Interactive and Experimental Music Festival
Oct. 11-13, 2002

Cohen Family Studio Theater, University of Cincinnati
College-Conservatory of Music Center for Computer Music, (ccm)²

Schedule:

Photos from the event
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Posters/Promotion Material
| Poster (~6MB jpeg) | Poster (small ~2MB jpeg) |

Friday, Oct. 11 8:00 pm

Curvatures by Tom Lopez
Performed by the Oberlin Zeta String Quartet
Streams  by Tomie Hahn  and Curtis Bahn

There is a dream state where memories become intertwined with the sensuality of the present. In recollecting streams, memories of places, bodies of water and land, technology, the flow of information, transmission, and liquid states arise. These memories, drawn from the body, are awaken through gesture and sound. Through technology, this piece toys with the ephemeral quality of sound and the physical memory of time, sonic space, and sensory experience.  "Streams" is an interactive sonic context for live performance developed by composer/programmer Curtis Bahn and dancer/ethnomusicologist Tomie Hahn. Wearing a sensing device developed by Bahn, Hahn freely navigates a virtual sonic geography consisting of synthetic sounds and non-linear poetry. Through her movement, she is able to negotiate and control all aspects of the sonic structure of this virtual soundscape. With each gesture "Streams" recalls bodies of water and land, technology, a flow of information, transmission, and liquid states. Through technology, the performance toys with the ephemeral quality of sound and the physical memory of time, sonic space, and sensory experience.

Tomie Hahn performing Streams

New work by Mara Helmuth and Allen Otte

Saturday, Oct. 12 8:00 pm

Pikapika byTomie Hahn and Curtis Bahn

Meet Pikapika ("peeka peeka")--a character  influenced by anime and manga; Japanese pop animation and comics. Pikapika embodies movements from bunraku (puppet theater), a movement vocabulary Hahn studied while learning nihon buyo (Japanese traditional dance) pieces derived from the puppet theater.

New works from the (ccm)² studio

Sunday, Oct. 13 2:30 pm

Works for piano, electric guitar, computer synthesis and video by Benjamin Boretz

Benjamin Boretz's recent music is being issued on OPEN SPACE CDs. Recent writings are published in The OPEN SPACE Magazine; an anthology of texts from the 1960s to the present, alongside those of J. K. Randall, will appear during 2002. Of the music offered in this event, UN(-) was composed for chamber orchestra in 1999 at the request of Luis Garcia-Renart, who conducted its first performances; O is a piano piece composed 2000 (first performed by Terrie Manno and recently recorded by Michael Fowler along with music from 1955-2000), an electric guitar piece transcribed by Mary Roberts in 2002, a string orchestra piece composed in 2002, and a C-Sound piece entitled BAB-O composed by J. K. Randall in 2002. Whose Time, What Space originated as a text and a solo performance recorded in my house, with my body completely overloaded with soundmaking implements, in 1986; was recomposed for CD in its present form in 2002. I/O was originally composed for solo delivery at the SEAMUS Conference at L.S.U. in 2001, and recomposed for 2 voices for performances in Seattle in 2001 and Princeton in  2002. Black  /Noise III originated in 1997, in a piano solo piece called Echoic/Anechoic, which became the source sound for a computer-processed piano piece called Black  /Noise I in 1998, and then (1998) became the principal music-sound for two video/verbal/music compositions speaking texts from A Thousand Plateaux by Gilles Deleuze and Felix Guattari, Black  /Noise II and Black  /Noise III; each phase of Black /Noise was a reconception and recomposition of an expanding set of sound and visual resources, created for their specific occasions.

Also, Mara Helmuth's Origins of a Fantastic Dream  for orchestra and computer will appear on  the Tuesday, Oct. 15 concert by the CCM Philharmonia Orchestra, conducted by Mark Gibson, at 8:00 pm in Corbett Auditorium