Here in Holland we celebrate Christmas for two days. On the second day a brass band, a jazz trio plus some ringers sang and played music by Laurie Anderson, David Dramm, Leonard Cohen, Kris Berry and more to continue the holiday spirit.
New Emergences is a lecture and discussion series highlighting the current debates around gender in electronic, contemporary and experimental music.
I have enjoyed the role of keynote speaker and panel member in the past and this time the challenge was terrific since I was hosting the event in Splendor and acting as moderator for a highly charged panel and public.
Kate’s keynote was poetic, informative and confronting all at the same time and the panel members and public grappled with the issues she put forward with passion.
Gender issues are hot.
I was particularly inspired by the stories that came from the younger generation which included shaking up academic curricula and forming feminist activity and action groups.
682/681 are the flight numbers for the KLM flights between Vancouver and Amsterdam. A journey that is familiar for many of us especially for Lisa Cay Miller who has been frequenting our city for a few years now to collaborate and perform in the Amsterdam Improv Scene.
On December 17, 2015 Lisa gathered some of her colleagues at Splendor Amsterdam to record a collection of vignettes. The CD presentation concert was on 31 October 2016.
Warm exchanges. Some with lots of volume, others with lots of notes and some with sometimes less.
I led a four day workshop for Composition, Sonology and Art Science students from the Royal Conservatory in The Hague called Make and Remake where they furiously researched and constructed sound and visual installations in record time.
The results were unexpectedly complex and engaging. Wow.
The data and the audio exchanges remain intoxicating.
And then there’s the performance!
Our concert in the Amsterdam Orgelpark included guests David Dramm on voice in Tap Dancing, Diamanda Dramm on violin and Jacob Lekkerkerker in Outcome Inevitable, Tap Dancing and In Memoriam Kit Carson.
A highpoint for us all was the surprising performance of Kit Carson where we brought a score from 1963 back to life in its most precise yet imaginative form.
I was asked to participate in the How Numbers Speak For Themselves discussion at the TodaysArt festival in The Hague where Ruth Timmermans, the managing director of Gonzo Magazine gave an impassioned Keynote speech addressing gender imbalance in electronic music.
As a group we discussed and sometimes simply postulated how we can move forward to balance the remarkably large difference in numbers between men and women in electronic music festivals in northern Europe.
In contrast to our former gatherings, the setting was less conducive for interactive discussion but it was useful to hear thoughts from people who program festivals and who are experts in the field of feminism(s). Time to look at the numbers and get to work.
I guess Emergence is emerging as the word of our times. I’m into it.
Symbolic Sound, in partnership with De Montfort University’s Faculty of Art, Design and Humanities hosted the eighth annual Kyma International Sound Symposium. The theme was “Emergence”. We all lectured, performed and listened to talks about the past and current theories and manifestations of emergence. Subjects ranged from swarming to strange attractors and many in between. Enough information and inspiration to chew on for the coming year.
Those who gathered for this symposium are a group of devoted users of the Kyma System that was developed by Carla Scaletti and Kurt Hebel. It was a remarkable experience to spend four days with the creators of the instrument I use to make my art. Personal relationships with the makers of my flutes and the makers of the Kyma System: How wonderful is that?
More photos can be found here.
Phil and I spent the afternoon showing and experimenting and discussing with the participants.
I built some sounds with the Kyma System that they could all control from iPads.
Robert van Heumen joined us for the concert.
Responses ranged from “What is this?” to “I want more of this!” and from “woah” to “wow!“.
Away is one of my oldest Max patch pieces. It was a commission from Stephen Altoft for his 19-tone trumpet.
I’ve played a flute version many times and am touched to see that Stephen is still playing it.