms\, recently released a new album in early 2024. A meditation on loneliness\, her new album is her most audacious work yet\, synthesizing disparate and unexpected influences from throughout rousay’s long and varied career as a performer. \nPhoto: Zoe Donahoe \nABOUT THE ARTISTS \nclaire rousay is a singular artist\, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds\, sumptuous drones and candid field recordings into music that celebrates the beauty in life’s banalities. Her music is curatorial and granular in detail\, deftly shaped into emotionally affecting pieces. sentiment is a meditation of the poignant emotional terrains of loneliness\, nostalgia\, sentimentality\, guilt\, and sex. The album’s narrative arc is guided by delicate musical gestures and artistic vulnerability\, audaciously synthesizing disparate and unexpected influences. rousay crafted the songs in various homes\, bedrooms\, hotels\, and other private places\, the feeling of time and energy spent alone radiating from each passage. The album is a collection of heart-rending\, incisive pop songs that explore universal feelings with subtlety and remarkable vision. \nRose Actor-Engel is a Philadelphia based musician and composer. She uses synthesizer\, tape and field recordings to create ambient and experimental music\, implementing specific rules and protocols to determine structure. She has been recording/performing as Apologist since 2018.
URL:https://www.bowerbird.org/event/claire-rousay/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2024/01/Bowerbird-Main-Img-61.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240517T200000
DTEND;TZID=America/New_York:20240517T220000
DTSTAMP:20260430T074731
CREATED:20231127T230027Z
LAST-MODIFIED:20240518T140832Z
UID:10001213-1715976000-1715983200@www.bowerbird.org
SUMMARY:Music of Moondog
DESCRIPTION:Bowerbird is pleased to present the Music of Moondog performed by the Arcana New Music Ensemble. \nLouis Thomas Hardin\, Jr.\, better known as Moondog\, is one of the most famous and influential outsider musicians of the twentieth century. Born in Kansas to a devoutly religious family\, Hardin was blinded at age 16 when he dug up a live dynamite cap. For 30 years\, from the early 1940s to the early 1970s\, he lived in New York City\, where he became a well-known street performer known\, thanks to his Nordic garb\, as “the Viking of Sixth Avenue.” During this time he recorded several albums and won the respect of many important musicians\, including Leonard Bernstein\, Charlie Parker (for whom he wrote the piece “Bird’s Lament”)\, and Philip Glass (with whom he briefly shared an apartment). From 1974 until his death in 1999\, Moondog lived primarily in Germany\, where he enjoyed the most stable and productive creative period of his life. Celebrated for his diverse body of work that combines– among other influences– the rhythmic energy of jazz\, the ritualistic intensity of Native American tribal music\, and classical principles of counterpoint\, Moondog’s music is at once uncategorizable and instantly identifiable. \n\nPROGRAM \nTheme\nBird’s Lament\nWitch of Endor\nSpruchweisheiten\nSandalwood\nMother’s Whistler\nChaconne in G Major\nElf Dance\nDog Trot\nPastorale in C \nand others \nENSEMBLE \nAaron Stewart – saxophones\nTessa Ellis – trumpet\nCarlos Santiago – violin\nThomas Kraines – cello\nAndy Thierauf – percussion \n\nABOUT THE ARTISTS \nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Composers featured in recent programs include Julius Eastman\, Morton Feldman\, Galina Ustvolskaya\, Pauline Oliveros\, Tom Johnson\, Moondog\, and James Tenney. Arcana has performed at the Philadelphia Museum of Art\, Fleisher Art Memorial\, The Rotunda\, The Kitchen (NYC)\, and collaborated with Variant Six\, Prometheus Chamber Orchestra\, and Pig Iron Theater Company. \n 
URL:https://www.bowerbird.org/event/music-of-moondog/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2023/11/Bowerbird-Main-Img-55.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240419T200000
DTEND;TZID=America/New_York:20240419T220000
DTSTAMP:20260430T074731
CREATED:20240117T175938Z
LAST-MODIFIED:20240421T175516Z
UID:10001221-1713556800-1713564000@www.bowerbird.org
SUMMARY:David Grubbs and Eli Winter
DESCRIPTION:Bowerbird is pleased to present David Grubbs and Eli Winter playing electric guitar duets at The Rotunda. \nABOUT THE ARTISTS \nDavid Grubbs is Professor of Music at Brooklyn College and The Graduate Center\, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of Good night the pleasure was ours\, The Voice in the Headphones\, Now that the audience is assembled\, and Records Ruin the Landscape: John Cage\, the Sixties\, and Sound Recording (all published by Duke University Press) as well as the collaborative artists’ books Simultaneous Soloists (with Anthony McCall\, Pioneer Works Press) and Projectile (with Reto Geiser and John Sparagana\, Drag City). Grubbs has released fourteen solo albums and appeared on more than 200 releases. In 2000\, his The Spectrum Between (Drag City) was named “Album of the Year” in the London Sunday Times. He is known for his ongoing cross-disciplinary collaborations with poet Susan Howe and visual artists Anthony McCall and Angela Bulloch\, and his work has been presented at\, among other venues\, the Solomon R. Guggenheim Museum\, MoMA\, the Tate Modern\, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol\, Bastro\, and Squirrel Bait\, and has performed with Tony Conrad\, Pauline Oliveros\, Luc Ferrari\, Will Oldham\, Loren Connors\, the Red Krayola\, Royal Trux\, and many others. He is a grant recipient from the Foundation for Contemporary Arts\, a contributing editor in music for BOMB Magazine\, a member of the advisory board of the journal Sound American\, a member of the board of directors of Blank Forms\, and director of the Blue Chopsticks record label. \nPlaying older than his 26 years\, Eli Winter has long demonstrated mastery over solo guitar composition and performance\, which has received praise from Pitchfork\, The Guardian\, Stereogum\, NPR and others. Winter’s latest album\, Eli Winter (Three Lobed\, 2022)\, lives up to the promise that is inherent within the mere construct of an eponymous album – a statement\, a reinvention. Assisted by a murderer’s row of peers and contemporaries including Cameron Knowler\, Yasmin Williams\, David Grubbs\, Ryley Walker\, Tyler Damon\, jaimie branch\, and others\, Eli Winter showcases a compositional depth and authoritative skill only hinted at on Winter’s rightfully acclaimed previous work. Is it folk? Rock? Jazz? Something simply “other”? The answer to all of these questions is “yes.” The result is the sound of an artist escaping any lingering shadows of his primary influences and coming into his own. \nEli Winter LP (Three Lobed\, 2022): threelobed.bandcamp.com/album/eli-winter \nA Day Behind the Deadline live EP (Three Lobed\, 2023): threelobed.bandcamp.com/album/a-day-behind-the-deadline
URL:https://www.bowerbird.org/event/david-grubbs-and-eli-winter/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2024/01/Bowerbird-Main-Img-60.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240315T200000
DTEND;TZID=America/New_York:20240315T220000
DTSTAMP:20260430T074731
CREATED:20240205T160435Z
LAST-MODIFIED:20240318T150351Z
UID:10001222-1710532800-1710540000@www.bowerbird.org
SUMMARY:Kaffe Matthews
DESCRIPTION:Photo: Katharina Hauke \nBowerbird is pleased to present Berlin-based British music maker Kaffe Matthews at The Rotunda with opening set by Spectral Forces. \n  \nABOUT THE ARTIST \nKaffe Matthews is a pioneering music maker who works live with space\, data\, things\, and place to make new electroacoustic composition. Site\, accessibility and the physical experience of this music has always been central to her approach and so she has also invented some unique interfaces – the sonic armchair\, the sonic bed and a variety of sonic bikes which enable new paths into composition for makers\, and ways in to listening for wide ranging audiences. In 2021 she developed the breathing Enviro Bike to enable riders to hear music made by the pollution of the air as they ride. Summer 2022 saw the Buzz Bike in street compositional research in Berlin\, now ready to make new vibrational composition. Today\, she is back live on stage with no laptop. Instead a new DIY instrument the Ripley\, a noise filter system designed on alchemical discoveries made by G.Ripley\, a 15th British alchemist\, flanked by 2 processing ipads. \nSpectral Forces\, a Philadelphia based trio of Pete Dennis (bass)\, Julius Masri (drums)\, and Alex Smith (keys and words)\, brings triangulated octohedronal hysteria\, wired nexus and timpanic atom bathe! the new wave in mystic sonic structure. \n\n \nKaffe Matthews · Finding Languages
URL:https://www.bowerbird.org/event/kaffe-matthews/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2024/01/Bowerbird-Main-Img-63.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240214T193000
DTEND;TZID=America/New_York:20240214T213000
DTSTAMP:20260430T074731
CREATED:20231127T182321Z
LAST-MODIFIED:20240219T152101Z
UID:10001211-1707939000-1707946200@www.bowerbird.org
SUMMARY:Alash Ensemble
DESCRIPTION:Bowerbird is pleased to present Philadelphia favorites Alash at The Rotunda for a FREE concert. Alash are masters of Tuvan throat singing (xöömei)\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. \nPresented with The Rotunda. \n*Please note: The performance starts at 7:30pm. Seating and admission to the building for the performance will be on a first come first served basis. Doors will open at 6:45pm.* \n\n\n 
URL:https://www.bowerbird.org/event/alash-ensemble-2024/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2023/11/Bowerbird-Main-Img-54.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231215T200000
DTEND;TZID=America/New_York:20231215T220000
DTSTAMP:20260430T074731
CREATED:20230828T163956Z
LAST-MODIFIED:20231220T181507Z
UID:10001202-1702670400-1702677600@www.bowerbird.org
SUMMARY:The Music of Sarah Hennies
DESCRIPTION:Bowerbird is pleased to present a portrait concert of composer Sarah Hennies performed by the Arcana New Music Ensemble with the composer. \n\nPROGRAM \nPassing\, a short film \nMonologue\, for solo trumpet\nTessa Ellis\, trumpet \nSettle\, for two players on one vibraphone\nSarah Hennies and Andy Thierauf\, vibraphone \nAbscission\, for violin\, cello\, and guitar\nCarlos Santiago\, violin; Erin Busch\, cello; Jonathan Pfeffer\, guitar \n\nABOUT THE ARTISTS \nSarah Hennies is a composer based in upstate New York whose work engages with affective and sociopolitical issues such as queer and trans identity\, love\, and intimacy by means of psychoacoustics and an expanded field of percussion. Forced to build their own set-ups\, percussionists are\, for Hennies\, the only instrumentalists with the freedom to define themselves. A formally trained percussionist\, Hennies’s penchant for the abnormal has yielded maladroit performances of multitudinous cheap\, thrifted bells as well as ultra-minimalist poundings of woodblock and vibraphone. Hennies has composed acoustic music for ensembles and performers including Bearthoven\, Claire Chase\, Nate Wooley\, and Yarn/Wire\, while her recorded output has been released by Blume\, No Rent Records\, Astral Spirits\, and Black Truffle\, among other labels. Hennies is currently a visiting assistant professor of music at Bard College in Annandale-on-Hudson\, New York. \nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Composers featured in recent programs include Julius Eastman\, Morton Feldman\, Galina Ustvolskaya\, Pauline Oliveros\, Tom Johnson\, Moondog\, and James Tenney. Arcana has performed at the Philadelphia Museum of Art\, Fleisher Art Memorial\, The Rotunda\, The Kitchen (NYC)\, and collaborated with Variant Six\, Prometheus Chamber Orchestra\, and Pig Iron Theater Company. \n\n\n\n
URL:https://www.bowerbird.org/event/sarah-hennies-with-arcana/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2023/08/Bowerbird-Main-Img-41.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231117T200000
DTEND;TZID=America/New_York:20231117T220000
DTSTAMP:20260430T074731
CREATED:20231009T162722Z
LAST-MODIFIED:20231120T155132Z
UID:10001207-1700251200-1700258400@www.bowerbird.org
SUMMARY:Natacha Diels and Levi Lu
DESCRIPTION:Bowerbird is pleased to present two solo performances by Natacha Diels and Levi Lu at The Rotunda. \n  \nABOUT THE ARTISTS \nNatacha Diels’ work combines choreographed movement\, improvisation\, video\, instrumental practice\, and cynical play to create worlds of curiosity and unease. Recent work includes Papillon and the Dancing Cranes\, for construction cranes and giant butterfly (Borealis Festival 2018); and forthcoming is a 6-part TV-style miniseries with the JACK quartet (TimeSpans Festival 2020) and a collaborative work for shadowed audience with Ensemble Pamplemousse (Darmstadt 2020). With a focus on collage\, collaboration\, and the ritual of life as art\, Natacha’s compositions have been described as “a fairy tale for a fractured world” (Music We Care About) and “the liveliest music of the evening” (LA Review of Books). \nQiujiang Levi Lu/卢秋江 (they/them) is a Beijing-born\, New Jersey-based performer\, experimental vocalist\, composer\, and certified foodie. As an improvising performer\, Lu utilizes custom-built feedback-driven electronic instruments\, voice\, and amplified muscle movements to perform in various settings. Other than performing\, Lu also writes for acoustic and electronic improvisers. Through using sound-canceling headphones and in-ear monitors\, Lu creates surreal listening environments for improvisers to explore human relationships\, audio-visual interactivity\, and the phenomenology of sound.\nLu’s works have been performed at Festivals\, Conferences\, and Venues such as DiMenna Center\, IRCAM Forum\, SEAMUS conference\, HighZero Festival\, NIME conference\, the New York City Electroacoustic Music Festival\, Oberlin MMG\, Spencer Museum of Art\, Rhizome DC\, and NowNet Arts conference.\nLu currently works as a lecturer in the Department of Music at the University of Pennsylvania. \n\n\n  \n\n 
URL:https://www.bowerbird.org/event/natacha-diels-and-levi-lu/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2023/10/Bowerbird-Main-Img-50.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231020T200000
DTEND;TZID=America/New_York:20231020T220000
DTSTAMP:20260430T074731
CREATED:20230920T165131Z
LAST-MODIFIED:20231023T163932Z
UID:10001206-1697832000-1697839200@www.bowerbird.org
SUMMARY:The Lepidopterans + Anne Ishii
DESCRIPTION:Bowerbird is pleased to present The Lepidopterans: Tom Boram (Synthesizer\, Sitar)\, Jason Willett (Electronics)\, and Toshi Makihara (Percussion)\, at The Rotunda with an opening set by Anne Ishii. \n  \nABOUT THE ARTISTS \nTom Boram and Jason Willett have been playing together for almost 25 years as ‘Leprechaun Catering.” The Baltimore-based duo makes improvised music from electronics that is strange and dark\, yet joyful and humorous. Their music reflects their influences: the outer space analog echoes of the Barron’s “Forbidden Planet” and the Solar Arkestra’s “Art Forms of Dimensions Tomorrow”\, or the sarcastic industrial noises of Northern England’s late 1970s\, or the inscrutable textural puzzles of Cecil Taylor’s “Unit Structures” or Incus’ “Company Week” collaborations\, and/or the child-like plasticity of the “moogsploitation”-album era\, or the vintage TV and cinema sounds of De Wolfe and Chapelle library music. \nBoram is also a harpsichordist\, organist\, filmmaker and multi-media artist. He has had his films/videos and multi-media installations featured throughout the USA\, Mexico and Europe. He is a founder of Baltimore’s 25-year old improvised music festival\, High Zero. \nWillett is also a bass player\, producer\, record store owner. He has been playing bass in the infamous art punk band Half Japanese with Jad Fair for 30 years. He is a founder of Baltimore’s Megaphone Records and the True Vine Record Shop. He has played on\, recorded and produced hundreds of albums. \nToshi Makihara studied drums\, percussion and improvisation with Sabu Toyozumi\, a prominent percussionist in Tokyo. Since arriving in the United States in the late 1970’s he has worked with various new music ensembles as well as with numerous dance and theater companies internationally. Makihara has provided original music to Arden Theater Company\, Diversions Dance Company (Wales)\, Pennsylvania Ballet\, ZeroMoving Dance Company and Leah Stein Dance Company among others\,\nand has worked with musicians including Steve Beresford\, Peter Brotzmann\, John Butcher\, Nels Cline\, Eugene Chadbourne\, Tom Cora\, Amy Denio\, Thurston Moore\, William Parker and John Zorn. He has also collaborated with poets\, visual artists\, filmmakers and performance artists widely. \nAnne Ishii is a writer and born again percussionist who leads the Asian Arts Initiative in Philadelphia. She plays in TOTALLY AUTOMATIC.
URL:https://www.bowerbird.org/event/the-lepidopterans/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230616T200000
DTEND;TZID=America/New_York:20230616T220000
DTSTAMP:20260430T074731
CREATED:20221206T025513Z
LAST-MODIFIED:20230620T164134Z
UID:10001185-1686945600-1686952800@www.bowerbird.org
SUMMARY:eddy kwon
DESCRIPTION:Bowerbird is pleased to present interdisciplinary artist eddy kwon and the Philadelphia-based trio Totally Automatic at The Rotunda. \nABOUT THE ARTIST\neddy kwon (b. 1989) is violinist/violist and interdisciplinary artist based in Lenapehoking (Brooklyn\, NY). Her practice connects composition\, performance\, improvisation\, dance\, and ceremony to explore transformation & transgression\, ritual practice as a tool to queer ancestral lineage\, and the use of mythology to connect\, obscure\, and reveal. As a composer-performer and improviser\, she is inspired by Korean folk timbres & inflections\, textures & movement from natural environments\, and American experimentalism as shaped by the AACM. Her work as a choreographer and movement artist embodies an expressive release and reclamation of colonialism’s spiritual imprints\, connecting to both Japanese Butoh and a lineage of queer/trans practitioners of Korean shamanic ritual. \nShe is a United States Artists Fellow\, Johnson Fellow at Americans for the Arts\, Andrew W. Mellon Artist-in-Residence at the Colorado Springs Fine Arts Center\, Van Lier Fellow and Artist-in-Residence at Roulette Intermedium\, and a recipient of the National Performance Network Creation Fund Award. Recently\, eddy was featured in The Wire Magazine’s Issue #463 (“absolutely stunning”) and as one of the Washington Post’s “22 for ‘22: Composers and performers to watch this year.” In addition to an evolving\, interdisciplinary solo practice\, she collaborates with artists of diverse disciplines\, including The Art Ensemble of Chicago\, cellist Tomeka Reid\, sculptor Senga Nengudi\, Degenerate Art Ensemble\, Holland Andrews\, and many others. \nwww.eddykwon.net \n  \nTotally Automatic was formed by Anne Ishii\, Eugene Lew and Matthew Smith Lee in the summer of 2021. They play unarranged music with each other\, on drums\, saxophone and electronics\, and can be found around Philadelphia. \ntotallyautomatic.net\ntotallyautomatic.bandcamp.com \n\nPLEASE NOTE: As of January 2023\, masks are welcomed\, but no longer required at Bowerbird events.
URL:https://www.bowerbird.org/event/eddy-kwon/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230609T200000
DTEND;TZID=America/New_York:20230609T220000
DTSTAMP:20260430T074731
CREATED:20230328T153730Z
LAST-MODIFIED:20230614T165128Z
UID:10001187-1686340800-1686348000@www.bowerbird.org
SUMMARY:Sawt Out
DESCRIPTION:Bowerbird is pleased to present the Berlin-based trio Sawt Out at the Rotunda with an opening set by Philadelphia-based musician Julius Masri. \nABOUT THE ARTISTS \nSince its foundation in 2015 the Berlin-based trio Sawt Out has shaped and refined its profile as a prominent improvisational unit. With their unusual acoustic instrumentation of trumpet and two sets of percussion these three gentlemen create bewildering sound worlds rich in detail and of tight musical interaction. Sawt Out has played numerous concerts throughout Europe\, Asia and beyond. This current tour is their first live appearance in the US. \nSawt Out is:\nBurkhard Beins (percussion)\nMazen Kerbaj (trumpet)\nMichael Vorfeld (percussion) \n  \nJulius Masri is a Philadelphia based multi instrumentalist\, and performer/composer for the city’s dance community at large. His music focuses on improvisatory methods and syncretic / linguistic exchanges within various musical languages including Jazz\, Metal\, AfroCuban\, Experimental Noise\, and Arabic music. Born in Tripoli\, Lebanon\, he moved to the States in 1990 and picked  up drumming a year later. He studied with Philadelphia instructors Carl Mottola\, Elaine Hoffman-Watts\, and as an  undergraduate  at Bard College\, with AACM’s Thurman Barker\, Richard Teitelbaum\, and Joan Tower. Julius plays drums\, circuit modified Casio keyboards\, Oud\, Kamancheh  (aka Rabab\, Spike Fiddle)\, and various other instruments. He can be seen performing in groups such as  grind/crust metal band Night Raids\, free jazz groups Sirius Juju and Dromedaries\, trombone and synth duo Superlith\, avant metal  group Nomad War Machine\, and  more.  He has  performed with Henry Grimes\, Jamaaladeen Tacuma\, Thurman  Barker and members of the  Sun Ra Arkestra.  Julius is a recipient of a 2022 Yaddo Fellowship for composition\, and a 2022 University of the Arts creative research and innovation grant. \n\n  \nSawt Out by Sawt Out \n 
URL:https://www.bowerbird.org/event/sawt-out/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230317T200000
DTEND;TZID=America/New_York:20230317T220000
DTSTAMP:20260430T074731
CREATED:20221121T183323Z
LAST-MODIFIED:20230404T142738Z
UID:10001180-1679083200-1679090400@www.bowerbird.org
SUMMARY:Ikue Mori + Charmaine Lee
DESCRIPTION:Bowerbird is pleased to present Ikue Mori and Charmaine Lee at The Rotunda for an evening featuring solos from each artist as well as a duo performance. \n  \nABOUT THE ARTISTS \nSince her emergence in New York’s No Wave scene in the late 1970s as a percussionist in DNA\, Japanese native Ikue Mori has used auto didacticism to forge one of the most singular aesthetics in contemporary music. Since switching from a richly intuitive approach to drums to electronics during the 1980s she’s refined an elusive\, liquid sound that translated her rhythmic vocabulary into a shape-spilling mass of daydreaming gurgles\, bloops\, smears\, rattles\, and fractals that’s at once serene and unsettling. She’s a master improviser\, adapting a recognizable sonic palette from real-time processing according to the needs and variables of each situation. Over the years she’s formed inextricable bonds with musicians like John Zorn\, Zeena Parkins\, Craig Taborn\, and Sylvie Courvoisier\, among others\, steadily enhancing within and adapting to each disparate context. \nNew York improviser and composer Charmaine Lee has quickly become a force in experimental music circles in the last few years\, parlaying her voice with staggering extended technique and electronics to create a forceful\, elusive practice that shares more in common with noise and experimental approaches than conventional singing. Her wordless\, cacophonous improvisations viscerally transmit ultra-high- pitched frequencies\, manic vocal fry\, and guttural shrieks manipulated with distortion\, feedback\, and objects like glass and water to deliver an unsettling attack that is simultaneously brittle and violent. Mori and Lee will each perform solo\, followed by a duo set—a young partnership marked by exquisite tension\, piercing timbre\, and quicksilver exchange. \n\nIKUE MORI + CHARMAINE LEE  \n\n  \n\nPLEASE NOTE: As of January 2023\, masks are welcomed\, but no longer required at Bowerbird events.
URL:https://www.bowerbird.org/event/ikue-mori-charmaine-lee-2023/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
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