Non-Event and the Goethe-Institut Boston present
JAN ST. WERNER
Cash bar only (no cc)
TYONDAI BRAXTON is an American composer and electronic musician. He has been writing and performing music under his own name and collaboratively under various group titles since the mid 90’s. He studied music composition at The Hartt School of the University of Hartford in West Hartford, Connecticut with Robert Carl, Ingram Marshall and Ken Steen. His music incorporates electronic and modern orchestral elements, ranging from solo pieces to music for large orchestra and electronics. Tyondai is also the former front man of experimental rock band Battles.
JAN ST. WERNER is an artist and electronic musician based in Berlin. Best known as one half of the innovative electronic duo Mouse on Mars, he has also pursued a solo career creating music under his own name and under the pseudonym Lithops. Starting in the mid-1990s, St Werner released a steady stream of influential records both as a solo artist and with Mouse on Mars. During the 2000s, he acted as the artistic director for Amsterdam’s Institute for Electronic Music (STEIM). In 2013, St. Werner released Blaze Colour Burn, the first of a series of experimental releases called Fiepblatter Catalogue, on Thrill Jockey. The second volume, Transcendental Animal Numbers, which used extreme dynamic and frequency shifts to approximate the random-yet-organic quality of field recordings, appeared in 2014. The third album, Felder, was released on April 1 of this year. He is currently a visiting lecturer in the ACT department at MIT.
ISABELLA (formerly known as SITTING ADULT) only recently emerged from her bedroom studio to share her odd, off-beat impressions of acid and techno. As an outlet to breach the static form, she uses a quirky collection of synthesizers and drum machines to explore texture, fluidity and boundaries within sound, building and maintaining an oscillating structure for one to interact with.
PROXEMIA is a multidisciplinary project by José Rivera aimed at investigating spatial awareness, perception, and aural happenings informed by experimental, electroacoustic processes. Various approaches to greater environmental understanding are explored that aim to emphasize the transcendental, sonic qualities of architectural and spatial experience. Geo-notational mapping, field recording, installation, performance, sound design and composition are points of departure for ongoing sound studies. The name “Proxemia” refers to the anthropologist, Edward T. Hall, and his concept of proxemics which describes a spatial awareness of our relational experiences. His insight can serve as the basis for observing and creating a sense of intimacy with(in) our environment.
Presented as part of the Goethe-Institut Boston’s New Music from Germany series