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DTSTART;TZID=America/New_York:20170421T200000
DTEND;TZID=America/New_York:20170421T220000
DTSTAMP:20260430T110454
CREATED:20190321T173719Z
LAST-MODIFIED:20190321T173719Z
UID:10000855-1492804800-1492812000@www.bowerbird.org
SUMMARY:Morton Feldman's "Three Voices"
DESCRIPTION:ABOUT THE EVENT \nThree Voices\, written in 1982 for Joan La Barbara\, was the last solo vocal piece he wrote before his death in 1987 (For Stefan Wolpe\, dedicated to his composition teacher and written for chorus and two vibraphones\, post-dates it). It sets part of Wind\, a poem by his friend Frank O’Hara that had been dedicated to him and which he had set earlier in its entirety in The O’Hara Songs (1962) for bass-baritone. \nConceived as a trio for the one voice\, with two pre-recorded parts and one to be performed live\, the score is conventionally notated (all parts are written out with precise rhythms and pitches\, though often in differing metres) but is beguilingly short on some details. There is\, for example\, no tempo indication\, no vowel specified for the many lengthy passages without text\, no dynamics bar an initial ppp\, and no guidance as to which voice should be the ‘live’ one. \nWriting later about Three Voices\, Feldman said: ‘One of my closest friends\, the painter Philip Guston\, had just died; Frank O’Hara had died several years before. I saw the piece with Joan in front and these two loudspeakers behind her. There is something kind of tombstoney about the look of loudspeakers. I thought of the piece as an exchange of the live voice with the dead ones – a mixture of the living and the dead’. \n  \nABOUT JULIET FRASER \nSoprano Juliet Fraser has a repertoire dominated by the very old and the very new. In new music\, she has performed as a guest soloist with Klangforum Wien\, Remix Ensemble\, Talea\, ICTUS\, Plus-Minus\, We Spoke: New Music Company\, London Sinfonietta and BBC Scottish Symphony Orchestra. She is also principal soprano of EXAUDI\, the acclaimed vocal ensemble\, which she founded with James Weeks in 2002. Juliet has premiered well over 100 works\, many of which have been written for her\, and has worked particularly closely with composers Rebecca Saunders\, Michael Finnissy\, Bernhard Lang\, Matthew Shlomowitz\, Andrew Hamilton and Cassandra Miller. Her commercial recording of Morton Feldman’s “Three Voices” was released on Hat Hut Records in November 2016.
URL:https://www.bowerbird.org/event/morton-feldmans-three-voices/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Feldman_Three_Voices.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170317T200000
DTEND;TZID=America/New_York:20170317T220000
DTSTAMP:20260430T110455
CREATED:20190321T175243Z
LAST-MODIFIED:20190321T175243Z
UID:10000859-1489780800-1489788000@www.bowerbird.org
SUMMARY:Community Futurism: An Evening Curated By Moor Mother
DESCRIPTION:ABOUT THE EVENT \nThe evening features two sets by Moor Mother\, working under the theme of Community Futurism\, in collaboration with Black Quantum Futurism and the Community Futures Lab. The first set includes improv collaboration of live instrumentation with drums\, saxophone\, bass\, synth\, and text. The second features music from the album Fetish Bones as well as unreleased songs by Moor Mother. Artists include Rasheedah Phillips\, Madam Data\, Keir on sax\, Philip on drums\, and George and Steve on bass. \n  \nABOUT MOOR MOTHER \nCamae Ayewa (Moor Mother) is a national and international touring musician and has performed at numerous festivals\, colleges\, and universities sharing the stage with King Britt\, Islam Chipsy\, Claudia Rankine\, and Bell Hooks as well as opening on tour for Screaming Females. A soundscape artist with work featured at Samek Art Museum\, Metropolitan Museum of Art Chicago\, ICA Philadelphia\, and Everson Museum of Art\, Camae is also a vocalist in punk band The Mighty Paradocs and free jazz group Irreversible Entanglements. Camae is co-founder and organizer of Rockers! Philly\, a 10-year long running event series and festival that focuses on marginalized musicians and artists spanning multiple genres of music. As Moor Mother\, she released her debut album Fetish Bones on Don Giovanni Records. It was named 3rd Best Album of the Year by The Wire Magazine\, #1 by Jazz Right Now\, and appeared on numerous end of the year lists from Pitchfork\, Noisey\, Rolling Stone\, and Spin Magazine. Moor Mother was named by Rolling Stone as one of 10 Artists to Watch in 2016 and named Bandcam’s 2016 Artist of the Year. Camae also released her first book of poetry called Fetish Bones in Winter 2016 on The AfroFuturist Affair small press. As a member of Black Quantum Futurism Collective (BQF)\, she has been a part of two literary works and several zines\, and has been featured in exhibitions at the Schomburg Center\, Rebuild Foundation\, Temple Contemporary at Tyler School of Art\, and more. Camae Ayewa is a 2016 Leeway Transformation Award and Blade of Grass 2016 Fellow\, has been an in artist in residency at West Philadelphia Neighborhood Time Exchange and WORM! Rotterdam residency\, and will be featured with Black Quantum Futurism at Transmediale Festival in Berlin 2017. Moor Mother has appeared in the Quietus\, the Fader\, Vice and others. Moor Mother’s upcoming schedule includes Berhaign\, Safe as Milk Festival\, CTM Festival\, MoogFest\, and Donau Festival.
URL:https://www.bowerbird.org/event/community-futurism-an-evening-curated-by-moor-mother/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Moor_Mother.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T200000
DTEND;TZID=America/New_York:20170217T220000
DTSTAMP:20260430T110455
CREATED:20190325T153559Z
LAST-MODIFIED:20190325T153917Z
UID:10000863-1487361600-1487368800@www.bowerbird.org
SUMMARY:Loren Connors / Chris Forsyth Duo
DESCRIPTION:Bowerbird is pleased to present the duo of Loren Connors and Chris Forsyth and a performance by Philadelphia’s Taiwan Housing Project \n\n\n  \n\n\nLOREN CONNORS has improvised and composed original guitar music for over four decades. His music – which embraces the aesthetics of blues\, Irish airs\, blues-based rock and other genres while letting go of rigid forms – has been recorded on Family Vineyard\, Northern Spy\, Drag City\, Table of the Elements\, Recital\, RoadCone and other labels. \nConnors\, who names abstract expressionist painter Mark Rothko his most important influence\, has performed with Thurston Moore\, Keiji Haino\, Jim O’Rourke\, John Fahey\, Alan Licht\, Jandek\, and Kim Gordon. Suzanne Langille has often appeared on Connors’ recordings as vocalist\, lyricist and arranger. Connors also on occasion performs with an avant blues band called Haunted House\, together with Langille\, guitarist Andrew Burnes and percussionist Neel Murgai. \nIn July 1979\, Cadence Magazine noted that Connors\, who had recently emerged in the scene\, was “similar to others in the Advanced Guard of improvising guitarists in that he is trying to extend the boundaries of sound and pitch of acoustic guitar\, but he is unique in the utilization of Blues in his work\, one could almost say this is Avant Garde Blues. He’s swimming in new waters and beginning to make his own environment.” \nIn recent years\, Connors has focused mostly on live recordings of extended blues abstractions\, with occasional performances in a more avant blues rock vein from time to time through the Haunted House band and collaborations with other artists. \n\n\n\n\n\n\n\n\nCHRIS FORSYTH is a lauded guitarist and composer whose work assimilates art-rock textures with vernacular American influences. Long active in underground circles\, he’s recently released a string of acclaimed records of widescreen guitar rock\, and in 2013\, he assembled The Solar Motel Band\, who have quickly developed a reputation as an incredible live act\, provoking ecstatic comparisons to visionary artists such as Television\, The Grateful Dead\, Popol Vuh\, Neil Young & Crazy Horse\, and Richard Thompson. His newest release with The Solar Motel Band is the double album The Rarity of Experience (No Quarter)\, released in March 2016. Raves have been universal. Pitchfork called it “a near-perfect balance between 70s rock tradition and present day experimentation\,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors\,” and the New York Times calls him “a scrappy and mystical historian…” His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.” \nIn addition to Forsyth’s work as a solo artist and bandleader\, he has been an inveterate collaborator with a diverse range of artists\, including singer/songwriter Meg Baird\, trumpeter Nate Wooley\, analog synthesist Koen Holtkamp\, and choreographer Miguel Gutierrez. He is a recipient of a 2011 Pew Fellowship in the Arts and resides in Philadelphia. \n\n\n\n\n\n\n\nTAIWAN HOUSING PROJECT began as a weird lo-fi fake pop recording project between Kilynn Lunsford (Little Claw\, Tyvek) and Mark Feehan (Harry Pussy\, Trash Monkeys). After a while of playing exclusively as a duo in a bedroom with two cats they enlisted Pat Ganley (Casual Viking\, Dan Melchior) and Adam Cooper (Tickley Feather\, Hanging Tounges) and started playing in a basement with three cats. Taiwan Housing Project’s hip shaking white hot noise has been met with drunken enthusiasm and dismissive shrugs from friends and foes alike.
URL:https://www.bowerbird.org/event/loren-connors-chris-forsyth-duo/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/loren_connors.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170120T200000
DTEND;TZID=America/New_York:20170120T220000
DTSTAMP:20260430T110455
CREATED:20190325T155136Z
LAST-MODIFIED:20190325T155136Z
UID:10000866-1484942400-1484949600@www.bowerbird.org
SUMMARY:The Pine Barrens Screening
DESCRIPTION:Bowerbird is pleased to present a screening of David Scott Kessler’s evolving documentary The Pine Barrens: Whitesbog Edition with a live score performance by The Ruins of Friendship Orchestra. Guiding the viewer through the New Jersey Pineland’s winding\, rust-colored rivers; its dark\, sandy forests and slowly developing towns\, The Pine Barrens creates a contemplative\, complex\, portrait of a place out of time. With the Pinelands as a primary character\, the film explores the symbiotic yet sometimes destructive relationship between man and nature. It is believed by many that political forces and negligence may contribute to making this century the Pine Barren’s last. \nTHE RUINS OF FRIENDSHIP ORCHESTRA\nNamed for the historic Pine Barrens town of Friendship where the band first practiced together as a group\, The Ruins of Friendship Orchestra is a collective of electronic and traditional instrumentalists composing the score to The Pine Barrens concurrently to the film’s evolving editions. Ruins perform this score\, also an evolving and partially improvised work\, live at screenings\, merging performance and documentary to create a completely unique experience transporting the audience into our interpretation of this fascinating and beautiful place. \nBen Warfield\, synthesizer\nLaura Baird\, vocals\, flute\, banjo\nGretchen Lohse\, viola\nJesse Sparhawk\, harp\, bass\nJohn Pettit\, guitar\, trumpet\, harmonium
URL:https://www.bowerbird.org/event/the-pine-barrens-screening/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Pine_Barrens.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170111T200000
DTEND;TZID=America/New_York:20170111T220000
DTSTAMP:20260430T110455
CREATED:20190325T160524Z
LAST-MODIFIED:20190325T160524Z
UID:10000868-1484164800-1484172000@www.bowerbird.org
SUMMARY:ALASH Ensemble
DESCRIPTION:Bowerbird and The Rotunda are pleased to welcome back a Philadelphia favorite: The Alash Ensemble. \nABOUT THE EVENT \nALASH are masters of Tuvan throat singing\, 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. What does throat singing sound like? “Imagine a human bagpipe-a person who could sing a sustained low note while humming an eerie\, whistle-like melody. For good measure\, toss in a thrumming rhythm similar to that of a jaw harp\, but produced vocally-by the same person\, at the same time.” -Newsweek (March 17\, 2006) Where is Tuva? Tuva (sometimes spelled Tyva) sits at the southern edge of Siberia\, with Mongolia to its south. Over the centuries\, Tuva has been part of Chinese and Mongolian empires\, and shares many cultural ties with Mongolia. In 1944 it became part of the USSR\, and until the late physicist Richard Feynman drew attention to it\, was largely unknown to westerners. Tuva is now a member of the Russian Federation.
URL:https://www.bowerbird.org/event/alash-ensemble/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Alash_Ensemble.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161216T200000
DTEND;TZID=America/New_York:20161216T220000
DTSTAMP:20260430T110455
CREATED:20190325T160757Z
LAST-MODIFIED:20190325T160757Z
UID:10000869-1481918400-1481925600@www.bowerbird.org
SUMMARY:Svitanya: Eastern European Vocal Music
DESCRIPTION:Bowerbird is pleased to present Svitanya\, a Philadelphia-area women’s vocal ensemble that specializes in folk music of Eastern Europe. Founded in 2001\, the ensemble started with six singers performing purely a cappella arrangements. The early members included two mother-daughter pairs\, fitting for a genre in which songs have been passed from mother to daughter for centuries\, and one of these pairs is still part of the group today. \nSvitanya’s repertoire is drawn from a variety of regional traditions. Some songs are modern arrangements of old folk tunes\, some are original compositions in the folk style\, and others are sung as they have been for generations. They range from strong and strident field-working songs to traditional dance tunes to lush and emotive arrangements\, all evoking the timbres\, rhythms\, and harmonies indigenous to the region. While many songs are performed without instrumentation of any kind\, traditional ethnic instruments\, such as gaida\, tapan\, tambura and balalaika\, are used wherever possible in others.
URL:https://www.bowerbird.org/event/svitanya-eastern-european-vocal-music/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Svitanya.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161118T200000
DTEND;TZID=America/New_York:20161118T220000
DTSTAMP:20260430T110455
CREATED:20190325T161856Z
LAST-MODIFIED:20190325T161856Z
UID:10000872-1479499200-1479506400@www.bowerbird.org
SUMMARY:Film Screening: Ornette: Made In America
DESCRIPTION:Bowerbird is pleased to present a screening of Shirley Clarke’s 1985 film “Ornette: Made in America”. \n“Ornette: Made In America” captures Ornette’s evolution over three decades. Returning home to Fort Worth\, Texas in 1983 as a famed performer and composer\, documentary footage\, dramatic scenes\, and some of the first music video-style segments ever made\, chronicle his boyhood in segregated Texas and his subsequent emergence as an American cultural pioneer and world-class icon. Among those who contribute to the film include William Burroughs\, Brion Gysin\, Buckminster Fuller\, Don Cherry\, Yoko Ono\, Charlie Haden\, Robert Palmer\, Jayne Cortez and John Rockwell. \n“Ornette: Made In America” is essential for anyone hoping to understand the history of jazz and the fertile creative exchange that highlighted the 60’s and 70’s in America. It is a portrayal of the inner life of an artist-innovator. \nThe innovative techniques that director Shirley Clarke and producer Kathelin Hoffman employed in this film very closely parallel the music of the man who is its subject. Clarke defied traditional documentary formats to reveal Ornette’s extraordinary vision through her equally extraordinary filmmaking artistry. \nCritically acclaimed when it released in 1985\, the film is even more significant today\, as Coleman’s influence has increased\, while Clarke and Hoffman’s interpretation of his life and times remain as fresh and exciting as ever. \nThe film focuses on the struggles and triumphs of Ornette Coleman’s life as well as on the inspired intelligence that spawned his creativity and ensured his success. Clarke’s footage includes Ornette in conversation with family and friends; excerpts of interviews\, riffs and travels\, along with footage of his performances-in his hometown of Fort Worth\, TX\, in New York\, in Morocco and beyond – presents the most comprehensive record of his career available.
URL:https://www.bowerbird.org/event/film-screening-ornette-made-in-america/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Ornette.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161021T200000
DTEND;TZID=America/New_York:20161021T220000
DTSTAMP:20260430T110455
CREATED:20190325T162242Z
LAST-MODIFIED:20190325T162242Z
UID:10000873-1477080000-1477087200@www.bowerbird.org
SUMMARY:Cage\, Tudor\, Rauschenberg: 9 Evenings
DESCRIPTION:Bowerbird is pleased to screen three documentary films marking the 50th anniversary of “9 Evenings: Theatre and Engineering”. In 1966 ten New York artists and thirty engineers and scientists from Bell Telephone Laboratories collaborated on a series of innovative dance\, music and theater performances\, “9 Evenings: Theatre & Engineering”\, held in October at the 69th Regiment Armory in New York City. The artists were John Cage\, Lucinda Childs\, Oyvind Fahlstrom\, Alex Hay\, Deborah Hay\, Steve Paxton\, Yvonne Rainer\, Robert Rauschenberg\, David Tudor and Robert Whitman. For these films\, archival material has been combined with interviews with the artists\, engineers and performers to illuminate the artistic\, technical and historical aspects of the work. \nVariations VII\, performed at 9 Evenings\, was the next to last in John Cage’s series of indeterminate works that he had begun in 1958\, which made increasing use of electronic equipment and systems. This DVD documents the only complete performance of Variations VII and also presents a stereo audio recording of the full 85 minutes of the performance. \nBandoneon ! (a combine) is David Tudor’s first full concert work as a composer. Tudor played the bandoneon as the input into a complex sound and visual modification system that moved sound from speaker to speaker and controlled lights and video images\, creating a work that animated the entire Armory space. This DVD documents the performance with film and vintage photographs as well as interviews with the performers\, engineers and Tudor’s fellow composers. \nOpen Score is the first film to be released in a series that will bring to life a historic moment in contemporary art history. In Open Score \, Robert Rauschenberg derived the content of his performance from the characteristics of the performance venue. The tennis racquet suggested both the idea of the ready-made (at other times tennis was played at the Armory) and that of a dance improvised in accordance with specific rules.
URL:https://www.bowerbird.org/event/cage-tudor-rauschenberg-9-evenings/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/9_Evenings.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161002T200000
DTEND;TZID=America/New_York:20161002T220000
DTSTAMP:20260430T110455
CREATED:20190325T163107Z
LAST-MODIFIED:20190325T163229Z
UID:10000875-1475438400-1475445600@www.bowerbird.org
SUMMARY:Daniel Fishkin\, Cleek Schrey\, Ron Shalom
DESCRIPTION:ABOUT THE EVENT \nThe third installment of Composing the Tinnitus Suites: 2016 consists of compositions for and by Daniel Fishkin\, Cleek Schrey\, and Ron Shalom. Shalom\, Schrey\, and Fishkin are members of New Perplexity\, a collective of new wartime composers and scholars. Schrey performs on the Hardanger Fiddle\, a Norwegian folk instrument lined with sympathetic strings that resonate as he plays. Shalom is a contrabassist blessed with perfect pitch\, but this intutitive gift is confounded by spectral barrage of the Lady’s Harp. For this concert\, the trio present a series of compositions in an attempt to answer the question\, “What is Tinnitus Music?” from each player’s perspective. \n  \n  \nABOUT THE ARTISTS \nDescribed by the Irish Times as “a musician utterly at one with his instrument and his music\,” Cleek Schrey is a fiddler and composer from Virginia. An active member of traditional music communities in America and Ireland\, he plays in the Ghost Trio with Ivan Goff and Iarla O Lionaird. His work has been presented at Pioneer Works Center for Art and Innovation in Brooklyn\, Storm King Art Center\, the Kilkenny Arts Festival\, the Lumen Performance Art Festival\, and the Bridge Progressive Art Center. Cleek frequently makes music for dance\, having worked with choreographers Douglas Dunn and Bill T. Jones and percussive dancers Sandy Silva and Nic Gareiss. He also works closely with the renowned Beckett theater company\, Gare St. Lazare\, as a composer and musician. He has studied composition with David Behrman\, Paul Caputo\, Bunita Marcus\, and Walter Zimmermann. The journal Sound Post has noted that Cleek “possesses a rare combination of traits: deep respect for traditional music and the people who make it\, and an unbounded curiosity about new directions for sound.” He is currently pursuing a Masters in Music Composition at Wesleyan University. \n  \nRon Shalom (b. 1989) is a composer\, bassist\, vocalist\, organist\, and leader of the Cult of the Illuminated Orifice. Of his own work\, Ron says\, “I seek out the boundaries between forms of performance in public life\, as well as between the musical and the theatrical\, through the creation of spectacle.” He received his undergraduate degree from Oberlin Conservatory and a master’s in composition from Wesleyan University. Recent projects include a semi-staged nihilo-pornography with the Cult\, and a third full-length album of songs with his chamber pop ensemble Fers Yn Ri. \n  \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \n  \nABOUT THE SERIES \nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.” \n  \n  \nComposing the Tinnitus Suites: 2016 has been supported by The Pew Center for Arts & Heritage.
URL:https://www.bowerbird.org/event/daniel-fishkin-cleek-schrey-ron-shalom/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/D_Fishkin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160930T200000
DTEND;TZID=America/New_York:20160930T220000
DTSTAMP:20260430T110455
CREATED:20190325T164103Z
LAST-MODIFIED:20190325T164319Z
UID:10000876-1475265600-1475272800@www.bowerbird.org
SUMMARY:Ellen Fullman with Daniel Fishkin
DESCRIPTION:ABOUT THE EVENT \nThe second installment of Composing the Tinnitus Suites: 2016 consists of solos and duets between Ellen Fullman and Daniel Fishkin. Fullman is the inventor of the Long String Instrument\, an 80 foot long string instrument consisting of stainless steel wires that she strokes with rosined fingertips. Fullman has used her instrument to explore the acoustics of large resonant spaces for over 30 years. In her Philadelphia premiere\, Ellen Fullman will install her Long String Instrument in the Rotunda Sanctuary. Though Fullman and Fishkin both work with long strings\, their work is decidedly different. In this concert\, the two will contrast their practices. \nFeaturing a conversation with the Maria Geffen Lab and Ranjit Bhatnagar. \n  \n\nABOUT THE ARTISTS\n\n\n\nEllen Fullman’s career in music was launched at age one\, when Elvis Presley kissed her hand. She went on to earn a BFA in Sculpture from the Kansas City Art Institute\, leading her to create her “Metal Skirt Sound Sculpture\,” which she wore to perform Streetwalker at the 1980 New Music America festival in Minneapolis. Soon after\, Fullman accidentally discovered the sound of longitudinally vibrating long strings. Since then\, she has been developing the Long String Instrument (LSI)\, and its abundant possibilities. Fullman has presented her work in art spaces\, festivals\, and museums in the United States and in Europe. She has been the recipient of numerous awards\, commissions and residencies including: Foundation for Contemporary Arts Grants to Artists (2015); Center for Cultural Innovation Grants (2008 and 2013); Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); and DAAD Artists-in-Berlin residency (2000). Fullman’s work was cited by Alvin Lucier in his Music 109: Notes on Experimental Music (Wesleyan University Press\, 2012) and by David Byrne in How Music Works (McSweeney’s\, 2012).\n\n\n  \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \n\n\n\nABOUT THE SERIES \n\nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.”
URL:https://www.bowerbird.org/event/ellen-fullman-with-daniel-fishkin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Ellen_Fullman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160923T200000
DTEND;TZID=America/New_York:20160923T220000
DTSTAMP:20260430T110455
CREATED:20190325T164859Z
LAST-MODIFIED:20190325T164958Z
UID:10000877-1474660800-1474668000@www.bowerbird.org
SUMMARY:Philadelphia Hearing Damage
DESCRIPTION:ABOUT THE EVENT \nThe first installment of Composing the Tinnitus Suites: 2016 is the premiere performance of Philadelphia Hearing Damage. This band of broken ears is a crowd-sourced creation of local Philadelphia artists. Fishkin worked with these musicians in the summer of 2016\, teaching them how to play the Lady’s Harp\, and to apply its techniques to their own instruments. This assemblage does not consist of gifted virtuosos\, rather kindred listeners-musicians whose relationship to sound might be fundamentally unstable. \nBen Bennett\, percussion\nRachel Ishikawa\, bicycle wheel\, found objects\nHannah Judd\, cello\nBennett Kuhn\, synthesizer\, tinnitus\nConnor Przybyszewski\, trombone\nDaniel Fishkin\, lady’s harp\, composition \n  \nFeaturing a conversation with Armen Enikolopov and Monroe Street. \n  \nABOUT THE ARTISTS \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \nABOUT THE SERIES \nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.” \n  \ncover photo: Samuel Lang Budin \nComposing the Tinnitus Suites: 2016 has been supported by The Pew Center for Arts & Heritage.
URL:https://www.bowerbird.org/event/philadelphia-hearing-damage/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Hearing_Damage-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160616T200000
DTEND;TZID=America/New_York:20160616T220000
DTSTAMP:20260430T110455
CREATED:20190325T171920Z
LAST-MODIFIED:20190325T171920Z
UID:10000884-1466107200-1466114400@www.bowerbird.org
SUMMARY:Sonic Liberation 8
DESCRIPTION:Bowerbird is excited to present the Philadelphia record release celebration of Bombogenic\, a new album by Sonic Liberation 8 with the The Classical Revolution Trio & Oliver Lake. The album celebrates the 15 year anniversary of Sonic Liberation 8 with a new collection of compositions and arrangements showcasing a unique confluence of loft jazz\, Afro Cuban Yoruba music\, and new chamber music. Joining SL8 in this milestone is special guest artist Oliver Lake (World Saxophone Quartet) and the Classical Revolution String Trio. In addition to five new compositions\, Kevin Diehl\, the octet’s leader\, arranged the Erik Satie composition\, Gnossienne\, recasting it as a platform for creative interaction rooted in these genres. Additionally Oliver Lake composed 2 compositions for specifically for SL8’s Afro-Cuban-Yoruba jazz format. Diehl arranged bata drums parts for these 2 pieces along with another of Mr. Lakes compositions called Love Like Sisters. Love Like Sisters originally appeared on a World Saxophone Quartet album called Metamorphosis. \n  \nTHE PERFORMERS \nSpecial Guest\nOliver Lake – Alto Saxophone\, Composition \nSonic Liberation 8\nKevin Diehl – Drumkit\, Bata Iya\, Composer\nMatt Engle – Bass\, Composer\nElliot Levin – Woodwinds\nVeronica Jurkiewicz – Viola\, String Section Leader\nMike Watson – Bass Clarinet\nNichola Rivera – Bata Itotele & Iya\, Conga\, Composer\nTom Lowery – Drumkit\, Afro Brazilian Percussion\nRon Howerton – Bata Okonkolo\, Conga\, Percussion \nThe Classical Revolution Trio\nRussel Kotcher – Violin\nPeter Oswald – Cello\nYoni Draiblate – Cello \n  \nABOUT THE ARTISTS \nThe artistic scope of renowned saxophonist\, composer\, painter\, and poet Oliver Lake’s half-century-long career is unparalleled. An extensive resume of his collaborations includes work with the Brooklyn Philharmonic\, Flux String Quartet\, Bjork\, Lou Reed\, A Tribe Called Quest\, Mos Def\, Me’shell Ndegeocello\, Anthony Braxton\, James Blood Ulmer\, William Parker\, Vijay Iyer\, Reggie Workman\, Andrew Cyrille and a veritable who’s who of the jazz vanguard. Oliver’s efforts extend far beyond the music\, with his creation of the non-profit Passin’ Thru organization\, becoming a mainstay at Pittsburgh’s City of Asylum\, publishing two books of poetry and frequently producing visual artwork for exhibitions across the country. Lake’s breadth of disciplines can be traced back to his formative years with the Black Artists Group\, the innovative St. Louis collective of musicians\, poets\, dancers and painters he helped architect over 35 years ago. As a co-founder of the internationally acclaimed World Saxophone Quartet (with fellow luminaries David Murray\, Julius Hemphill and Hamiet Bluiett)\, Oliver firmly established himself in the “Loft” jazz scene of the 1970’s in New York City\, and has since produced a body of work that is both expansive and versatile enough to avoid falling solely into the trappings of the “avant-garde” and “free” labels. The fact that his work can stand on compositional merit alone\, all while he has etched a place for himself as one of the elite saxophone players and improvisers of recent times\, is a testament to Oliver Lake’s stature as an artist. Lake’s output as an exacting and unequivocally original composer has long been celebrated\, highlighted by commissions awarded from the Library of Congress\, the Rockefeller Foundation ASCAP\, the International Association for Jazz Education\, Composers Forum and the McKim Foundation. He has been the recipient of the Guggenheim Fellowship and was also presented with the Mellon Jazz Living Legacy Award at the Kennedy Center in 2006. In 2014\, Oliver was honored with what is arguably the greatest recognition of his artistry and vision to date\, becoming one of only nineteen grantees appointed for the prestigious Doris Duke Artist Award\, a multi-year grant awarded to American artists in the fields of jazz\, theater and dance. A trailblazer through and through\, Oliver Lake continues to produce in the vociferous\, uncompromising way he only knows how to\, currently immersed in the work of such adventurous ensembles as the Oliver Lake Organ Quartet\, Oliver Lake Big Band and Trio 3. \nSonic Liberation 8 is deeply rooted in the traditions of Afro Cuban music and has spent years fusing that grand tradition with new sounds including composed jazz\, modern chamber composition\, and the powerful Orisha spirit. Sonic Liberation 8 melds together sounds and time periods in a manner like no other band around today. As Sonic Liberation Front\, this ensemble has consistently won international critical acclaim and have been named #1 or Top 10 by the Village Voice\, All About Jazz\, Jazziz\, and more. The band has recorded five internationally-distributed albums. The eight-member ensemble has played extensively in the Philadelphia and New York area\, and at festivals and cultural institutions throughout the Midwest U.S. and Canada. The core octet is scalable\, often collaborating with guest artists and expanded ensembles.
URL:https://www.bowerbird.org/event/sonic-liberation-8/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Sonic_Liberation_8.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160520T200000
DTEND;TZID=America/New_York:20160520T220000
DTSTAMP:20260430T110455
CREATED:20190325T173127Z
LAST-MODIFIED:20190325T173127Z
UID:10000888-1463774400-1463781600@www.bowerbird.org
SUMMARY:Le Révélateur
DESCRIPTION:Bowerbird is pleased to present an encore screening of Philippe Garrel’s visually arresting silent film Le Révélateur\, performed live with an original score by Philadelphia’s own Mary Lattimore and Jeff Zeigler. Le Révélateur was one of the first films of the Zanzibar group (a coterie of mostly French artists and filmmakers who began making experimental films in the wake of the May 1968 student protests) which exemplified the radical approach of the new generation of French filmmakers. Shot in stark black and white\, Le Révélateur is a claustrophobic vision of escape\, both literally and metaphorically. Mary and Jeff were invited to compose and present a live score to a silent film of their choice in Marfa\, Texas on December 30\, 2013. They chose Le Révélateur. Jeff plays a Korg Mono/Poly\, guitar\, and melodica through effects\, and Mary plays a Lyon and Healy pedal harp through a Line 6 DL4.
URL:https://www.bowerbird.org/event/le-revelateur/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Revelateur.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160415T200000
DTEND;TZID=America/New_York:20160415T220000
DTSTAMP:20260430T110455
CREATED:20190325T174056Z
LAST-MODIFIED:20190325T174130Z
UID:10000891-1460750400-1460757600@www.bowerbird.org
SUMMARY:Glenn Jones\, Laura Baird\, Elkhorn duo
DESCRIPTION:ABOUT GLENN JONES \nGlenn Jones is a master of American Primitive Guitar\, a style invented in the late 1950s by John Fahey\, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions. Jones\, who led the post-rock ensemble Cul de Sac\, brings his own made-up tunings\, the use of custom-crafted partial capos\, and a highly skilled picking style on both banjo and guitar\, to create personal compositions that are lyrical\, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo\, and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer. \nFleeting was recorded in a house on the banks of the Rancocas Creek in Mount Holly\, New Jersey. Cozy\, cluttered with artifacts of a life well-lived (by its owner Bill Bolger)\, the house struck the right note for Jones and his recording engineer\, Laura Baird. Jones in particular likes spaces with character that are remote from the day-to-day world. Jones and Baird made no attempt to soundproof the recording environment\, happy to let sounds filtering in from the outdoors to become part of the listening experience. \nOne of Fleeting’s underlying themes is the past and the way places and people resonate in our lives. Jones reflects on the brevity — the fleetingness — of all things\, while also looking towards the future. “Spokane River Falls\,” which Jones calls his “water song\,” recalls the all-but-forgotten city of Spokane\, Washington\, where he was born. “Cléo Awake” and “Cléo Asleep” share the same melodies and the same inspiration — the newborn child of Jones’ friends (the conceit of “Cléo Asleep” is that Jones plays with a mute on the banjo — called The Happy Wife Banjo Mute — so as not to disturb Cléo\, no matter where in the world she is!). “In Durance Vile\,” one of the album’s more dissonant\, prickly tracks\, was originally written to accompany three poems by the abstract painter Wassily Kandinsky\, whose texts Jones found “absurd\, playful . . . sometimes cruel.” Two of the album’s songs are dedications to fellow guitarists (and friends) Robbie Basho and Michael Chapman. \nJones turned away from standard tuning years ago\, inventing tunings as a way of escaping the known. The pieces he writes in these tunings are his way of navigating new and unfamiliar landscapes. “But it’s my hope\,” he says\, “that what you hear are not the tunings and partial capos and all that\, but the music — the feeling within these pieces.” Fleeting is a journey that Jones invites his listeners to take with him. \n  \nABOUT LAURA BAIRD \nLaura Baird is a singer\, songwriter\, multi-instrumentalist\, and recording engineer. Since 2001 she has performed and recorded as The Baird Sisters with her sister\, Meg Baird. She enjoys crossing and blending genres like folk\, pop\, classical\, and electronic\, and frequently collaborates with other artists and musicians who work in and between these genres. \n  \nABOUT ELKHORN \nELKHORN is the electric/acoustic guitar project of Drew Gardner and Jesse Sheppard. The duo combines Sheppard’s American Primitive-style acoustic finger picking with Gardner’s extended improvisational and textural electric playing. The duo grew up together in the deep woods and rotting industrial husks of central New Jersey and have been collaborating on and off since the mid-1980s. A film-maker as well as musician\, Sheppard directed The Things That We Used To Do (2010) a documentary about Jack Rose and Glenn Jones.
URL:https://www.bowerbird.org/event/glenn-jones-laura-baird-elkhorn-duo/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Glen_Jones.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160318T200000
DTEND;TZID=America/New_York:20160318T220000
DTSTAMP:20260430T110455
CREATED:20190325T174413Z
LAST-MODIFIED:20190325T175220Z
UID:10000892-1458331200-1458338400@www.bowerbird.org
SUMMARY:Erik Ruin & Gelsey Bell: Prisoner's Song
DESCRIPTION:PRISONER’S SONG \nErik Ruin\, shadow puppets and projections\nGelsey Bell\, voice\, metallophone\, and sound design\nRick Burkhardt\, director \n  \nABOUT THE EVENT \nPrisoner’s Song is a performance created by composer Gelsey Bell and visual artist Erik Ruin about the prison experience. Using shadow puppets and projections alongside a variety of musical idioms\, the piece draws on historic ballads\, poetry\, audio interviews with people who have spent time in prison\, and other primary sources to create a fragmentary encounter with the states of mind and heart prison engenders. \nThe performance will be followed by a brief talk-back with the artists and various contributors to the project\, including Hakim Ali and William Goldsby of Reconstruction Inc.\, LuQman Abdullah and Emily Abendroth. \n  \nABOUT THE ARTISTS \nGelsey Bell (composer\, performer) is a singer\, songwriter\, and scholar. She has been described by the New York Times as a “winning soprano” whose performance of her own music is “virtuosic” and “glorious noise.” She has released multiple albums and her work has been presented internationally. She is a core member of thingNY and Varispeed. She has also worked with numerous composers\, choreographers\, and performance creators including Robert Ashley\, Matthew Barney and Jonathan Bepler\, Kimberly Bartosik\, Ne(x)tworks\, Dave Malloy\, Rachel Chavkin\, John King\, Chris Cochrane and Fast Forward\, Gregory Whitehead\, Kate Soper\, and Rick Burkhardt\, among others. www.gelseybell.com \nErik Ruin (visual artist\, performer) is a Michigan-raised\, Philadelphia-based printmaker\, shadow puppeteer\, paper-cut artist\, etc. His work oscillates between the poles of apocalyptic anxieties and utopian yearnings\, with an emphasis on empathy\, transcendence and obsessive detail. He frequently works collaboratively with musicians\, theater performers\, other artists and activist campaigns. He is a founding member of the Justseeds Artists’ Cooperative. www.erikruin.com \nRick Burkhardt (director) is an Obie-award-winning playwright\, performer\, composer\, songwriter\, and director whose original chamber music\, theater\, and text pieces have been performed in over 40 US cities\, as well as in Europe\, Mexico\, Canada\, Taiwan\, Australia\, and New Zealand. He is a founding member of the Nonsense Company\, a touring experimental music/theater trio\, and songwriter/accordionist for the Prince Myshkins\, a political cabaret/folk duo.
URL:https://www.bowerbird.org/event/open-call-double-decker-music-series-summer-2016/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Prisoners_Song.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160219T200000
DTEND;TZID=America/New_York:20160219T220000
DTSTAMP:20260430T110455
CREATED:20190408T180941Z
LAST-MODIFIED:20190408T180941Z
UID:10000915-1455912000-1455919200@www.bowerbird.org
SUMMARY:FREE EVENT: C. Spencer Yeh: Video On Demand
DESCRIPTION:A brazen multidisciplinary artist who studied film history and theory\, C. Spencer Yeh presents a program of two new moving image works combining diaristic and documentary footage as part of his as part of his ISSUE Project Room residency in 2015. The recently completed TRAVELOGUE: CAIRO EGYPT crosses long takes and static shots captured via smartphone in a four-part composition exploring surveillance\, chance composition\, tourism\, and politics. 2002 is a “concert film” that documents approximately forty bands and artists Yeh videotaped during the year 2002\, including Deerhoof\, Sightings\, Sudden Infant\, Cock ESP\, Double Leopards\, Caroliner Rainbow\, Comets on Fire\, Animal Collective\, and others. These are two very different works that showcase Yeh’s unique perspective as an artist\, organizer\, and audience member. The screening is followed by a Q&A with the artist.
URL:https://www.bowerbird.org/event/free-event-c-spencer-yeh-video-on-demand/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160219T200000
DTEND;TZID=America/New_York:20160219T220000
DTSTAMP:20260430T110455
CREATED:20190328T152138Z
LAST-MODIFIED:20190328T152138Z
UID:10000897-1455912000-1455919200@www.bowerbird.org
SUMMARY:C. Spencer Yeh: Video On Demand
DESCRIPTION:TRAVELOGUE: CAIRO EGYPT\n2015\, 33 min\, digital video\, color \n2002\n2015\, 60 min\, digital video\, color and nightvision b&w \n  \nABOUT THE EVENT \nA brazen multidisciplinary artist who studied film history and theory\, C. Spencer Yeh presents a program of two new moving image works combining diaristic and documentary footage as part of his as part of his ISSUE Project Room residency in 2015. The recently completed TRAVELOGUE: CAIRO EGYPT crosses long takes and static shots captured via smartphone in a four-part composition exploring surveillance\, chance composition\, tourism\, and politics. 2002 is a “concert film” that documents approximately forty bands and artists Yeh videotaped during the year 2002\, including Deerhoof\, Sightings\, Sudden Infant\, Cock ESP\, Double Leopards\, Caroliner Rainbow\, Comets on Fire\, Animal Collective\, and others. These are two very different works that showcase Yeh’s unique perspective as an artist\, organizer\, and audience member. The screening is followed by a Q&A with the artist. \n  \nABOUT THE ARTIST \nC. Spencer Yeh is recognized for his interdisciplinary activities and collaborations as an artist\, improviser\, and composer\, as well his music project Burning Star Core. Recent presentations of work include “Modern Mondays” at MoMA NYC\, “The Companion” at the Liverpool Biennial\, “99 Objects” at the Whitney Museum NYC\, “Great Tricks From Your Future” at D-CAF in Cairo Egypt\, Borderline Festival in Athens Greece\, Kinomuzeum at Museum of Modern Art in Warsaw Poland\, All Ears Festival in Oslo Norway\, the Lausanne Underground Film and Music Festival\, “Synth Nights” at The Kitchen NYC\, LAMPO at the Renaissance Society in Chicago IL\, and a Jerome Foundation Commission from Roulette Intermedium. Yeh also collaborated with Triple Canopy for their contribution to the Whitney Biennial in 2014. He was an Artist-in-Residence for 2015 at ISSUE Project Room NYC\, and was included in the performance program for Greater New York at MoMA/PS1. Recent recordings include “Solo Voice I-X” (Primary Information)\, “Wake Up Awesome\,” with Okkyung Lee and Lasse Marhaug (Software Recording Company)\, and “Long Pig” by New Monuments\, his trio with Ben Hall and Don Dietrich (Bocian). Yeh also volunteers as a programmer and trailer editor for Spectacle Theater\, a microcinema in Brooklyn NY. His video works are distributed by Electronic Arts Intermix. He is also a contributing editor to BOMB magazine\, as well as contributing to The Third Rail and Personal Best.
URL:https://www.bowerbird.org/event/c-spencer-yeh-video-on-demand/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Spencer_Yeh.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160115T200000
DTEND;TZID=America/New_York:20160115T220000
DTSTAMP:20260430T110455
CREATED:20190408T181357Z
LAST-MODIFIED:20190408T181357Z
UID:10000916-1452888000-1452895200@www.bowerbird.org
SUMMARY:FREE EVENT: AF·FIXING CEREMONY: Four Movements for Essex (with Tiona McClodden)
DESCRIPTION:Bowerbird is pleased to present Philadelphia based filmmaker and artist Tiona McClodden conducting a live presentation and artist talk for her project Af·fixing Ceremony: Four Movements for Essex\, which recently debuted in recognition of 2015’s Day With(out) Art. Af·fixing Ceremony commemorates the life and work of celebrated African-American poet Essex Hemphill who was a important member of Washington D.C.’s poetry and artistic community. This is the twentieth anniversary of Hemphill’s death from HIV/AIDS complications on November 4\, 1995 in Philadelphia\, PA.
URL:https://www.bowerbird.org/event/free-event-af%c2%b7fixing-ceremony-four-movements-for-essex-with-tiona-mcclodden/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160115T200000
DTEND;TZID=America/New_York:20160115T220000
DTSTAMP:20260430T110455
CREATED:20190328T152431Z
LAST-MODIFIED:20190328T152431Z
UID:10000898-1452888000-1452895200@www.bowerbird.org
SUMMARY:AF·FIXING CEREMONY: Four Movements for Essex
DESCRIPTION:Bowerbird is pleased to present Philadelphia based filmmaker and artist Tiona McClodden conducting a live presentation and artist talk for her project Af·fixing Ceremony: Four Movements for Essex\, which recently debuted in recognition of 2015’s Day With(out) Art. Af·fixing Ceremony commemorates the life and work of celebrated African-American poet Essex Hemphill who was a important member of Washington D.C.’s poetry and artistic community. This is the twentieth anniversary of Hemphill’s death from HIV/AIDS complications on November 4\, 1995 in Philadelphia\, PA. \nOn Dec 1\, 2015\, World AIDS Day\, Af·fixing Ceremony\, an online commission\, took over the Institute of Contemporary Art in Philadelphia’s website so that visitors encountered the work and consider some of Hemphill’s questions before entering the site. The work was presented to invoke Hemphill’s spirit within the liminality of cyberspace and in context of Day With(out) Art—an occasion for both action and mourning. Af·fixing Ceremony: Four Movements for Essex will be on view at icaph.ly/EssexHemphill until midnight on Monday\, February 1\, 2016.
URL:https://www.bowerbird.org/event/af%c2%b7fixing-ceremony-four-movements-for-essex/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/AF_Fixing.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151218T200000
DTEND;TZID=America/New_York:20151218T230000
DTSTAMP:20260430T110455
CREATED:20190408T181726Z
LAST-MODIFIED:20190408T181726Z
UID:10000917-1450468800-1450479600@www.bowerbird.org
SUMMARY:Ecstatic & Wingless: Bird-Imitation on Four Continents with Ian Nagoski
DESCRIPTION:Ecstatic & Wingless is an audio documentary project on early 20th century birdsong and its direct relationship on human performance – and human action on birdsong. It tells the story not only of the first recordings of cagebirds but also the practice of bird-imitation\, a field that produced amazing and eccentric celebrities during the 1910s-20s. Rarely heard in recent years\, bird imitation was also recorded commercially on every continent by 1925 and possibly predates music or language in human history. \nMusic researcher Ian Nagoski has previously explored the porous boundaries of culture through 78rpm records of immigrants from collapsing European and Near Eastern empires as they arrived in the U.S. in early 20th century\, and in the process\, learned the stories of great\, forgotten performers. With Ecstatic & Wingless\, he has opened his exploration to the world of vaudevillians and bird-fanciers\, of canaries\, nightingales\, finches\, and the people who studied them\, poeticized them\, and tried to be them.
URL:https://www.bowerbird.org/event/ecstatic-wingless-bird-imitation-on-four-continents-with-ian-nagoski/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151218T200000
DTEND;TZID=America/New_York:20151218T220000
DTSTAMP:20260430T110455
CREATED:20190328T152648Z
LAST-MODIFIED:20190328T152648Z
UID:10000899-1450468800-1450476000@www.bowerbird.org
SUMMARY:Ecstatic & Wingless: Bird-Imitation on Four Continents
DESCRIPTION:ABOUT THE EVENT \nEcstatic & Wingless is an audio documentary project on early 20th century birdsong and its direct relationship on human performance – and human action on birdsong. It tells the story not only of the first recordings of cagebirds but also the practice of bird-imitation\, a field that produced amazing and eccentric celebrities during the 1910s-20s. Rarely heard in recent years\, bird imitation was also recorded commercially on every continent by 1925 and possibly predates music or language in human history. \nMusic researcher Ian Nagoski has previously explored the porous boundaries of culture through 78rpm records of immigrants from collapsing European and Near Eastern empires as they arrived in the U.S. in early 20th century\, and in the process\, learned the stories of great\, forgotten performers. With Ecstatic & Wingless\, he has opened his exploration to the world of vaudevillians and bird-fanciers\, of canaries\, nightingales\, finches\, and the people who studied them\, poeticized them\, and tried to be them.
URL:https://www.bowerbird.org/event/ecstatic-wingless-bird-imitation-on-four-continents/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Bird-Imitation.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151120T200000
DTEND;TZID=America/New_York:20151120T220000
DTSTAMP:20260430T110455
CREATED:20190328T152852Z
LAST-MODIFIED:20190328T152852Z
UID:10000900-1448049600-1448056800@www.bowerbird.org
SUMMARY:No Idea But In Things: a Film about Alvin Lucier
DESCRIPTION:ABOUT THE EVENT \n“Don’t ask me what I mean\, ask me what I’ve made.” Inspired by this motto\, this documentary accompanies the American composer Alvin Lucier (*1931) on concert travels to The Hague (Netherlands) and Zug (Switzerland). The filmmakers invite Lucier to explain and comment on his works: from his early live electronics performances (“Music for Solo Performer” (1965)\, and “Bird and Person Dyning” (1975)) – up to the premiere of his ensemble piece “Panorama 2” in 2011. One of Lucier’s key works\, “I Am Sitting in a Room” (1969)\, is introduced as a central structuring device in the film. \nFilmed at his home in Middletown\, Connecticut\, Lucier offers rare insights into the beginnings of his pioneering works\, his time as a member of the Sonic Arts Union\, his relations with John Cage and David Tudor\, as well as his teaching practice at Wesleyan University. \nNO IDEAS BUT IN THINGS – this line by the American poet William Carlos Williams is one of Lucier’s favorite quotes when he is asked about his artistic attitude. It also reflects the filmmakers’ intention to create a portrait of Lucier that is primarily based on his work.
URL:https://www.bowerbird.org/event/no-idea-but-in-things-a-film-about-alvin-lucier/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Alvin_Lucier.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151016T200000
DTEND;TZID=America/New_York:20151016T220000
DTSTAMP:20260430T110455
CREATED:20190328T153852Z
LAST-MODIFIED:20190328T153920Z
UID:10000904-1445025600-1445032800@www.bowerbird.org
SUMMARY:Julius Eastman's █████ ██████
DESCRIPTION:Julius Eastman’s █████ ██████\nfor 4 grand pianos \nperformed by performed by Joseph Kubera\, Adam Tendler\, Michelle A. Cann\, and Dynasty Battles \nand a special performance by sound artists Tracie Morris. \n  \nABOUT THE EVENT \nPulsating textures\, unyielding and relentless\, Eastman’s compositions for multiple pianos are in a world all their own. Joseph Kubera\, who performed the work with Eastman in 1980\, will lead this rare performance. Beginning the concert will be a recording of Eastman describing his intentionally provocative titles\, discussing his aim to reclaim derogatory language. Sound artist and poet Tracie Morris will provide a reflection on Eastman’s work\, re-contextualizing it for our current times. \n  \nABOUT EASTMAN \nJulius Eastman was born in New York City in 1940 and spent his youth in Ithaca\, NY. Eastman studied piano and composition at the Curtis Institute of Music in Philadelphia\, graduating in 1963. Eastman moved to Buffalo\, eventually joining the Creative Associates (1968 – 1975)\, a prestigious new music center noted for its leadership under Morton Feldman. Eastman was a highly regarded performer and was especially note for his performances of Peter Maxwell Davies’ “Eight Songs for a Mad King”. His recording of the work was nominated for a Grammy in 1973. In 1975\, he moved to New York City\, where he continued to compose and perform regularly. A series of misfortunes and personal struggles left Eastman homeless in the mid 1980s\, with much of his music confiscated when he was evicted from his home. Eastman died in Buffalo in 1990 at age 49. \n  \nABOUT █████ ██████ \nIn 1980\, while a composer in residence at Northwestern University\, the title of Eastman’s works were censored – stricken from programs and concert advertisements. █████ ██████ is an avatar representing this censorship. Mirroring the flat\, black pen strokes of a redacted text\, ██████ reminds us of the dehumanizing effect of silencing voices\, the power of language\, and the importance of artistic expression to engage with challenging topics. Ultimately\, we ask – “Who is this type of censorship for?”
URL:https://www.bowerbird.org/event/julius-eastmans-%e2%96%88%e2%96%88%e2%96%88%e2%96%88%e2%96%88-%e2%96%88%e2%96%88%e2%96%88%e2%96%88%e2%96%88%e2%96%88/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Eastman_5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151001T200000
DTEND;TZID=America/New_York:20151001T220000
DTSTAMP:20260430T110455
CREATED:20190328T154337Z
LAST-MODIFIED:20190328T154337Z
UID:10000906-1443729600-1443736800@www.bowerbird.org
SUMMARY:Alash Ensemble Returns!
DESCRIPTION:ALASH are masters of Tuvan throat singing\, 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. What does throat singing sound like? “Imagine a human bagpipe-a person who could sing a sustained low note while humming an eerie\, whistle-like melody. For good measure\, toss in a thrumming rhythm similar to that of a jaw harp\, but produced vocally-by the same person\, at the same time.” -Newsweek (March 17\, 2006) Where is Tuva? Tuva (sometimes spelled Tyva) sits at the southern edge of Siberia\, with Mongolia to its south. Over the centuries\, Tuva has been part of Chinese and Mongolian empires\, and shares many cultural ties with Mongolia. In 1944 it became part of the USSR\, and until the late physicist Richard Feynman drew attention to it\, was largely unknown to westerners. Tuva is now a member of the Russian Federation.
URL:https://www.bowerbird.org/event/alash-ensemble-returns/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Alash_5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150621T200000
DTEND;TZID=America/New_York:20150621T220000
DTSTAMP:20260430T110455
CREATED:20190408T172122Z
LAST-MODIFIED:20190408T172208Z
UID:10000912-1434916800-1434924000@www.bowerbird.org
SUMMARY:Keroaän + Bhob Rainey
DESCRIPTION:Bowerbird is excited to close out it’s 2014 – 2015 GATE season with this thrilling double bill of audio-visual spectaculars inspired by Iannis Xenakis’ “Polytopes”. The evening features a new electronic work by Bhob Rainey and a performance of Keroaän\, Ian M Fraser and Reed Evan Rosenberg’s laser\, strobe\, and sound performing Artificial Intelligence platform. \n  \nABOUT THE ARTISTS \nKEROAÄN is a collaborative research project between IAN M FRASER and REED EVAN ROSENBERG exploring composition of electronic music by an artificial intelligence. Pieces are diffused in real time with no human intervention whatsoever as the machine agent manipulates the qualities of chosen non-standard synthesis and microsound techniques. In live diffusions\, the machine agent additionally controls laser apertures and an array of strobe lighting which collectively act as a visual projection of the structure of its performance. A distinctly non-human logic pervades the resultant arrangements of chaotic sounds and high-intensity lighting\, presenting an immersive\, alien environment. \n  \nBhob Rainey (b. 1972)\, a soprano saxophonist and composer\, performs as a solo artist\, as one half of nmperign (an improvisational duo with trumpeter Greg Kelley)\, and as leader of the BSC\, an eight-member ensemble that uses both acoustic and electronic instruments. He formed the BSC to address the inherent challenge of performing longer works with multiple improvisational artists. After 18 years spent living in Boston\, with stints in Chicago and New Orleans\, Rainey has returned to his hometown of Philadelphia. He holds an M.A. in jazz composition from the New England Conservatory of Music\, and his music has been supported with grants from Meet the Composer and United States Artists.
URL:https://www.bowerbird.org/event/keroaan-bhob-rainey/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Bhob_Rainey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150515T200000
DTEND;TZID=America/New_York:20150515T230000
DTSTAMP:20260430T110455
CREATED:20190408T183835Z
LAST-MODIFIED:20190408T183835Z
UID:10000922-1431720000-1431730800@www.bowerbird.org
SUMMARY:Begin Anywhere: Chapter 3
DESCRIPTION:This is a series about starting a new music ensemble. In Philadelphia. In 2015. But it is also a series for anyone that’s ever tried to make something with other people. It’s about starting a non-profit\, or an ensemble\, or a business\, or choosing not too. It’s about being unstoppable in the face of soul-crushing paperwork\, or just finding your own path. It’s about asking the question “How are we going to do this?”\, answering “I don’t know”\, and giving it a shot anyway. It’s also a chance to hear some great music and words of wisdom. \nConversations with: \nAlex Torra\, Makoto Hirano\, & Benjamin Camp (Team Sunshine Performance Corporation)\nHanna Khoury (Al-Bustan Seeds of Culture)\nBrian McTear (Weathervane Music) \nPROGRAM \nSalvatore Sciarrino: Venere che le grazie la fioriscono (1989)\nChris Schelb\, flute \nToru Takemitsu\, Toward the Sea (1981)\nChristopher Schelb\, flute\nDaniel Brooks\, guitar \nMilton Babbitt\, Soli e duettini (1989)\nChristopher Schelb\, flute\nDaniel Brooks\, guitar \nRaoul Pleskow\, Zwei Albumblätter (2008)\nNicholas McNamara\, saxophone \nAdam Vidkisis Things That Live in the Whirligig (2014)\nAdam Vidkisis\, percussion and electronics \nJohn Cage: Five (1988)\nChristopher Schelb\, flute\nNicholas McNamara\, saxophone\nAdam Vidiksis\, electronics\nDaniel Brooks\, guitar\nHeather Gardner\, viola
URL:https://www.bowerbird.org/event/begin-anywhere-chapter-3/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150426T150000
DTEND;TZID=America/New_York:20150426T193000
DTSTAMP:20260430T110455
CREATED:20190408T184525Z
LAST-MODIFIED:20190408T184525Z
UID:10000924-1430060400-1430076600@www.bowerbird.org
SUMMARY:FREE EVENT - Morton Feldman's "For Philip Guston"
DESCRIPTION:Bowerbird is excited to welcome back NYC based ensemble Either / OR to perform “For Philip Guston”\, Morton Feldman’s late period masterpiece for piano/celesta\, flute\, and percussion. Upon hearing this expansive 4+ hour work\, noted music critic Alex Ross wrote\, “What makes “Guston” fundamentally and wondrously beautiful is its harmony. Feldman’s whole career was a search for ways to string together lovely chords\, and “Guston” contains some of his most lustrous inventions. He is careful to parcel them out economically\, so that they arrive as gratifying shocks after stretches of more neutral sound.These islands of beauty are like suggestions of figuration at the center of an abstract painting.” This performance will take place in the Rotunda’s magnificent domed sanctuary space. \nAudiences are welcome to come and go as they please – but the work is best experience in its full duration. There will be pews and chairs available for seating\, but audiences are encouraged to bring their own blankets and pillows to sit and lay on. Feldman is exceptional for that liminal space between sleep and awake.
URL:https://www.bowerbird.org/event/free-event-morton-feldmans-for-philip-guston/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150417T200000
DTEND;TZID=America/New_York:20150417T220000
DTSTAMP:20260430T110455
CREATED:20190425T145125Z
LAST-MODIFIED:20190425T145125Z
UID:10000926-1429300800-1429308000@www.bowerbird.org
SUMMARY:New Works: CINÉ-ROMAN
DESCRIPTION:Bowerbird presents:\nNew Works: CINÉ-ROMAN\ncurated by J. Louise Makary \n  \nABOUT THE EVENT \nChris Marker made his groundbreaking work La Jetée\, a moving-image film made up of still photographs\, in 1962\, and it still stands as the most iconic ciné-roman in the canon. Many artists have admired Marker’s innovative use of photomontage to weave a narrative\, yet few have contributed to the genre. Curated by filmmaker and visual artist J. Louise Makary\, New Works: CINÉ-ROMAN will include works\, most of them newly commissioned\, by a diverse group of artists experimenting with movement\, time\, and stillness in film and video. In addition to featuring new animated and choreographic video works\, this evening-length program will showcase new works by several collaborative teams of filmmakers working with photographers\, including two with a live component. New Works: CINÉ-ROMAN aims to flood the field with fresh takes on this underexplored form. \n  \nWORKS BY \nMark Tumas & Tamara Suskic\nSlater Bradley\nJohnny Woods\nBarb Choit & Alex Tyson\nMatt Porterfield\nanastasia owell\nFaye Driscoll with Lily Baldwin\nJ. Louise Makary & Jor Kane (live)\nAlessandro Zangirolami\nJesse Alexander Madden Harding (live)\nAlexis McCrimmon
URL:https://www.bowerbird.org/event/new-works-cine-roman/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Cine_Roman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150320T200000
DTEND;TZID=America/New_York:20150320T220000
DTSTAMP:20260430T110455
CREATED:20190425T150310Z
LAST-MODIFIED:20190425T150310Z
UID:10000929-1426881600-1426888800@www.bowerbird.org
SUMMARY:Corina Marti + Jamey Robinson
DESCRIPTION:Join Bowerbird as we welcome Swiss musician Corina Marti\, an Early music specialist\, in her Philadelphia premiere. Marti will be performing a concert of late fourteenth-century music for recorder and early keyboard instruments. The repertoire includes music from the two most important surviving sources: the London and the Faenza codices. In this concert Marti achieves a remarkable variety by juxtaposing the sound of recorders (including the rare double recorder) and on a clavisimbalum – an instrument that is related to the harpsichord. \nOpening the evening will be Philadelphia based musician Jamey Robinson (Man Man\, Buffalo Stance) performing a set on analog keyboard synths.
URL:https://www.bowerbird.org/event/corina-marti-jamey-robinson/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Corina_Marti.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150220T200000
DTEND;TZID=America/New_York:20150220T220000
DTSTAMP:20260430T110455
CREATED:20190425T150544Z
LAST-MODIFIED:20190425T150544Z
UID:10000930-1424462400-1424469600@www.bowerbird.org
SUMMARY:TREFOIL performs "Dio Mio!"
DESCRIPTION:Trefoil offers selections from the spectacular trecento style of 14th-century Italy. Music as described in Boccaccio’s Decameron: Madrigals\, ballate\, canons\, and estampie by Landini\, Cicconia\, and Jacopo di Bologna. \nTREFOIL is a trio of modern minstrels long active in early music\, with experience in such ensembles as Les Arts Florissants\, Concert Royal\, Early Music New York\, Pomerium\, Piffaro\, Clarion Music Society\, and My Lord Chamberlain’s Consort. The trio debuted in New York and Philadelphia in 2000 with a program of 14th-century French ars subtilior song. The Philadelphia Inquirer tagged the group “a hearty trio of Medieval music specialists” and their performance as “an intricate\, enigmatic vocal art.”
URL:https://www.bowerbird.org/event/trefoil-performs-dio-mio/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Dio_Mio.jpg
END:VEVENT
END:VCALENDAR