Arch from above by Connor Bell
On Friday January 10, 2014 KMAC will be host to AUDIOOPTICS #2, the second in an ongoing series of events occurring throughout Louisville that explore the spaces between our auditory and visual experiences of the world. This installment of AUDIOOPTICS consists of three sets of audio / visual pairings from a diverse array of artists. On the program for Friday evening are the Chicago based sound art duo Coppice (Noé Cuéllar and Joseph Kramer) presenting visuals prepared by Coppice.
The duo has produced original compositions for stage, fixed media, and performed installation settings since 2009. Drawing from their expanding glossary of study, the duo is currently focused on live repertoire with custom instruments, prepared pump organ, and electronic processes.
The Louisville duo mAAs (Connor Bell and Tim Barnes) will play to a blueprint of the Gateway Arch in St. Louis, Missouri, the iconic monument to the westward expansion of the United States was built by Finnish American architect and designer Eero Saarinen, the subject of the current KMAC exhibition Eero Saarinen: Reputation for Innovation. When placed into this context Saarinen’s drawing takes on the quality of modern, experimental sheet music. It resembles a waveform, giving shape to the listener’s experience of the music.
Also performing is local musician, sound artist, and composer R Keenan Lawler with video by Louisville artist Mitchell Bradley. Bradley manipulates images and video from his trips through the outer limits of the city. He and his twin brother Matthew have also collaborated on a series of works that bring together overstocked toys from dollar stores and other items from the clutches of mass production. They have turned these materials into an unusual, yet playfully informed set of installations and sculptures that have been recently exhibited in shows at KMAC, The Speed Art Museum, and I.D.E.A.S. 40203. For over three decades Lawler has explored American Blues music, bluegrass, and rock all filtered through his extensive background in electro-acoustic improvisation. With an intensely focused technique utilizing western music tonalities Lawler works with masses of harmonic overtones and sustained textures using his trademark metal-bodied resonator guitar.
Bell and Barnes of mAAs sat in during the recent KMAC Hour on ArtFm Louisville to discuss the upcoming AUDIOOPTICS event, providing insight along the way into their creative drives and music making process. Connor Bell began the audiooptics series as a way to more closely examine the transferences that occur when image and sound makers are united. With the set goal of taking a more critical look at the interstices of musical creativity and visual art, these events are set at a distance from the production of typical synchronized music videos and more closely aligned with the intentions of artistic collaborations like the music and dance performances of John Cage and Merce Cunningham.
Beginning in the mid 1950’s Cage and Cunningham set out to dismantle the narrative structures of choreographed dance music and introduced the element of chance between the movements of the dancers and the actions of the musicians, creating a new space for the viewing of performance related artwork that was less about the demonstration of memorization and more concerned with the discovery of uncharted connections between artistic practices.
Barnes has had previous experience combining experimental film and chance music as part of the group Text of Light. Formed in 2001 the group first set out to perform improvised music to the works of Stan Brakhage and other filmmakers. Their express intent was to, “improvise (not ‘illustrate’) to films from the American Avante-Garde (50s-60s etc), an under-known period of American filmic poetics.” Members of the group also include Lee Ranaldo and Alan Licht (gtrs/devices), Christian Marclay and DJ Olive (turntables), William Hooker (drums/perc), and Ulrich Krieger (sax/electronics).
mAAs creates music using modular analog synthesizers. First developed in the early 1960’s this equipment revolutionized electronic music, allowing for greater ease and portability in combining, composing, performing, and manipulating electronically produced waveforms. Earlier methods for making similar music required bigger machines and a process known as tape splicing. This was used in an early canonical piece of electronic music, Poème électronique, for tape (1957-1958) composed by Edgard Varèse. As with the Gateway Arch and mAAs this was likewise conceived of as a companion piece to the work of an architectural icon. Varèse wrote the piece for the Le Corbusier designed Phillips Pavilion at the 1958 Brussels World’s Fair.
As you prepare your senses for the AUDIOOPTICS experience take with you this quote by art philosopher Susan K. Langer:
“The assignment of meanings [in music] is a shifting, kaleidoscopic play, probably below the threshold of consciousness, certainly outside the pale of discursive thinking. The imagination that responds to music is personal and associative and logical, tinged with affect, tinged with bodily rhythm, tinged with dream, butconcerned with a wealth of formulations for its wealth of wordless knowledge, its whole knowledge of emotional and organic experience, of vital impulse, balance, conflict, the ways of living and dying and feeling.”
― Susanne K. Langer, Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art
Friday, January 10th @ 6pm Doors, 7pm Performance
$6 General Admission | Free For Members
Purchase tickets at the door. Purchase tickets online.