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X-WR-CALDESC:Events for BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA
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DTSTART;TZID=America/New_York:20160115T200000
DTEND;TZID=America/New_York:20160115T220000
DTSTAMP:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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:20260430T115620
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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150116T200000
DTEND;TZID=America/New_York:20150116T230000
DTSTAMP:20260430T115620
CREATED:20190425T151618Z
LAST-MODIFIED:20190425T151618Z
UID:10000932-1421438400-1421449200@www.bowerbird.org
SUMMARY:Sun Ra: Space is the Place
DESCRIPTION:Join Bowerbird for a special screening of the sci-fi musical “Space Is the Place”. Sun Ra (1914-1993) and his Intergalactic Myth-Science Arkestra land their yellow spaceship in Oakland; offer an alter-destiny; and battle the FBI\, NASA\, and a supernatural pimp named the Overseer. The film includes lively performances of such Arkestra favorites as “Watusi\,” “The Satellites Are Spinning\,” and “Outer Spaceways\, Inc.” Celebrate the legacy of Sun Ra’s cosmic philosophies\, complex persona\, and innovative\, otherworldly music. \nFor this event we will be screening a newly restored digital version of the Sun Ra-approved version of this film (the version originally released on VHS). The evening will be opened by an introduction by Sun Ra biographer John F. Szwed.
URL:https://www.bowerbird.org/event/sun-ra-space-is-the-place/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Sun_Ra_Space.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141219T200000
DTEND;TZID=America/New_York:20141219T230000
DTSTAMP:20260430T115620
CREATED:20190425T151839Z
LAST-MODIFIED:20190425T151919Z
UID:10000933-1419019200-1419030000@www.bowerbird.org
SUMMARY:A Night For Jack Rose
DESCRIPTION:Bowerbird presents:\nA NIGHT FOR JACK\nremembering Jack Rose \nfeaturing performances by\nGlenn Jones\nNathan Bowles\nDaniel Bachman\nChris Forsyth\nMegajam Booze Band \nplus DJs Ian Nagoski and Michael Chaiken \n  \nABOUT THE EVENT \nThe only thing more monumental than Jack Rose’s personal presence was his talent. He was one of those preternaturally gifted guitar players who make you believe in pacts with the devil under a full moon. But of course we know now that these gifts only come with years of practice\, just as we know that Jack was all too human. He was just a guy who knew bullshit when he saw it. He was a friend. And although Virginia born\, he made Philadelphia his home. For evidence\, look no further than his signature tune\, Kensington Blues. That said\, the title of this concert is a misnomer. It’s not for Jack. It’s for us. It’s for anyone who felt the force of his friendship or his music. It’s a reflection on a man five years gone. It’s not a definitive statement on the life of Jack Rose. It’s a celebration. It’s a chance to hear some of Jack’s closest friends and collaborators play music. Music that would not be the same if they had not come in contact with Jack Rose. \nFor this event we will be joined by Glenn Jones (Cambridge\, MA) frequent touring partner and scholar of American Primitive guitar\, and Nathan Bowles (Blacksburg\, VA) collaborator and co-member of Pelt\, as well as guitarists Daniel Bachmann and Chris Forsyth. The evening will also feature music and discussion from DJ Cutiepie and DJ Jenkins (Ian Nagoski and Mike Chaiken)\, both close friends of Jack’s who influenced and were influenced by his music. The evening will also include video of Jack performing by Jesse Sheppard (director of the performance DVD The Things That We Used To Do).
URL:https://www.bowerbird.org/event/a-night-for-jack-rose/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Jack_Rose.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141105T200000
DTEND;TZID=America/New_York:20141105T220000
DTSTAMP:20260430T115620
CREATED:20190425T152443Z
LAST-MODIFIED:20190425T152443Z
UID:10000935-1415217600-1415224800@www.bowerbird.org
SUMMARY:Alash Ensemble
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-2/
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:20141028T200000
DTEND;TZID=America/New_York:20141028T230000
DTSTAMP:20260430T115620
CREATED:20190425T152716Z
LAST-MODIFIED:20190425T153152Z
UID:10000936-1414526400-1414537200@www.bowerbird.org
SUMMARY:RADIGUE / CAGE / DUFOUR
DESCRIPTION:Carol Robinson & Nate Wooley:\nWorks of Eliane Radigue & Denis Dufour \nWerner Dafeldecker & Valerio Tricoli:\nWilliams Mix Extended \n  \nABOUT THE EVENT \nClarinetist Carol Robinson and trumpeter Nate Wooley give performances of new works by iconoclastic French composers Eliane Radigue and Denis Dufour. The program opens with Dufour’s fascinating Cinq forms d’appel for bass clarinet and trumpet\, and continues with Radigue’s OCCAM XVI for solo bass clarinet\, OCCAM X for solo trumpet\, and OCCAM River III\, an amazingly beautiful duet for trumpet and birbynÄ— (the keyless Lithuanian folk clarinet). The Occam pieces are part of a substantial set of new works composed in conjunction with a small group of the world’s finest contemporary musical voices\, this event offers Americans a rare opportunity to hear new French works played by the cutting edge performers they were made for. \n  \nWerner Dafeldecker and Valerio Tricoli present the Philadelphia premiere of Williams Mix Extended\, a new interpretation of John Cage’s Williams Mix. Approaching Cage’s 1952 score from a contemporary perspective\, this new version of Williams Mix contains a close analysis of the relationship between early tape music and current digital production\, allowing for original parameters of the score to be realized within the context of recent audio technological practices and live instrumental performance.Williams Mix Extended has a duration of 32 minutes\, expanding the original is 4’15” length\, a difference generated by the transposition of the score’s specifications from tape to digital audio software. To completeWilliams Mix Extended\, a library of approximately 2000 different sounds is used\, all recorded by Dafeldecker and Tricoli. \n  \nABOUT THE ARTIST \nEliane Radigue is renowned for her electronic music\, in particular\, with the ARP Synthesizer. Her compositions are defined by micro-events due to subtle overtone shifts that dance above a seemingly static tone. The result is profoundly moving. In 2005\, Radigue began composing for acoustic instruments\, first Naldjorlak\, her grand trio for two basset horns and cello\, now the ever-expanding Occam Ocean series. These new works have been featured in important festivals: Festival d’Automne / Paris\, Huddersfield Contemporary\, Angelica / Bologna\, CTM.12 Spectral / Berlin\, Crossing the Line / NY\, Sound and Music / London\, ISEA2010 Ruhr\, E-May / Vienna\, [K] HEUTE / Hamburg\, and Impact / Utrecht. \n  \nDenis Dufour\, highly respected for his research in the fields of instrumental and electronic creation\, is the author of more than 160 works. As one of the pioneers of the “morphological” and expressive approach to sonic writing\, his works employ a vast spectrum of parameters in all sonic dimensions. \n  \nFranco-American clarinetist Carol Robinson is known for her eclectic approach to performing\, composing and improvising. Equally at ease in the classical and experimental realms\, she appears in festivals\, concert halls\, and alternative spaces the world over. Her recordings of Feldman\, Nono\, Berio\, Scelsi\, Niblock\, and of her own compositions\, are widely acclaimed. One of Eliane Radigue’s most virtuosic and consistent collaborators\, she has premiered Naldjorlak and numerous pieces from Occam Ocean. \n  \nNew York based trumpeter Nate Wooley has performed on over 100 recordings. Increasingly acknowledged internationally\, Wooley’s specific style is part of a burgeoning revolution in experimental trumpet technique with the likes of improvisers Evan Parker\, John Zorn\, Anthony Braxton\, and Thurston Moore. His own compositions expand conceptions of linguistic based embouchure manipulation and utilize the trumpet to control amplified feedback. \n  \nWerner Dafeldecker was born in Vienna in 1964 and studied the double bass. As a musician and composer\, he moves between improvised and composed music and takes advantage of the manifold possibilities offered by electro-acoustics. His works often follow principles of reductive music\, based on concentrated material\, subjecting it to subtle modifications. His musical projects are inspired by and deduced from outside influences such as architecture\, physics\, photography and film. Werner Dafeldecker also focuses intensively on field recording\, or capturing natural and environmental sounds on recording equipment. He has built up an extensive sound archive and realized several works for radio\, film and media. \n  \nValerio Tricoli is an Italian composer and performer of electro-acoustic music\, currently residing in Munich. His main instruments for live presentations are the Revox B77 reel-to-reel tape recorder\, used as a completely analogue / ergonomic device for live sampling and real-time transformation / editing / mixing of pre-recorded and made-on-the-spot sound sources. On a formal level his sets focus on the impromptu creation of narrative\, taking into account the multiple relations intervening between reality\, virtuality and memory during the acoustic event: sounds are always hovering between the “here and now” of the concert situation and the shady domain of memory\, “distant but at the same time present like in a deja-vu experience”. Privileging fracture over continuity and by the use of a dynamic range that could jump suddenly from near-silence to extreme blasts of sounds\, an almost tactile feeling of brooding tension is often attained. His electro-acoustic studio compositions\, documented on few records\, are aligned to the tradition of Musique Concrete and explore themes of the internal\, “represented both by the psychological and the physical” and of the occult\, which together with the use of spoken text makes them often deeply existential works\, self-investigations of the psychological\, emotional and irrational horror within. He is a founding member of the Italian avant-rock group 3/4HadBeenEliminated and has worked extensively with Thomas Ankersmit\, Antoine Chessex\, Werner Dafeldecker\, Anthony Pateras\, Robert Piotrowicz\, Fabio Selvafiorita.
URL:https://www.bowerbird.org/event/radigue-cage-dufour/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Radigue_Cage.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141010T170000
DTEND;TZID=America/New_York:20141012T220000
DTSTAMP:20260430T115620
CREATED:20190429T150723Z
LAST-MODIFIED:20190429T150848Z
UID:10000938-1412960400-1413151200@www.bowerbird.org
SUMMARY:SANCTUARY: Showings and Performances
DESCRIPTION:ABOUT THE EVENT \nThe Rotunda and Bowerbird are proud to present SANCTUARY\, a series of sound based & site specific works created for The Rotunda’s rarely seen main sanctuary. This space – which is covered by a massive 4 story\, 80-foot diameter dome – will house new works by seven Philadelphia based artists – John Phillips & Carolyn Healy\, Michael & Linda Bullock\, Jorge Cousineau\, Tiona McClodden\, and Daniel Fishkin. These works were created during a multi-month artist residency in the space and offer an opportunity for the public to reimagine the architectural\, cultural\, and historic context of The Rotunda from a variety of perspectives. \n  \nTHE ARTISTS \nJohn Phillips & Carolyn Healy\nMichael & Linda Bullock\nJorge Cousineau\nTiona McClodden\nDaniel Fishkin \n  \nEVENT SCHEDULE \nFriday\, October 10\n• Open gallery hours – 5pm to 10pm\n• Performance showings at 7pm\, 8pm\, 9pm \nSaturday\, October 11\n• Open gallery hours – Noon to 10pm\n• Performance showings at 7pm\, 8pm\, 9pm \nSunday\, October 12\n• Open gallery hours – Noon to 10pm\n• Performance showings at 7pm\, 8pm\, 9pm \n  \nTHE PROJECTS \n  \nRESIDUAL SIGNAL\nby John Phillips & Carolyn Healy \nViewing: Partially on view (no video or sound) during gallery hours. Performed nightly at 9pm. \nStatement: “Residual Signal” is a site-specific installation by Carolyn Healy\, visual artist\, and John JH Phillips\, media artist\, created in response to the architectural and acoustic character of the Sanctuary. The artists enjoyed looking\, listening\, measuring and exploring the Sanctuary from mid-July on. Healy was attracted to the high shelf running around the circumference and created a “frieze” of found objects\, quietly illuminated. Phillips discovered that the space is a large parabolic dome with many intriguing acoustic features that he integrated into his score. Three ceiling video projections add dynamic counterpoint to the sound and sculpture. \nArtist Bios: John Phillips and Carolyn Healy collaborate on site-specific installations. John works in sound and moving image while Carolyn creates the sculptural environment and designs the lighting. Their work has been seen in museums and university galleries\, performance and alternative venues\, as well as rough industrial and historic sites\, including LaMama and Symphony Space\, NYC; the Cini Foundation\, Venice\, Italy; Institute of Contemporary Art\, Philadelphia; Eastern State Penitentiary; PAFA; International Computer Music Conference\, Beijing\, China; Suyama Space\, Seattle; storefronts and warehouses in several Philadelphia Live Arts / Fringe Festivals; Disston Saw Works\, as part of Hidden City; and Globe Dye\, Philadelphia. \n  \n  \nTHE CHILLS\nby Tiona McClodden \nViewing: Listening station and installation available during all gallery hours. \nStatement: The project that I plan to conduct within the Sanctuary brings in the use of field recordings to serve as an examination of my family’s relationship to music of the African Diaspora\, from 1930 to present day. I am creating a series of binaural sound recordings using small mics that will be located within my ears\, in order to achieve an immersive surround sound. I’m interested in bodily responses to specific sounds or musical compositions\, also known as autonomous sensory meridian response (ASMR)\, described as a distinct\, pleasurable tingling sensation in the body or “the chills”. \nI am recording within the 40th Sanctuary and on the street\, sourcing Philadelphia-based members of the African-American community to sing songs from the genres of Negro Spirituals\, Gospel\, R&B\, Soul\, Hip Hop\, Jazz\, Orisha music\, encouraging them to produce the “beat” of the music by utilizing only their bodies and/or the fixtures within the Sanctuary itself. I’m exploring how sound plays a part in how memory is constructed and recalled within the body. I’m also going to be re-recording and playing the “sweet spots” of songs that personally give me “the chills” in each genre above to play within the final mix. \nThe final presentation of this project involves installing the recordings with headphones on a series of pews located within the Sanctuary\, providing visitors a chance to sit and listen with the goal of reproducing the feeling of being present wherever the sounds were recorded. \nArtist bio: Tiona McClodden is a filmmaker and visual artist. Themes explored in McClodden’s films have been social change\, social realism\, re-memory and more recently biomythography. She has produced\, written and directed a range of films including her award winning feature-length documentary film\, black./womyn.: conversations with lesbians of African descent\, a short narrative film Bumming Cigarettes\, and an experimental film portrait\, roots.|&|rigor. featuring Philadelphia based sculpture artist Lorna Williams. She also recently debuted the exhibition of the first part of her upcoming four part series\, Be Alarmed: The Black Americana Epic\, Movement I – The Visions. \n  \n  \nCOMPOSING THE TINNITUS SUITES\nby Daniel Fishkin \nViewing: On view (as a sculptural work) during gallery hours. Performed nightly at 8pm. \nStatement: My ears sing to me. It started in 2008\, on the evening following my college thesis recital. The music was not loud that night\, but afterwards I heard a high buzzing sound\, and it has not stopped since. I have an incurable condition called tinnitus. Doctors offer no solace besides\, “You get used to it.” Early in 2010\, I read about Willie Morris\, a former sheriff who shot himself after being unable to cope with tinnitus. In his suicide note\, he wrote\, “I hope that my death will help bring about some cure for those that suffer with tinnitus\, by bringing attention to it. […] It is important that my life will not be wasted.” Well\, I was listening. In the absence of a medical cure\, I vowed to find a creative solution. \nComposing the Tinnitus Suites is an ongoing project in which I try to create a musical situation where tinnitus can thrive\, rather than interfere. For this work\, I have invented an instrument/installation\, the Lady’s Harp\, consisting of pressure transducers and 20 foot long piano strings\, and I explore its sound while simultaneously listening to my own tinnitus. I will continue this work for as long as my ears ring. \nArtist bio: Daniel Fishkin’s ears are ringing. Composer\, sound artist\, and instrument builder. Completely ambivalent about music. Daniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart of Bang-On-A-Can All-Stars. He has performed as a soloist with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Daniel’s lifework investigating the aesthetics of hearing damage has received international press (Nature Journal 505 09 1 2014); he is also a “tinnitus ambassador” of the Deutsche Tinnitus-Stiftung as an ally in the search for a cure. Daniel teaches analog synthesis at Bard College and is currently pursuing an MA in Music Composition at Wesleyan University. His influences include exotic hardwoods\, his ex-girlfriends\, and the histories of electronic music. \n  \n  \nFOR VIOLET OAKLEY\nby rise set twilight (Linda Aubry Bullock and Mike Bullock) \nViewing: On view during all gallery hours. Optimum viewing (with video projections) after dusk ~ 6:30pm) \nStatement: For Violet Oakley is a collaborative work by rise set twilight (Linda Aubry Bullock and Mike Bullock)\, and is dedicated to the designer of the chandelier upon which the piece is built. Built by Tiffany & Co.\, the 1\,500 lb. chandelier was designed by Oakley in 1911 for the First Church of Christ Scientist\, which held its services here. The piece pays homage to one of America’s great women artists\, while elevating her work out of neglected architectural detail and foregrounding its organic shapes. \nLinda created a series of translucent porcelain pieces whose forms evolved out the original glass vessels that held the chandelier’s dozens of electric bulbs\, and which she painted with fine\, vine-like patterns derived from the chandelier’s morphology. Mike also created a network of LED lights\, activating in patterns derived from Oakley’s own words and illuminating the porcelain from within. Using sounds recorded by both artists of voices\, harp\, contrabass\, and electronics\, Mike composed a two-channel audio piece that vibrates directly through body of the chandelier. Finally\, Linda and Mike collaborated on the twin video projections that bookend the chandelier and the opposite wall. \nArtist bio: Rise set twilight is the intermedia duo of Mike and Linda Bullock. Layering analog synths\, video and film projections\, and sculptural pieces\, rise set twilight creates immersive performance-driven events and installations. Their work together has appeared at venues including Fylkingen in Stockholm\, Sweden; EMPAC in Troy\, NY; and the Ontological Theatre at St. Mark’s Church\, NYC. Rise set twilight have collaborated with a range of performers including the Strange Attractor collaborative from Cork\, Ireland. Linda and Mike also make porcelain under the name Aubry Arts. \n  \n  \nTHRESHOLD\nby Jorge Cousineau \nViewing: On view (as a sound work) during gallery hours. Performed nightly at 7pm. \nStatement: Threshold is a series of experiments\, amplifying the the sounds we normally perceive as silence\, utilizing the architectural and acoustic properties of the Sanctuary itself. Using only microphones and speakers without additional treatment the sounds were recorded and played back repeatedly\, in different locations and configurations. In a sense the building became the instrument\, resonating and reverberating the hum of daily city life. \nArtist bio: Jorge Cousineau was born in Dresden\, Germany\, where he attained his diploma in painting from the Academy of Fine Arts. In 1997 he moved to Philadelphia to work as a theater designer and has since created sets\, lights\, sound and projections for numerous dance and theater productions in Philadelphia and regionally. He is a recipient of two Independence Foundation Fellowship grants and was awarded the F. Otto Haas Award for Emerging Theater Artist. Jorge has received several Barrymore Awards for sound and set design\, a Lucille Lortel Award in NYC and the 2011 Pew Fellowship in the Arts. Together with his wife Niki he operates Subcircle\, a collaborative performance/installation group. \nTHANK YOU \n  \nSANCTUARY is made possible through a Philadelphia Knight Arts Challenge Grant from The John S. and James L. Knight Foundation.
URL:https://www.bowerbird.org/event/sanctuary-showings-and-performances/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Sanctuary.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140620T200000
DTEND;TZID=America/New_York:20140620T230000
DTSTAMP:20260430T115620
CREATED:20190429T152349Z
LAST-MODIFIED:20190429T152425Z
UID:10000941-1403294400-1403305200@www.bowerbird.org
SUMMARY:All Sound is Queer
DESCRIPTION:ALL SOUND IS QUEER\ncurated by Catherine Pancake\, featuring artists Keir Neuringer\, Alex Smith\, Megan McShea\, John Eaton\, Jules Gimbrone\, and Drew Daniel. \n  \nABOUT THE EVENT \n  \n“Queerness abides in the refusal to preserve\, in the willingness to end the space of ruinous\, risky anonymity\, to let sound pull us with it into the black hole of an experience that is not yet stable.” ~ Drew Daniel \n  \nALL SOUND IS QUEER is envisioned as both a response and continuation of Drew Daniel’s eponymous essay from the November 2011 edition of the British music magazine The Wire. The essay turns on its head the idea that GLBTQ identity can or should be built around identifiable “queer” musical forms such as Lady Gaga\, vintage house\, gay music festivals\, or riotgrrl punk. Daniel instead posits an much more subversive approach wherein the experience of “sound” by nature of its unusual form can “queer” any “subject” away from his/her/their mainstream goals and into a more generative world of unknowns\, ambivalence\, creative exploration\, and alternatives to a normative aesthetic embrace. For those who have found “sound” to be a profoundly rich tunnel to embracing an outsider stance many times imposed by normative musical practices\, the article provokes a desire for response and further exploration using the concept of “queerness” as an entry point for all radical sound practices. \nCurated by sound artist and film maker Catherine Pancake\, the program will include texts\, live performance\, readings\, and commissioned sound works by a variety of artists who embrace issues of identity politics in experimental music\, and also are known for “queering sound” regardless of announced or implied identity. \n  \nHost:\nCatherine Pancake \nPerforming Live:\nKeir Neuringer (improvisational music)\nAlex Smith (improvisational music)\nMegan McShea (sound poetry) \nSite-specific Sound Installation:\nJohn Eaton \nFixed Recorded Compositions:\nJules Gimbrone\nDrew Daniel
URL:https://www.bowerbird.org/event/all-sound-is-queer/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Sound_is_Queer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140516T200000
DTEND;TZID=America/New_York:20140516T230000
DTSTAMP:20260430T115620
CREATED:20190429T152623Z
LAST-MODIFIED:20190429T152623Z
UID:10000942-1400270400-1400281200@www.bowerbird.org
SUMMARY:Nakatani Gong Orchestra
DESCRIPTION:NAKATANI GONG ORCHESTRA – ten gong ensemble\n+ TATSUYA NAKATANI – solo percussion set \nVibrating metal. Glacial ambiance. Percussionist Tatsuya Nakatani returns to Philadelphia for a solo set and to lead a performance of the Nakatani Gong Orchestra (NGO) – an ensemble of 10 gongs played by local musicians and conducted by Natakatani. \nAnyone who has seen Nakatani perform live should be familiar with his skill in manipulating metal discs of all shapes and sizes\, and as the director of the NGO\, he uses the same techniques on a larger scale\, creating rich expanses of sound that ripple and flow like the most seductive of Richard Serra’s oversized and oxidated steel sculptures. \nNakatani and his orchestra use hand-made bows and mallets to create a sonorous mass of imposing intensity and beautifully wavering mirage. The bowing and gentle striking of the gongs creates a shimmering sheen in constant motion\, using the instrument’s inherently complex chorus of overtones to construct a dense canvas of ever-evolving sound. The sizeable heft of the sound isn’t enough to keep it from floating on air\, a copper-toned aurora against a backdrop of endless black. \n  \nABOUT THE ARTIST \nBorn and raised in Osaka\, Japan\, Tatsuya Nakatani currently resides in Easton\, Pennsylvania. He has released over sixty CD recordings in the U.S. and Europe. Since the late 1990s\, he has performed primarily as a solo percussionist across the U.S. and overseas and has taught master classes at universities as well as holding workshops and lectures. His N.G.O. performs nationwide. \nNakatani’s approach to music is visceral\, non-linear and intuitively primitive\, expressing an unusually strong spirit while avoiding categorization. He creates sound with both traditional and extended percussion techniques\, utilizing drums\, bowed gongs\, singing bowls\, as well as various sticks\, kitchen tools and homemade bows. His approach is steeped in the sensibilities of free improvisation\, experimental music\, jazz\, rock\, and noise\, and yet retains the sense of space and quiet beauty found in traditional Japanese folk music.
URL:https://www.bowerbird.org/event/nakatani-gong-orchestra/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Nakatani_Gong.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140418T200000
DTEND;TZID=America/New_York:20140418T230000
DTSTAMP:20260430T115620
CREATED:20190429T152836Z
LAST-MODIFIED:20190429T152905Z
UID:10000943-1397851200-1397862000@www.bowerbird.org
SUMMARY:AXON LADDER by Bhob Rainey and Catherine Pancake
DESCRIPTION:Built upon shared interests in technology\, machine learning\, and artificial intelligence\, Axon Ladder is a multimedia performance installation by Bhob Rainey and Catherine Pancake. Combining algorithmic electronic composition with real-time video manipulation\, this world premiere evening length work offers a timely view into the intersection of advancing technology and human intuition. The performance features footage of dancer/ choreographer Meg Foley. \n  \nFrom the composer:\nImagine\, on the one hand\, a modest algorithm that describes a population of creatures who want two things only: to eat and to be near each other. Give them a field of “food” and rules for birth and death. Set the creatures in motion. You will see a space that throbs with activity\, a population that grows and shrinks unpredictably. To witness it is hypnotizing and occasionally horrific\, like the teeming goo under a wet log. On the other hand\, imagine an expressive synthesizer with too many “dials” to be performed. Picture nine of these synthesizers. To make them do things we find musically engaging\, we’ll write a program that moves dials to interesting places in sequences that we hope to be poetic. We’ll tell that program what we like and what we don’t\, and it will learn something from us. \nPut the two hands together. What happens? The “creatures” infect the music\, which is quite dense and furiously transforming. Individual phrases have a human quality\, but the density of changes and presence of uncanny silences suggest the creatures’ obsessiveness and the fragile stability of their population. The timbre is roughly vocal\, and intense specialization evokes a swarm. At the level of short events\, there is an overload of information. Yet\, the larger structure brings a sense of purpose\, so that a space is carved out for navigating an environment teeming with expression. \nAlone\, this music is evocative of the seductive but troubling relationship we have with “lifelike” technology. Yet\, there is more that can be done to tickle this tension into the concert space. By feeding the music into movement and mediating that movement through video representations\, we extend the resonance of this human-technological knot and form a loop-like structure: artificial life (technological presence) -> musical composition (aesthetic activity) -> dance (embodied aesthetic activity) -> uncanny videography (technological mediation). The formal clarity of this loop\, along with the strong impact that audio / visual collaborations bring\, will significantly heighten the actual experience of the conceptual content of this work. \n  \n  \nThis program has been funded in part\, with a grant from the American Composer’s Forum – Philadelphia Chapter.
URL:https://www.bowerbird.org/event/axon-ladder-by-bhob-rainey-and-catherine-pancake/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Axon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140309T200000
DTEND;TZID=America/New_York:20140309T220000
DTSTAMP:20260430T115620
CREATED:20190429T153549Z
LAST-MODIFIED:20190429T153549Z
UID:10000946-1394395200-1394402400@www.bowerbird.org
SUMMARY:XENAKIS: The Complete String Quartets
DESCRIPTION:The powerhouse JACK Quartet returns to Philadelphia for a concert featuring the hypercomplex string quartets by Iannis Xenakis. A leading figure in twentieth century music\, Xenakis (1922 – 2001) was trained as a civil engineer\, then became an architect and developed revolutionary designs while working with Le Corbusier. Utilizing his technical background\, Xenakis approached composition with a curious mix of analysis and intuition\, creating works of massed orchestral textures\, dense electronics\, polyrhythmic percussion music. Taken as a whole\, the four string quartets – Tetora\, Ergma\, ST-4/1\,080262\, and Tetras – represent a remarkable overview of this composer’s development and changing approaches to sound\, complexity\, density\, and form. \nXENAKIS: The Complete String Quartets\nperformed by the JACK Quartet \nIannis Xenakis\, Tetora\nIannis Xenakis\, Ergma\nIannis Xenakis\, ST-4/1\,080262\nIannis Xenakis\, Tetras
URL:https://www.bowerbird.org/event/xenakis-the-complete-string-quartets/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/04/Xenakis.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140221T200000
DTEND;TZID=America/New_York:20140221T220000
DTSTAMP:20260430T115620
CREATED:20190429T153806Z
LAST-MODIFIED:20190429T153806Z
UID:10000947-1393012800-1393020000@www.bowerbird.org
SUMMARY:MEETING MOOG: The Early Electronic Music of Andrew Rudin
DESCRIPTION:Bowerbird is pleased to present this concert portrait of the early electronic music of composer Andrew Rudin. The concert will feature Rudin’s Tragoedia performed with a live video accompaniment and Il Giuoco (1966)\, which Robert Moog said to be the first large-scale\, original\, serious composition created on his synthesizing instruments. Il Giuoco is accompanied by a film (also made by the composer). \nTHE PROGRAM \nIl Giuoco (with film\, 15:28)\nTragoedia (visuals by Peter Price\, 37:30)\nPaideia (with film\, 14:52) \nMEETING MOOG:\nThe Early Electronic Music of Andrew Rudin \nwith live video by Peter Price\nplus a Q+A with the composer moderated by Thomas Patteson
URL:https://www.bowerbird.org/event/meeting-moog-the-early-electronic-music-of-andrew-rudin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/04/MOOG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140117T200000
DTEND;TZID=America/New_York:20140117T220000
DTSTAMP:20260430T115620
CREATED:20190429T153954Z
LAST-MODIFIED:20190429T154019Z
UID:10000948-1389988800-1389996000@www.bowerbird.org
SUMMARY:TREFOIL: Fleur de Valeur
DESCRIPTION:Bowerbird is very excited to present Trefoil\, a trio of singer-instrumentalists that specialize in European Medieval music\, performing works by Guillaume Dufay\, Gilles Binchois\, and others from their new CD Fleur de Valeur: A Medieval Bouquet. Like poets of all ages\, medieval songwriters invoked the imagery and natural magic of flowers in the service of ideal\, feminine beauty. In many poems\, the most revered flower was the Rose\, or fleur de valeur. As a symbol of Mary the Virgin this flower stood for virtue\, but also for the more sensual desires of the flesh\, where it became an object of masculine desire. \n  \nTREFOIL \nDrew Minter\, countertenor\, harp and percussion\nMark Rimple\, countertenor\, lute\, gittern\, and citole\nMarcia Young\, soprano and harp \n  \nTrefoil is a trio long active in early music\, with experience in such ensembles as Concert Royal\, Les Arts Florissants\, New York’s Ensemble for Early Music\, Pomerium\, Clarion Music society\, Piffaro\, My Lord Chamberlain’s Consort\, and other groups. The trio debuted in New York and Philadelphia early in 2000 with a program of 14th-century French ars subtilior song. The Philadelphia Inquirer tagged the performers as “a hearty trio of medieval music specialists” and their work as “an intricate\, enigmatic vocal art.”
URL:https://www.bowerbird.org/event/trefoil-fleur-de-valeur/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Trefoil.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20131220T200000
DTEND;TZID=America/New_York:20131220T220000
DTSTAMP:20260430T115620
CREATED:20190429T154229Z
LAST-MODIFIED:20190429T154312Z
UID:10000949-1387569600-1387576800@www.bowerbird.org
SUMMARY:GESUALDO: DEATH FOR FIVE VOICES
DESCRIPTION:Bowerbird is pleased to present a rare screening of Werner Herzog’s peculiar 1995 documentary film Death in Five Voices about the troubled life of eccentric sixteenth century composer Don Carol Gesualdo. Shot on location in Italy and featuring interviews with Gesualdo Consort director Gerald Pace\, Il Complesso Barocco musical director Alan Curtis. From his sexual deviance and dangerous obsessions to a shocking act of murder\, Gesualdo’s personal demons and remarkable influence are explored as never before thanks to careful research and detailed interviews with those who have dedicated their lives to studying his remarkable legacy. \nThe evening will open with an introduction on Herzog and Gesualdo by Thomas Patteson.
URL:https://www.bowerbird.org/event/gesualdo-death-for-five-voices/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Gesualdo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20131018T200000
DTEND;TZID=America/New_York:20131018T230000
DTSTAMP:20260430T115620
CREATED:20190429T154458Z
LAST-MODIFIED:20190429T154458Z
UID:10000950-1382126400-1382137200@www.bowerbird.org
SUMMARY:Gene Coleman and Ensemble N_JP
DESCRIPTION:International Ensemble N_JP (featuring Sho master Ko Ishikawa and live electronics from Toshimaru Nakamura) will give the Philadelphia premiere of new works by composer and director Gene Coleman. The program includes his new music and film piece “Sendai Transmissions” and “Bairo”\, a new work made in collaboration with contemporary Indian choreographer Shaily Dadiala.
URL:https://www.bowerbird.org/event/gene-coleman-and-ensemble-n_jp/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/N_JP.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20131009T200000
DTEND;TZID=America/New_York:20131009T220000
DTSTAMP:20260430T115620
CREATED:20190429T154650Z
LAST-MODIFIED:20190429T154650Z
UID:10000951-1381348800-1381356000@www.bowerbird.org
SUMMARY:Claire Chase
DESCRIPTION:Flutist Claire Chase\, “the young star of the modern flute” (The New Yorker) and a 2012 MacArthur Fellow\, celebrates the release of her third solo album\, DENSITY\, featuring tour de force flute works by Steve Reich\, Alvin Lucier\, Philip Glass\, Marcos Balter\, Mario Diaz de Leon\, and the seminal 1936 flute solo Density 21.5 by Edgard Varese. Taking the concept of “density” as a springboard for sonic explorations of texture\, layering and performative virtuosity\, the record commences with 11 multi-tracked flutes and gradually whittles down to just one. Chase offers the entire disc as a 75-minute continuous solo performance in collaboration with the sound designer Levy Lorenzo. DENSITY follows Chase’s critically other acclaimed solo albums\, Aliento (2009) and Terrestre (2012)\, and completes a three-part trilogy of records dedicated to the expansion and documentation of 20th and 21st century flute repertory.
URL:https://www.bowerbird.org/event/claire-chase/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Claire_Chase.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130621T200000
DTEND;TZID=America/New_York:20130621T220000
DTSTAMP:20260430T115620
CREATED:20190429T154839Z
LAST-MODIFIED:20190429T154839Z
UID:10000952-1371844800-1371852000@www.bowerbird.org
SUMMARY:JACK Quartet performing Lutoslawski\, Lachenmann\, Berenson
DESCRIPTION:The internationally acclaimed JACK Quartet returns for a concert featuring masterworks by Witold Lutoslawski\, Helmut Lachenman\, and the world premiere of Philadelphia based composer Adam Berenson’s String Quartet No. 3. In addition to the new work\, JACK will perform Lachenmann’s own String Quartet No. 1 “Gran Torso” (1972)\, and Lutoslawski’s radical aleatoric contribution to the genre. \n*An earlier version of this program included Luigi Nono’s Fragmente-Stille\, an Diotima. Due to unforsee circumstances JACK will perform Lutoslawski’s String Quartet instead.*
URL:https://www.bowerbird.org/event/jack-quartet-performing-lutoslawski-lachenmann-berenson/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Jack_Quartet.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130419T200000
DTEND;TZID=America/New_York:20130419T220000
DTSTAMP:20260430T115621
CREATED:20190429T155249Z
LAST-MODIFIED:20190429T155249Z
UID:10000954-1366401600-1366408800@www.bowerbird.org
SUMMARY:SOUND POETRY EFFECTS CATALOG
DESCRIPTION:SOUND POETRY EFFECTS CATALOG\ncurated by Danny Snelson\, \nwith live performances by Caleb Beckwith\, Mark Johnson\, Timothy Leonido\, Kate McGuire\, John Paetsch\, and Danny Snelson \nJoin Bowerbird for its first event exploring sound poetry\, an artistic form that bridges literary and musical composition. \nAs Joan La Barbara reminds us\, voice is the original instrument. Already in 1641\, Ben Jonson writes: “Others there are that have no composition at all but a kind of tuning and rhyming fall in what they write. It runs and slides\, and only makes a sound.” While Jonson here criticizes the mindless poetry of his contemporaries\, what might occur if we take this statement seriously? What emerges when the vocal apparatus goes beyond sense? This evening of sound poetry considers these questions alongside the tradition of sound poetry as conceived by a diverse constellation of poets including Kurt Schwitters\, Henri Chopin\, Steve McCaffery\, chris cheek\, Adachi Tomomi\, and Jaap Blonk\, among others. \nA program for the uninitiated and the more seasoned prosodic travelers\, writer and editor Danny Snelson has assembled a survey of texts\, micro-lectures\, and instantaneous digital publications to be performed by a cast of emerging sound poets. Testing the “catalog of effects” at play in the practice of sound poetry\, this event queries a broad database of historical forms to consider potentials for the contemporary application of poetic performance at the very limits of the human voice.
URL:https://www.bowerbird.org/event/sound-poetry-effects-catalog/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Sound_Poetry.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130215T200000
DTEND;TZID=America/New_York:20130215T220000
DTSTAMP:20260430T115621
CREATED:20190429T155444Z
LAST-MODIFIED:20190429T155512Z
UID:10000955-1360958400-1360965600@www.bowerbird.org
SUMMARY:ALASH ENSEMBLE
DESCRIPTION:ALASH ENSEMBLE\nwth beat boxer Shodekeh\,\ndouble bassist Garth Stevenson\,\nand vocalist/guitarist Annie Lynch \n  \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. For their spring 2013 tour\, Alahs is joined by Baltimore based beat boxer Shodekeh and NYC based composer/performers Garth Stevenson and Annie Lynch.
URL:https://www.bowerbird.org/event/alash-ensemble-3/
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:20130111T210000
DTEND;TZID=America/New_York:20130112T230000
DTSTAMP:20260430T115621
CREATED:20190429T163252Z
LAST-MODIFIED:20190429T163252Z
UID:10000964-1357938000-1358031600@www.bowerbird.org
SUMMARY:John Cage: Film Without Subject
DESCRIPTION:Created the year he died\, Cages only feature-length film One11 (1992) was composed entirely using 1\,200 random operations devised by a computereach determining the movements of a crane-mounted camera and the qualities of lighting within an empty room. A meditation on the perception of emptiness that harks back to Cages much earlier 433 (1952)\, One11 is a film without subject\, persons or things\, offering instead a sublime impression of another\, timeless place. For this performance\, a video of Cages own realization will be accompanied by a recording of its companion piece\, 103 (for a large orchestra).
URL:https://www.bowerbird.org/event/john-cage-film-without-subject/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/one_11_and_103_cage_film_poster_walkerart.jpg
END:VEVENT
END:VCALENDAR