field effects 10: four corners
friday, march 28, doors 8pm
964 natoma, sf, ca, usa
requested donation $6-10

The world makes music, remember to listen.

Field Effects 10 offers a night of field recording-based sound art.

The tenth in a series of concerts showcasing the use of found materials and field recordings in media art, Field Effects 10 offers a trip in four directions: a stop in four corners, where four artists work in four very different ways with found sound.

Field Effects 10 features work by Bay Area artists:

GX jupitter-larsen

GX Jupitter-Larsen (The Haters, Survival Research Labs) will present field recordings of the Paris subway system he did last year during the making of his video Paris, April 22 2002.

In this piece, one can hear a live radio performance in addition to the actual subway ride to and from the radio station.

The radio performance itself was a variation of Dirwyn in which an amplified calculator is balanced on top of a small fan.

kenneth atchley

Kenneth Atchley suspends and erects fountains in netherworld plazas of sound art, noise, composed music, and installation. They range from laptop-generated synthetic abstractions to assisted installations of water; transducers; electric pumps; vessels constructed from combinations of metal, latex, plastic, and polyethylene; electronics; and responsive software. These assisted installations have been featured in venues ranging from US hardcore noise dungeons, to dance lofts in New York, to art gallery and performance cellar circuits in Europe. In 2002, he and computer
music pioneer John Bischoff presented their New Urban Plaza Tour in Germany.

For Field Effects 10, Atchley will present two works. 14251,
dedicated to Michael Contreras, he describes:

gunsmoke acanthus and blood spirals down morphine column of razor carved forearm; entasis--the middle ground of the world; base of compassion; commissioned by suffering; the architect anguish

The latest in a series of fountains that the artist has created since 1998. The sound material of this particular work frames beats created by slowly ascending and descending tones of slightly different pitch, the tight harmonies of traditional Western Classical music, and the unamplified sound of fountain pump and water. The title represents a harmonic progression (I-IV-ii-V-I) outlined in an student excercise from Arnold Schoenberg's 1911 polemical textbook Theory of Harmony.

He will also present WHITE5, which he describes:

This work of synthesized noise, whitecaps of filters, oceanic fountains of software and circuitry crests to the plane of relentless unchanging.

Atchley studied music composition with Robert Ashley, David Behrman, Gordon Mumma and has learned from collaborations with artists including Ben Azarm, Tim Perkis, Brian Reinbolt, Mark Trayle, Sean Rooney, Kinji Hayashi and his association with the historic electronic music ensemble RotoLeague.

Atchley's solo electro-acoustic works CD fountains was released in 2002 by Auscultare Research. His work is featured on a number of
compilations including the recent Gameboy release; a duet track will appear on John Bischoff's upcoming 23five release. His work will also feature in November in choreographer RoseAnne Spradlin's evening-length dance work under/world at the Kitchen in New York.

stephen ruiz (zygote)

Stephen Ruiz (aka Zygote) uses the mechanized process of electronic music production and combines the expression of complex human feelings to create sound art. The tools of his output are computers, tape recorders, wires and other conduits of noise. His sound transcends the inhuman element of 'technologically
enhanced' production methods so vital in the world of electronic music producers, and in its place submits raw and unfiltered emotion. While exploring the idea of personal expression through the cold exterior of machines, he takes the concepts of compositional indetereminancy, generative music and evolving cellular automata and humanizes them. The end result is populist music of emotional depth that illicits response via technology. Having trained in percussion and guitar, his compositional methods are rooted in structured narrative that are constantly being mutated under the pressure of new forms of expression.

For Field Effects 10, Ruiz comments, 'my process is going to be the real-time manipulation of field recordings: the recordings will be sounds from my [current] road trip. They will be used to emulate instuments. i.e. wind as a drum... water as strings.....'

Stephen has releases on Under the Radar and Alectric Records (Canada), and is the founding organizer of the Under the Radar experimental music and video events in San Francisco.

jeremiah moore

Jeremiah Moore is a media artist working primarily in sound. He started making and manipulating field recordings in 1992.

Other interests include: perceptions and constructions of time, the relationship between humans and nature, muddling with obfuscation and transformation in the mass-media environment, addressing the repressed, reconnecting the disconnected.

Moore has recently finished a stint as sound effects editor for a nationally broadcast cartoon series, and is returning to earlier compositional work with sounds recorded in the field. Aside from television, he works in theatre, film, radio, game sound, museum installations, and multimedia. He has won awards for sound design. He is currently working on a series of video works entitled 'defused ads' which transform the source material of television ads into meaningless things of beauty.

Moore will present lull, which he describes:

This piece is a lullaby for our unborn baby. It uses the sounds in the world around our house and lives, interpreting them through a set of lenses and filters to reveal as much as possible what's beautiful there.

(Congratulations to Jeremiah & Abby!)

The Field Effects series showcases artists who are interested in framing the hidden beauty of the everyday world: beauty on the surface, awaiting our attention. Beauty that must be delicately extracted. And beauty in potential, awaiting juxtaposition, collage, repetition and mutilation.

Seating mostly on futons to encourage comfortable deep listening and viewing. With luck we'll still be borrowing Blasthaus' beanbags (thanks, Blasthaus!).

Depending on weather, hot or cold drinks will be available on a donation-based honor system. With luck, someone will bake cookies.

This information is not for print distribution or advertising. This is a private event for friends, family, and our community.