{"id":1492,"date":"2013-01-25T15:10:15","date_gmt":"2013-01-25T15:10:15","guid":{"rendered":"http:\/\/joelasqo.com\/blog\/?p=1492"},"modified":"2014-05-11T15:34:34","modified_gmt":"2014-05-11T15:34:34","slug":"msppiano-the-mirror-of-non-existence-%e2%80%94-electro-acoustic-auto-duets-solo-set-sun-27-jan-berkeley-arts-festival-8pm-gestaltish-9pm","status":"publish","type":"post","link":"https:\/\/joelasqo.com\/blog\/2013\/01\/25\/msppiano-the-mirror-of-non-existence-%e2%80%94-electro-acoustic-auto-duets-solo-set-sun-27-jan-berkeley-arts-festival-8pm-gestaltish-9pm\/","title":{"rendered":"MSP\/Piano: The Mirror of Non-Existence \u2014 Electro-acoustic Auto-duets (solo set, Sun 27 Jan, @ Berkeley Arts Festival, 8pm), + Gestaltish @ 9pm"},"content":{"rendered":"

\"\"<\/a>Berkeley Arts Festival<\/a> <\/em>(<\/em><\/strong>2133 University Avenue, Berkeley, CA<\/a>)<\/em> <\/em><\/strong>at\u00a08pm<\/span><\/em><\/strong><\/span> on\u00a0Sun 27 Jan<\/span><\/em><\/strong>.<\/p>\n

\"\"<\/a>

Onchi K\u014dshir\u014d - Mirror (\u6069\u5730\u5b5d\u56db\u90ce\u300c\u93e1\u300d)<\/p><\/div>\n

To play 2 different instruments at the same time is to split one’s awareness into duplicated consciousnesses, each listening to each other through a membrane of silence, like self and its reflection in a mirror seen through a transparent film of glass.<\/p>\n

Like the split muscle control of circular breathing, such mirrored-consciousness “solo duets” can induce unique psychotropic effects\u2026.<\/p>\n

\"\"<\/a>

Kusama Yayoi - Infinity Mirror Room (\u8349\u9593\u5f4c\u751f\u300c\u7121\u9650\u93e1\u5c4b\u300d)<\/p><\/div>\n

\u2026 ones I enjoy as often as possible, by means of electro-acoustic auto-duets involving piano + laptop.<\/p>\n

The sensation of oscillating between who is Self and who is Other in the duet (when you are both\u2026) is a delicious moir\u00e9.<\/p>\n

\"\"<\/a>

Andy Warhol & iPad-based friends<\/p><\/div>\n

The computer is a unique mirror for such reflection because you can leave bits of yourself in it in an algorithmic AI nutrient bath, and then these bits grow and start to surprise you. Because you can teach it. Because it can teach you.<\/p>\n

But once it starts teaching you, who is the distorted xerox? who is reflecting whom?<\/p>\n

\"\"<\/a>

Kusama Yayoi - Fireflies on the Water (\u8349\u9593\u5f4c\u751f\u300c\u87a2\u706b\u87f2\u6c34\u71c8\u300d) <\/p><\/div>\n

To learn from, to teach, and to duet with your “software-other”, is a hall of mirrors,\u00a0within which any firm basis for existence dissolves.<\/p>\n

\"\"<\/a>

Travel between worlds via mirror in Cocteau's \u00ab Le sang d'un po\u00e8te \u00bb - Check-in<\/p><\/div>\n

Let’s go, shall we\u2026?<\/p>\n

\"\"<\/a>

Travel between worlds via mirror in Cocteau's \u00ab Le sang d'un po\u00e8te \u00bb - Boarding<\/p><\/div>\n

The aim is to focus this self\/other sonic moir\u00e9 to induce multidimensional hysteresis loops and chaotic episodes in both performer and listeners.<\/p>\n

The mirror consciousnesses of the laptop-piano auto-duet will be enhanced by certain high-reflectivity devices:<\/p>\n

\"\"<\/a>

The symmetrical meta-r\u0101ga of Saturn, \u015aani-Ha\u1e6daka\u1e45gi (\u0936\u0928\u093f-\u0939\u091f\u0915\u0919\u0940)<\/p><\/div>\n

\u2014\u00a0R\u0101gas & meta-r\u0101gas whose intervals reflect symmetrically from a central node point<\/p>\n

\"\"<\/a>

Distributions of cortical data\u2026 Retrograde vs anterograde amnesia<\/p><\/div>\n

\u2014 Retrograde and inverse transformations & erasures of structures, melodies, rhythms<\/p>\n

\"\"<\/a>

Bent time reflecting in on itself<\/p><\/div>\n

\u2014\u00a0Reflective waves of warped time sent through captured signals<\/p>\n

\"\"<\/a>

Daoist B\u0101gu\u00e0 (\u516b\u5366) mirror bounces back evil on demons<\/p><\/div>\n

Like the Y\u00ec J\u012bng<\/em><\/strong> (\u6613\u7d93<\/strong>) and Chinese B\u0101gu\u00e0\u00a0magic mirrors (\u516b\u5366<\/strong>), we can use 8-fold-symmetric combinations of these 3 dualities to see through time, repel demons, and purify infinitely large spaces.<\/p>\n

\"\"<\/a>

The invisible magic reflections of the B\u0101gu\u00e0 (\u516b\u5366) Mirror<\/p><\/div>\n

\"\"<\/a>

Kusama Yayoi - Fireflies on the Water (\u8349\u9593\u5f4c\u751f\u300c\u87a2\u706b\u87f2\u6c34\u71c8\u300d)<\/p><\/div>\n

But if infinite space is purified reflection, then what is the mind?<\/p>\n

<\/em><\/strong><\/p>\n

\"\"<\/a>

Sh\u00e9n Xi\u00f9 (\u795e\u79c0)<\/p><\/div>\n

Sh\u00e9n Xi\u00f9<\/em> (\u795e\u79c0<\/strong>)<\/strong> laid claim to the mantle of the 5th Ancestor of Zen, H\u00f3ng R\u011bn<\/em><\/strong> (\u5f18\u5fcd<\/strong>)<\/strong> on the 5th Ancestor’s passing, with this answer:<\/p>\n

\u5fc3\u5982\u660e\u93e1\u81fa\u3002<\/p>\n

\u6642\u6642\u52e4\u62c2\u62ed\uff0c<\/p>\n

\u52ff\u4f7f\u60f9\u5875\u57c3\u3002<\/p>\n

The mind is a standing mirror bright.<\/p>\n

Polish it diligently all the time.<\/p>\n

Don’t let dust collect.<\/p>\n

However, then there is the reply of Hu\u00ec N\u00e9ng<\/em><\/strong> (\u60e0\u80fd<\/strong>)<\/strong>, whose even better answer made him the 6th Ancestor instead…<\/p>\n

\u660e\u93e1\u4ea6\u975e\u81fa\u3002<\/p>\n

\u672c\u4f86\u7121\u4e00\u7269\uff0c<\/p>\n

\u4f55\u8655\u60f9\u5875\u57c3\u3002<\/p>\n

What<\/em> bright mirror?<\/p>\n

Fundamentally there is not a single thing \u2014<\/p>\n

Where would the dust stick?<\/p>\n

\n

\n
\n
\"\"<\/a><\/dt>\n
Hu\u00ec N\u00e9ng, 6th Zen Ancestor (\u60e0\u80fd\u3001\u7985\u306e\u516d\u7956)<\/dd>\n<\/dl>\n<\/div>\n

\n

Join me and the developing rudiments of my software-other, Maxxareddu<\/em><\/strong>, in the space\u2026.<\/p>\n

\n

\n

<\/em><\/strong><\/p>\n

<\/strong><\/em><\/p>\n

\"\"<\/a>

Joe Lasqo @ Meridian Gallery, 11 Jan 2012 (Photo: PeterBKaars.com, http:\/\/www.peterbkaars.com)<\/p><\/div>\n

Set 2 (9pm<\/span>): Gestaltish<\/p>\n

Gestaltish is a flexible quartet of improvisers that, when organized as a whole, may be perceived as more than the sum of its parts. This group traipses freely through diverse musical territories from wonky rhythms to timbral landscapes to melodies woven in counterpoint. They are fearless, fun, occasionally metaphysical and always unpredictable.<\/p>\n

Those who have heard their recent Luggage Store show have experienced the unique sonic space this ensemble opens and will want to revisit it at the first opportunity.<\/p>\n

Line-up:<\/p>\n

Rachel Condry<\/em><\/strong><\/a> – clarinets
\n <\/em><\/strong><\/a><\/p>\n

Gretchen Jude<\/em><\/strong><\/a> – electronics, voice<\/p>\n

Jacob <\/em><\/strong>Pek<\/a><\/em><\/strong> – guitar<\/p>\n

Jennifer Wilsey<\/em><\/strong><\/a> – piano, percussion<\/p>\n

<\/em><\/strong><\/p>\n

\n

\n
\n
\"\"<\/a><\/dt>\n
Rachel Condry<\/dd>\n<\/dl>\n<\/div>\n

\n

Rachel Condry<\/a> is an Oakland based clarinetist, improviser, composer and educator.\u00a0 Her musical interests span from pop to classical to free improvisation to acousmatic composition. She is often found collaborating with other disciplines such as art, poetry and dance.<\/p>\n

In 2005, Rachel made her Carnegie Hall debut with The Matt Small Chamber Ensemble<\/a>, a group that blends jazz and classical approaches with free improvisation.\u00a0 She is also a founding member of the San Francisco Composers Chamber Orchestra<\/a> with whom she has frequently been featured as a soloist.\u00a0 She is also the principal clarinetist of the Golden Gate Park Band<\/a>, the oldest civic band in the nation. Rachel\u00a0 has also been known to occasionally play \u201cheavy chamber music\u201d with the bass clarinet quartet, Edmund Welles<\/a>. Rachel holds an MFA from Mills College and a BA and BM from Oberlin College and Conservatory.<\/p>\n

<\/em><\/strong><\/p>\n

\n

\n
\n
\"\"<\/a><\/dt>\n
Gretchen Jude<\/dd>\n<\/dl>\n<\/div>\n

\n

Gretchen Jude<\/a> has studied with a variety of teachers in Japan, Idaho, and the Bay Area: vocal performance & technique<\/strong> with Molly Holm<\/a>, Giselle Wyers<\/a> & Bruce Browne<\/a>; improvisation<\/strong> with Fred Frith<\/a>, Roscoe Mitchell<\/a> & Zeena Parkins<\/a>; traditional Japanese music <\/strong>with Sawai\u00a0koto<\/em> master Curtis Patterson<\/a> & shamisen<\/em> expert Nishimura Makoto (\u897f\u6751\u771f\u7434)<\/a>; Urasenke tea ceremony<\/strong> with Hagiwara Kimiko<\/em><\/strong> (\u8429\u539f\u304d\u307f\u5b50); electronic & computer music <\/strong>with Ted Apel<\/a>, John Bischoff<\/a>, James Fei<\/a> & Chris Brown<\/a>.<\/p>\n

Gretchen has appeared with artists such as Kazue Sawai<\/a>, William Winant<\/a>, Keith Rowe<\/a> & Lona Kozik<\/a>, in new works by composers like Christian Wolff<\/a>, Fred Frith<\/a>, Amy X Neuburg<\/a>, Ellen Fullman<\/a> & Edward Schocker<\/a>.\u00a0 In addition, she has played\/composed music for dance works by Anne Bluethenthal<\/a>, Shinichi Iova-Koga (\u30b7\u30f3\u30a4\u30c1\u30fb\u30a4\u30aa\u30f4\u30a1\u30fb\u30b3\u30ac)<\/a>, Peiling Kao (\u9ad8\u6c9b\u9f61)<\/a> & many others.<\/p>\n

Gretchen has an MFA in Electronic Music & Recording Media (with the Donna Peterson Vocal Prize) from Mills College, as well as an intermediate koto<\/em> certificate (with distinction) from the\u00a0Sawai Koto Institute (\u6ca2\u4e95\u7b8f\u66f2\u9662)<\/a> in Tokyo.\u00a0 She teaches music technology at University of the Pacific in Stockton, California.<\/p>\n

\n

\"\"<\/a>

Jacob Pek (L) and Jennifer Wilsey (R) at The Luggage Store, 21 Jun 2012<\/p><\/div>\n

Jacob\u00a0Pek<\/strong><\/a> is a guitarist from Las Vegas, NV. He\u2019s currently based in Oakland, CA where he studies with Fred\u00a0Frith<\/a> & William\u00a0Winant<\/a> at Mills College. His music follows in the lineage of\u00a0Sun Ra<\/strong>and Karlheinz\u00a0Stockhausen<\/strong> \u2014 a \u201cCosmic Spirit Music\u201d inspired and informed by jazz, jamming, bird song,Bach<\/strong>, Jimi\u00a0Hendrix<\/strong>, and the reality of interwoven realms. He plays in the wonderful quartet\u00a0Gestaltish<\/strong><\/a> with Rachel\u00a0Condry<\/a>, Gretchen\u00a0Jude<\/a>, and Jennifer\u00a0Wilsey<\/a>.<\/p>\n

If you have heard him, then you know<\/em>\u2026<\/em><\/p>\n

If not, you will want to know, so come hear his unique an highly refined exploration of the sound generating possibilities of the guitar and a variety of other objets sonores<\/em>.<\/p>\n

In addition to Gestaltish, Jacob also plays in the trio Ell3<\/em><\/strong>, with Andrew Jamieson<\/a> and Joshua Marshall<\/a>.<\/p>\n

<\/em><\/strong><\/p>\n

\n

\n
\n
\"\"<\/a><\/dt>\n
Jennifer Wilsey<\/dd>\n<\/dl>\n<\/div>\n

\n

Jennifer Wilsey<\/em><\/strong><\/a>, improviser\/composer\/educator, currently performs with improvising ensembles The Bloom Trio<\/em><\/strong> (with W. Allaudin Mathieu<\/a> and George Marsh<\/a>), Timeless Pulse<\/em><\/strong> (with Pauline Oliveros<\/a>, Thomas Buckner<\/a>, George Marsh<\/a>, and David Wessel<\/a>), and Gestaltish<\/em><\/strong> <\/em>(Gretchen Jude<\/a>, Rachel Condry<\/a>, Jacob Pek).\u00a0 In addition to ongoing activities as a concert percussionist, Jennifer\u2019s past projects included work with The Good Sound Band<\/em><\/strong>, Wrestling Worms<\/a>, Petr Kotik and the S.E.M. Ensemble<\/a>, Stuart Dempster<\/a>, and Anna Halprin<\/a>, among others.\u00a0 Jennifer\u2019s recordings can be heard on the Deep Listening, Mutable, Cold Mountain Music, and Pitch-A-Tent labels. \u00a0She received her BA in Music from UC Santa Cruz and MFA in Improvisation from Mills College, and is a Deep Listening Certificate holder.\u00a0 As an educator, Jennifer teaches percussion, percussion pedagogy,\u00a0and directs the Percussion and Improvisation Ensemble at Sonoma State University.\u00a0 At Mills College she teaches Advanced Musicianship while serving as the Musicianship Program Coordinator.\u00a0 She also maintains a private studio,\u00a0offering creative music lessons in Santa Rosa and Oakland,\u00a0California.<\/p>\n

Join us (and Alice) through the looking glass….<\/p>\n

Joe<\/p>\n","protected":false},"excerpt":{"rendered":"

Berkeley Arts Festival (2133 University Avenue, Berkeley, CA) at\u00a08pm on\u00a0Sun 27 Jan. To play 2 different instruments at the same time is to split one’s awareness into duplicated consciousnesses, each listening to each other through a membrane of silence, like … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/1492"}],"collection":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/comments?post=1492"}],"version-history":[{"count":47,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/1492\/revisions"}],"predecessor-version":[{"id":1494,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/1492\/revisions\/1494"}],"wp:attachment":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/media?parent=1492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/categories?post=1492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/tags?post=1492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}