I went to see this show on Thurday night, March 8 at ISSUE Project Room in Brooklyn. At that time, It was really cold. I expected the show too much. Because, my final project stuck mappings of sound and image. I wished a sort of soultion. I thought the show is a kind of visual music performance. But the show was contray to my expectation. I coudn't find interface between sound and images in the show. In addition to, images were too dark and dismal. My feeling also was gloomy. I was sick all through Spring break. I was in agony interface sound and image all during vocation. I did nothing but read a book,The Hidden Order of Art, last week. I realized Music is huge part. It is infinitude.
Thursday, March 8 + Friday, March 9
see hear now: visible music
David Gamper – multi-instrument acoustic music with live digital transformation using Max/MSP/Spat and 16 channel sound
Gisela Gamper – live video mixing and multi-stream projection using Isadora on laptops, video mixers, mirrors and servomotor shutters
Geoff Gersh – electric guitar with electronic devices and found objects
+ Guest on March 8
David and Gisela Gamper’s See Hear Now (www.seehearnow.org) is a real-time music and video collaboration that merges the sonic and the visible into a transcendent experience. In their individual work, the artists are fascinated by sounds and images from nature and life. To create his live improvisations, David begins with the acoustic sounds he draws from his instruments and found objects. When he expands them through live electronic transformations they retain the power of natural sound. Originally a photographer, Gisela has extended her image making into video. Her imagery reveals how movement and rhythm create our world. With a system David developed, Gisela performs her imagery with the same immediacy as David performs his music. For these live improvised performances at Issue Project Room, the Gampers create a unique installation using projectors, mirrors, and speakers.
See Hear Now premiered in upstate New York in 1999 and has performed and given workshops widely. In a series of loft installations, the Gampers have explored alternative ways of immersing both audience and performers. Many of these performances included guest artists. RouletteTV produced a performance which was first broadcast in 2003. The duo was featured in Brooklyn College’s Electroacoustic Music Festival in 2003, the 2004 SOUNDPlay festival in Toronto and in Juilliard’s 2005 Beyond the Machine festival in New York City. They released their DVD See Hear Now: Visible Music in 2005. Their 2006 performances include the Krannert Art Museum at the University of Illinois at Urbana-Champaign, Roulette’s Festival of Mixology, and at Optisonic Tea at Diapason Gallery in NYC.
David Gamper moves freely among the worlds of music performance, improvisation, and electronic instrument design. These passions merge in the performer controlled sound processing environments he has created for acoustic improvising musicians. A member of Deep Listening Band (with Pauline Oliveros and Stuart Dempster) since 1990, he developed a major redesign of the Expanded Instrument System for DLB and others. In addition to his other ensemble and solo work, Gamper has performed frequently as a duo with Oliveros. The recording of their concert at the IJsbreker in Amsterdam has been described as “the pinnacle of the Oliveros-Gamper collaborations, music that through its depth, reveals ever more profound expression.” Gamper’s solo piece Conch was in the Whitney Museum of American Art’s BitStreams exhibition and is on the CD of sound art from that show.
OTHER Site-Specific Sound
La Monte Young
Max Neuhaus
Dream House
Christopher Janney
REACH-New York
His interview /His Acoustic Architecture
Reading:Basic Concepts of Minimal Music, by Wim Mertens
A Second-generation minimalist composer, Wim Mertens(1953-) is also an important theorist of musical minimalism. His book, American Minimal Music, was one of the earliest, and certainly the most philiosophically astute, studies of the four classic minialist composers: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. In this excerpt from that book, Mertens considers the nature of structure, time, and memory in minimalist composition, contrasting the dialectical and teleological nature of traditional classical music with the non-dialectical, static character of minimalist music.
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