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John Driscoll and Phil Edelstein of CIE Perform David Tudors “Microphone” and other compositions at Fridman Gallery, September 16, celebrating the 50th Anniversary of E.A.T.’s 9 Evenings

John Driscoll and Phil Edelstein of CIE
Fridman Gallery
287 Spring St, New York, NY 10013

September 16, 2016 8 PM

Curated by Julie Martin, Regine Basha and Daniel Neumann

Microphone
by David Tudor
performed by John Driscoll, Phil Edelstein

David Tudor’s Microphone was originally created for the Experiments in Art and Technology Pepsi Pavilion at Expo ’70 in Osaka, Japan, with the sole sound source being modulated microphone feedback. The work arose from discoveries made through collaboration with the design of the Pavilion’s sound system which contained 37 loudspeakers arranged in a rhomboid grid pattern on a spherical dome.
Tudor used only two microphones, an audio modulator, and the 37 loudspeakers. The highly directional microphones were aimed at random into the space and amplified to feedback level. The audio modulators designed by Gordon Mumma were placed in the signal paths in order to vary the musical content of the feedback signals.
Due to high levels of ambient sound in the dome this work was never recorded. A second realization was made by Tudor at Mills College in 1973. Recordings from this realization were made for use in live performance, and are used in today’s performance. Composers Inside Electronics (CIE) is currently working on the recreation of the original eight modulators so that the work can be realized once again without the recordings.

David Tudor (1926-1994) began as an an organist, and subsequently became a leading avante-garde pianist and composer. As a pianist, Tudor performed early works by contemporary composers Earle Brown, Sylvano Bussotti, John Cage, Morton Feldman, Christian Wolff, Pauline Oliveros and La Monte Young, among others. Tudor began working with John Cage in the early fifties as a member of the Merce Cunningham Dance Company and with Cage’s project of Music for Electronic Tape. With the composition and performance of the electronic work Bandoneon ! (a combine) at t 9 Evenings: Theatre & Engineering, Tudor turned to the composition and performance of live electronic music. As a composer, Tudor chose specific electronic components and their interconnections to define both composition and performance, drawing upon resources that were both flexible and complex. Many of Tudor’s compositions have involved collaborations with visual artists and incorporated light systems, laser projections, dance, theater, sculpture, television and film.

Speaking in Tongues
by John Driscoll, Phil Edelstein
performed by John Driscoll, Phil Edelstein

Speaking in Tongues started in late 2012 as a work-in-progress and was created as a group work for CIE. It utilizes a series of custom-built ultrasonic instruments that can be manipulated (played) in various ways.  These playful instruments function using ultrasonic feedback that is disturbed by small amounts of physical movement. These ultrasonic feedback tones are modulated down into the audio range and released to loudspeakers. They are controlled in various ways using foil reflectors with a series of arduino-controlled servo motors under both manual and automated control, a LEAP 3D controller, slow rotation dc motors, blowing on a spring mounted foil and a Wii Nunchuck
This work has evolved from an interest in the use of resonance in acoustical spaces from the architectural to the microscopic. Each instrument has a distinct voice and character due to its design and unique acoustical properties. Since 2012, there has been a growing orchestra of ultrasonic instruments as the work moves towards more instruments and  performers.

John Driscoll is a composer/sound artist who is a founding member of Composers Inside Electronics (CIE) and collaborated on David Tudor’s Rainforest IV project since its inception in 1973.  He has toured extensively in the US and Europe with: CIE, David Tudor, Douglas Dunn & Dancers, Maida Withers Dance Construction Co., Stephen Petronio Company, and as a solo performer. For over 40 years his work has focused on robotic instruments, compositions and sound installations for unique architectural spaces, rotating loudspeakers, and music for dance.
His work spans many disciplines and has included performances/collaborations with artists, composers and choreographers including  David Tudor, Phil Edelstein, Ralph Jones, Paul DeMarinis, Bill Viola, Tom Hamilton, and Doug Van Nort, Merce Cunningham, Douglas Dunn, and Maida Withers. His work has been presented extensively in the United States and Europe. He has received numerous awards including a Berlin Residency from the DAAD Berliner Künstlerprogram in 1985/86.  In 2014, he was artist-in-residence at Harvestworks  developing a work for robotic highly focused speakers, and recently completed new works for ultrasonic instruments under the title of Speaking in Tongues and sound installations using ultrasound Slight Perturbations. His recent album Fishing for Sound (Berlin) is available on iTunes and other works are on Edition Block, Orange Mountain Music, New World Records and Edition RZ and others.

Impulsions with small objects (2016-09-16)
conceived by Phil Edelstein
performed by Phil Edelstein, John Driscoll

Impulsions is the cover title of sound works that grew from a collection of resonant characteristics of objects for construction and performance of articulated sound fields.
There have been a number of starting points to the series. Each realization to date has been a point-in-time in the evolution of the work. One starting point was an initial selection of sound impulses harvested from Rainforest objects at Governors Island by Matt Rogalsky in 2011. By then the technology was readily available to implement an idea John Driscoll and I surfaced in the mid-1990’s.
Another of the starting points came from the fractal characteristics of resonance and iteration. I became engrossed in the idea that the impulse response of an object as applied with simple algorithms could be composed to produce diverse spatial acoustic performable structures. That left the small problem of how we might realize and perform such an abstraction with a software patch and a collection of small real acoustic objects.
Phil Edelstein is one of the founding members of Composers Inside Electronics (CIE) along with David Tudor, John Driscoll, and others. One of the group’s major projects was Rainforest IV (1973), a performed electro-acoustical environment. Edelstein has been involved in a majority of the 45 performance venues to date. Other of Phil Edelstein’s performance group works include At Once and Called Off for EBA, Riflessione di una diga (with A. Bosshard & Koprod); solo works such as Terrain and Episodes; duets Shrieks and Nuptials (w/M.H. Harris), Papermusic (C. Black) and Interfeed (w/J. Driscoll). Recent works, also with John Driscoll, include the self-running installation Rainforest 5. Phil Edelstein’s work is included on the CD The Kitchen Archives No. 4 – Composers Inside Electronics, New World Records Art of David Tudor, and on vinyl David Tudor – Rainforest IV from Edition Block. Other work inlcude video projects with Tom Dewitt and others, including development of the Pantomation system in the Emergence of Video Processing Tools and works such as Philharmonia as part Cathode Ray Theatre (with support of the WNET TV-Lab and ETC). He has worked in systems engineering and development for DEC, Xerox, GE, JPMorgan, UBS, Gilbert International and others.

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