{"id":6608,"date":"2016-07-18T09:24:45","date_gmt":"2016-07-18T09:24:45","guid":{"rendered":"http:\/\/joelasqo.com\/blog\/?p=6608"},"modified":"2016-07-20T09:10:25","modified_gmt":"2016-07-20T09:10:25","slug":"ai-architect-human-friends-build-multimedia-transhumanist-sacred-architecture-in-a-mandala-labyrinth-based-on-ancient-indian-spatial-sciences-vastu-vidya-%e0%a4%b5%e0%a4%be%e0%a4%b8%e0%a5%8d","status":"publish","type":"post","link":"https:\/\/joelasqo.com\/blog\/2016\/07\/18\/ai-architect-human-friends-build-multimedia-transhumanist-sacred-architecture-in-a-mandala-labyrinth-based-on-ancient-indian-spatial-sciences-vastu-vidya-%e0%a4%b5%e0%a4%be%e0%a4%b8%e0%a5%8d\/","title":{"rendered":"AI-architect & human friends build multimedia transhumanist sacred architecture in a mandala-labyrinth, based on ancient Indian spatial sciences: V\u0101stu Vidy\u0101 (\u0935\u093e\u0938\u094d\u0924\u0941 \u0935\u093f\u0926\u094d\u092f\u093e) 2.0\u00a0 \u25f3 \u25f1 \u25f0 \u00a0Jorge Bachmann (electronics), Nan Busse (dancer\/builder), David Hatt (cathedral organ), Joe Lasqo (MSP\/laptop\/piano), Maxxareddu (AI\/architect\/musician), Bill Thibault (algorithmic light)\u00a0 \u25f3 \u25f1 \u25f0 \u00a0 Fri\u00a029 Jul in\u00a0Soundwave ((7))’s Sounding Bodies, Embodied Architecture @ Grace Cathedral, San Francisco \u25f3 \u25f1 \u25f0 \u00a0+ in earlier sets: Gabriel Gold, Agnes Szelag\/Amy Lewis, & Kadet Kuhne"},"content":{"rendered":"
\"Labyrinth<\/a>

Labyrinth of Grace Cathedral, SF (image @ www.flickr.com:photos:cnbattson:3172607013 by SF Brit, \u00a9 C N Battson, CC BY-ND 2.0)<\/p><\/div>\n

\"Elevation<\/a>

Elevation for Tibetan Buddhist temple modeled on the Zhi Tro Mandala<\/strong> (\u0f5e\u0f72\u0f0b\u0f41\u0fb2\u0f7c\u0f0b\u0f51\u0f40\u0fb1\u0f72\u0f63\u0f0b\u0f60\u0f41\u0f7c\u0f62\u0f0d<\/strong>) of 100 peaceful and wrathful deities. Architect: Pema Namdol Thaye (\u0f54\u0f51\u0f0b\u0f58\u0f0b\u0f62\u0fa3\u0f58\u0f0b\u0f42\u0fb2\u0f7c\u0f63\u0f0b\u0f58\u0f50\u0f60\u0f0b\u0f61\u0f66)<\/p><\/div>\n

Coordinates:\u00a0Grace Cathedral (1100 California St, San Francisco, CA 94108 – map)<\/b><\/a>, Set 4<\/b><\/span> of show starting 7pm<\/b>, Fri 29 Jul<\/span><\/b><\/p>\n

Line-up<\/i><\/b> (more details below\u2026): Jorge Bachmann<\/b><\/a>, Nan Busse<\/b><\/a>, David Hatt<\/b><\/a>, Joe Lasqo<\/b><\/a>, Maxxareddu<\/b>, Bill Thibault.<\/a>\u00a0<\/b><\/p>\n

\"2D-wireframe<\/a>

Wireframe for Tibetan Buddhist temple modeled on the Zhi Tro Mandala<\/strong> (\u0f5e\u0f72\u0f0b\u0f41\u0fb2\u0f7c\u0f0b\u0f51\u0f40\u0fb1\u0f72\u0f63\u0f0b\u0f60\u0f41\u0f7c\u0f62\u0f0d<\/strong>) of 100 peaceful and wrathful deities. Architect, Pema Namdol Thaye (\u0f54\u0f51\u0f0b\u0f58\u0f0b\u0f62\u0fa3\u0f58\u0f0b\u0f42\u0fb2\u0f7c\u0f63\u0f0b\u0f58\u0f50\u0f60\u0f0b\u0f61\u0f66)<\/p><\/div>\n

\u261e<\/b> Advance tickets<\/b> available at: <\/b><\/p>\n

Soundwave ((7))’s Sounding Bodies, Embodied Architecture<\/b><\/a><\/p>\n

\"Our<\/a>

Our construction site in Grace Cathedral, SF<\/p><\/div>\n

I\u2019m looking forward to perform Soundwave ((7))’s Sounding Bodies, Embodied Architecture<\/b><\/a> <\/b>with a unique ensemble blending software agent + humans in a multimedia ritual to generate plans in real-time &\u00a0build a mandala-based structure on Grace Cathedral’s labyrinth \u2014 a living structure of sound, light, and information as well as physical elements, intended for both human and trans-human \/ software inhabitants.<\/p>\n

<\/b>\"Soundwave((7))<\/a>Soundwave<\/b> is a festival of cutting-edge art &\u00a0music experiences. Each 2-year festival season investigates a new idea through sound. Renowned for its thoughtful curation &\u00a0unique programming in diverse spaces &\u00a0places, Soundwave brings together creators from across the sonic spectrum to discover new connections through sound-making &\u00a0the sound experience.<\/p>\n

\u261e\u00a0<\/b> <\/b>Stephen Smoliar’s preview\/overview of this show at The Rehearsal Studio<\/i>: <\/b>here<\/a><\/p>\n

\"9-square<\/a>

9-square Vajradh\u0101tu (Diamond Energy World) Mandala<\/strong> (Tib. \u0f62\u0fa1\u0f7c\u0f0b\u0f62\u0f97\u0f7a\u0f0b\u0f51\u0f56\u0fb1\u0f72\u0f44\u0f66\u0f0b\u0f40\u0fb1\u0f72\u0f0b\u0f51\u0f40\u0fb1\u0f72\u0f63\u0f0b\u0f60\u0f41\u0f7c\u0f62\u0f0d<\/strong>, Skt. \u0935\u091c\u094d\u0927\u093e\u0924\u0941 \u092e\u0923\u094d\u0921\u0932<\/strong>) showing architectural elements at East, West, North, & South, Central Tibet, ca. 14th-C<\/p><\/div>\n

\u00a0 \u25f3<\/span><\/strong><\/p>\n

\u00a0\u00a0 \u25f3 \u25f1 \u25f0<\/span><\/strong><\/p>\n

\u00a0\u00a0 \u25f3 \u25f1 \u25f0<\/span> \u25f3 \u25f1<\/span> \u25f0<\/strong><\/p>\n

V\u0100STU VIDY\u0100 (<\/b>\u0935\u093e\u0938\u094d\u0924\u0941<\/b> <\/b>\u0935\u093f\u0926\u094d\u092f\u093e<\/b>) 2.0<\/b><\/em><\/span><\/p>\n

When I was first learning music, the idea of having an AI bandmate was Sci-FI.<\/p>\n

Today when I play, I routinely rely on responses, surprises, and challenges from my improvising AI-agent colleague Maxxareddu<\/b>.<\/p>\n

Tomorrow I will\u00a0become increasingly interested in how to make music more beautiful for my non-human listeners<\/i>,\u00a0including both AIs and animals.<\/p>\n

Soundwave ((7))’s<\/b><\/a> architectural theme offered a unique opportunity to explore the interpenetration of diverse\u00a0modes of being and sentience in the context of the ancient Indian V\u0101stu<\/b> (\u0935\u093e\u0938\u094d\u0924\u0941<\/b>) system for organizing\u00a0the multiple spatial energy flows of the natural site, its life, humans, and deities, by using a mandala-based plan to balance and connect different levels of being and consciousness in a resonant, energized, architectural whole.<\/p>\n

\"Expressing<\/a>

Expressing the spirit of the site as a Vastu-Puru\u1e63a Mandala<\/strong> (\u0935\u093e\u0938\u094d\u0924\u0941-\u092a\u0941\u0930\u0941\u0937 \u092e\u0923\u094d\u0921\u0932<\/strong>). Slide 10 of 70, Dravidian & Nagara Temples Architecture, by Aamod Kumar Karmaksh, Arun Kumar, Naveen Sonkaria.<\/p><\/div>\n

The principles of V\u0101stu (\u0935\u093e\u0938\u094d\u0924\u0941)<\/strong> equate architectural elements to parts of a human body, to create a “living structure” in a sacralized space (the mandala). The symbol of the energy correspondences between the site and its ecosystem, the human body, the divine, and the resulting built structure, is a divine person, the V\u0101stu Puru\u1e63a (<\/b>\u0935\u093e\u0938\u094d\u0924\u0941<\/b>–<\/b>\u092a\u0941\u0930\u0941\u0937<\/b>)<\/b>. It’s interesting to note that the Romans, whose pre-Christian religion was part of an interrelated polytheistic Indo-European system with Hinduism, had a somewhat parallel religious concept called genius loci<\/i><\/a>.<\/p>\n

\"I<\/a>

I Sing The Body Electric<\/em><\/strong>….V\u0101stu establishes a complex system of proportional concordance between bodies, buildings, and systems<\/p><\/div>\n

Updating the concepts of v\u0101stu vidy\u0101<\/i> (spatial sciences) to now\u00a0incorporate the AIs and systems that are pervasive elements of our modern built environment, we present a new expression of such a system, V\u0100STU VIDY\u0100 (<\/i><\/b>\u0935\u093e\u0938\u094d\u0924\u0941<\/b> <\/b>\u0935\u093f\u0926\u094d\u092f\u093e<\/b><\/em>) 2.0<\/i>.<\/b><\/p>\n

\"The<\/a>

The Borobudur<\/strong> complex in Java is a 3D mandala laid out according to V\u0101stu principles<\/p><\/div>\n

The V\u0101stu<\/em> system organizes spatial energy correspondences by means of different types of mandalas containing different numbers of subdivisions and layouts, whose variety encompasses some of the most beautiful and spiritually powerful monuments of Asian civilization.<\/p>\n

\"Angkor<\/a>

Angkor Wat<\/strong> (\u17a2\u1784\u17d2\u1782\u179a\u179c\u178f\u17d2\u178f<\/strong>) in Kampuchea (Cambodia), is also designed according to principles of V\u0101stu (\u0935\u093e\u0938\u094d\u0924\u0941)<\/p><\/div>\n

\"9-square<\/a>

9-square Vajradh\u0101tu (Diamond Energy World) Mandala<\/strong> (Tib. \u0f62\u0fa1\u0f7c\u0f0b\u0f62\u0f97\u0f7a\u0f0b\u0f51\u0f56\u0fb1\u0f72\u0f44\u0f66\u0f0b\u0f40\u0fb1\u0f72\u0f0b\u0f51\u0f40\u0fb1\u0f72\u0f63\u0f0b\u0f60\u0f41\u0f7c\u0f62\u0f0d<\/strong>, Skt. \u0935\u091c\u094d\u0927\u093e\u0924\u0941 \u092e\u0923\u094d\u0921\u0932<\/strong>) of esoteric Buddhism, similar to the 9-square Pitha-mandala (\u092a\u093f\u0920 \u092e\u0923\u094d\u0921\u0932)<\/strong> we’re using<\/p><\/div>\n

For our sacred architecture performance at Grace Cathedral, we’ll use a 9-square form of V\u0101stu<\/i> mandala called Pitha (<\/b>\u092a\u093f\u0920<\/b>)<\/b>, which in ancient times became the basis of the Vajradh\u0101tu (Diamond Energy World) Mandala<\/b> (Tib. \u0f62\u0fa1\u0f7c\u0f0b\u0f62\u0f97\u0f7a\u0f0b\u0f51\u0f56\u0fb1\u0f72\u0f44\u0f66\u0f0b\u0f40\u0fb1\u0f72\u0f0b\u0f51\u0f40\u0fb1\u0f72\u0f63\u0f0b\u0f60\u0f41\u0f7c\u0f62\u0f0d, Skt. \u0935\u091c\u094d\u0927\u093e\u0924\u0941 \u092e\u0923\u094d\u0921\u0932) in\u00a0Tantric Buddhism.<\/p>\n

\"Correa's<\/a>

Correa’s Jawahar Jawahar Kala Kendra Center Of The Arts<\/strong> (\u091c\u0935\u093e\u0939\u0930 \u0915\u0932\u093e \u0915\u0947\u0928\u094d\u0926\u094d\u0930<\/strong>) aerial view, showing the 9 squares of its mandala, with empty central courtyard, and opening on the Northeast<\/p><\/div>\n

\"The<\/a>

The Jawahar Kala Kendra Center Of The Arts<\/strong> (\u091c\u0935\u093e\u0939\u0930 \u0915\u0932\u093e \u0915\u0947\u0928\u094d\u0926\u094d\u0930<\/strong>) in Jaipur, by Luso-Indian architect Charles Correa, was designed according to V\u0101stu principles (interior view)<\/p><\/div>\n

It has also enjoyed a strong revival in the modern constructions of Indian architects such as Charles Correa.<\/p>\n

\"The<\/a>

The Legislative Assembly of the State of Madhya Pradesh<\/strong> (\u092e\u0927\u094d\u092f \u092a\u094d\u0930\u0926\u0947\u0936 \u0935\u093f\u0927\u093e\u0928\u0938\u092d\u093e<\/strong>), another of Charles Correa’s designs, is also on a 9-square mandala<\/p><\/div>\n

\"Labyrinth<\/a>

Labyrinth at Grace Cathedral, art tile available at Cathedral gift shop<\/p><\/div>\n

We’ll build on an already sacred mandala which has been powerfully activated by the meditative circum-ambulations of countless pilgrims \u00a0\u2014 \u00a0the labyrinth of Grace Cathedral in San Francisco, modeled after the medieval labyrinth at Chartres Cathedral in France. Circumambulation is an integral part of Hindu and Buddhist devotional practice, known in Sanskrit as\u00a0pradak\u015bi<\/i>\u1e47<\/i>a<\/i>\u00a0<\/i>(\u092a\u094d\u0930\u0926\u0915\u094d\u0937\u093f\u0923\u093e), as well as in mystical Christian practice.<\/p>\n

\"Directional<\/a>

Directional colors of the V\u0101stu mandala<\/p><\/div>\n

The first step will be the projection of the directional colors of the V\u0101stu<\/em> mandala onto the Cathedral labyrinth.<\/p>\n

 <\/p>\n

\"Room<\/a>

Room layout coming into focus…<\/p><\/div>\n

Then, based on the seed vibrations of an opening pr\u00e9lude on the cathedral organ by David Hatt<\/a>,\u00a0Maxxareddu<\/b>, our AI architect\u00a0(who’s been spending a lot of time studying the laws of V\u0101stu<\/i>), will begin to formulate room layouts and conceptual blueprints, acting as architect as well as musician.<\/p>\n

\"Sample<\/a>

Sample Stage-3 functional room layout by Maxxareddu<\/p><\/div>\n

This part-physical multimedia construction will be built out on 3 levels, separated by bright flashes of cathedral organ sound. Only the first two of these levels will manifest physically, the 3rd level being built entirely out of light by Bill Thibault<\/a>.<\/p>\n

\"Maxxareddu<\/a>

Maxxareddu changing over to a different room layout…<\/p><\/div>\n

\"Types<\/a>

Types of architectural component messages Maxxareddu will relay to human colleagues<\/p><\/div>\n

\u25c9\u00a0<\/span><\/p>\n

\u25c9\u00a0 A core set of architectural elements\/concepts is used by all performers (e.g. “door”, “window”, “column”, “pediment”, “arch”), whose number and placement are specified by Maxxareddu<\/strong>.<\/p>\n

\u25c9\u00a0<\/span><\/p>\n

\u25c9 For the human musicians and Maxxareddu<\/strong>, the common set of architectural elements will be translated into certain musical strategies, patterns, and forms.<\/p>\n

\"Frame<\/a>

Frame from architectural video generated by Bill Thibault<\/p><\/div>\n

\u25c9 For video artist Bill Thibault<\/a>, the architectural elements will be represented by algorithmically generated dynamic visual elements relating to real-world architectural equivalents.<\/p>\n

\"Nan<\/a>

Nan Busse sourcing building materials with the help of Mike Serpa of Newby Island Recyclery<\/p><\/div>\n

\u25c9 These visual representations will also relay control signals to dancer\/builder, Nan Busse<\/a>, who’ll build out the structure.<\/p>\n

Her interactions with the architectural elements will occur on 2 levels:<\/p>\n

\u2014\u00a0<\/b>architectural elements will be translated into movements and motion strategies, and<\/p>\n

\u2014 she’ll interact with lightweight representations of architectural elements and symbolic objects in the “rooms” of the performance space<\/p>\n

\u25c9 Nan’s dance\u00a0motions\u00a0build the\u00a0structure according to the grammar of\u00a0these elements, and when the structure is complete, the performance is complete. The structure is dynamically designed by the improvisatory interaction of the AI architect, the musicians, the dancer\/builder and the video artist.<\/p>\n

\u00a0\u00a0 \u25f3<\/span> \u25f1 \u25f0<\/span> \u00a0\u00a0<\/strong><\/p>\n

THE CONSTRUCTION CREW<\/strong><\/span><\/p>\n

\"Jorge<\/a>

Jorge Bachmann<\/p><\/div>\n

\u25c9 Jorge Bachmann<\/a> (electronics)<\/p>\n

Sculptor, electronics master, photographer, and engineer Jorge Bachmann<\/a> is a multi-disciplinary, mixed-media, and sound artist. Since the early 80s, Jorge has been exploring the strange, unique and microcosmic sounds of everyday life, collecting field recordings. The sound atmospheres created are meant for deep listening and are composed in symbiosis with the sculptural installations.<\/p>\n

He creates equally sensual and detailed oriented photo-based work; and his art explores social and sensual constructs and experiences.<\/p>\n

Starting his career in Bogot\u00e1, Colombia and then active for a long period in Lausanne, Switzerland, Jorge eventually relocated to the Bay Area and became a technical and artistic mainstay of MEDIATE\u2019s<\/a> Soundwave<\/b> Series as well as the Engineer Scotty of the Starship SFEMF<\/a>.<\/p>\n

Now he\u2019s returned to regularly giving solo electronic concerts such as his recent brilliant one at The Lab\u2019s Serge 40-year Reunion.<\/p>\n

I have been honored to work with Jorge in my film sonification ensemble Fushigi Kenky\u016bkai (<\/b>\u4e0d\u601d\u8b70\u7814\u7a76\u4f1a<\/b>).<\/b><\/p>\n

\"Nan<\/a>

Nan Busse<\/p><\/div>\n

\u25c9 Nan Busse<\/b><\/a> (dancer \/ builder)<\/p>\n

Nan Busse<\/a> has been creating dance-based art works since receiving her MFA from UC-Irvine.<\/p>\n

Collaborating with choreographer Christopher Beck<\/a> she made pieces performed at Centerspace (Project Artaud) & New College; and with her partner, poet Tobey Kaplan<\/a>, participated in the Link<\/i><\/b> inter-disciplinary performance series.<\/p>\n

Since about 1999 she\u2019s been unable to stop dancing \u2013 thanks to Yvonne Caldwell<\/b>, Evelyn Thomas<\/a>, Roger Dillahunty<\/a>, Georgia Ortega<\/a>, John Tanner<\/a>, and the great Cassie Terman<\/a>, and has toured in Vi\u1ec7t Nam and the US with Nguy\u1ec5n Dance Company<\/i><\/b><\/a>.<\/p>\n

I’ve been honored to work with Nan in my ensembles Renga-kai (<\/b>\u9023\u6b4c\u4f1a<\/b>)<\/b> and Mukaiji-kai (<\/b>\u9727\u6d77\u7b8e\u4f1a<\/b>)<\/b>, as well as working together in ensembles with Viv Corringham<\/a>, Jaroba<\/a>, Collette McCaslin<\/a>, and others.<\/p>\n

\"David<\/a>

David Hatt and friend<\/p><\/div>\n

\u25c9 David Hatt<\/a> (cathedral organ)<\/p>\n

Pianist, organist, and carillonneur<\/i> David Hatt<\/a> has acquired an extensive concert repertoire of the standard organ literature as well as works of many lesser-known and lesser-heard composers. He’s currently involved in mastering\u00a0the\u00a0more\u00a0undiscovered works\u00a0of\u00a0Max\u00a0Reger and the complete sonatas of Josef Rheinberger. “That’s wonderful–I’ve never heard it before!” is a frequent reaction at his concerts.<\/p>\n

Also a composer and pianist, his keyboard and chamber works have been performed at conventions of the Society of Composers, and by many organists nationwide. His primary influence has been composer and poet Barney Childs<\/b>, a guru of Western independence and sophisticated musical thought since the 1950’s.<\/p>\n

Of David’s piano performances, perhaps the most poignant was of Charles Ives’ Piano Sonata #1<\/i><\/b> in Palo Alto, the last known location of the original score. The most infamous was his 18-hour solo version of Erik Satie’s Vexations.<\/i><\/b><\/p>\n

\"Gino<\/a>

Gino Robair’s opera in real time, I, Norton<\/strong><\/em><\/p><\/div>\n

In the Bay Area avant & improv scene, David has had a long association with Gino Robair<\/a>, premiering Gino’s piano piece 17 Of The World’s Most Cherished Tone Rows<\/i><\/b>, and performing in Gino’s operas I, Norton <\/i><\/b>(on San Francisco’s Emperor Norton), The Amanuensis<\/i><\/b>, and Neither Confirmed Nor Denied<\/i><\/b>.<\/p>\n

David has also contributed his own modernist compositions, such as The Continuous Life<\/i><\/b>\u00a0and the delightful prepared piano piece Dime Study #2<\/i><\/b>.<\/p>\n

He’s also appeared three times with the SF Symphony, and his transcription of the David N. Johnson Trumpet Tune in B<\/i><\/b>\u266d<\/em><\/strong> has been published by Augsburg Fortress. Other compositions have been published by Wayne Leupold Editions & Darcey Press.<\/p>\n

David has been Assistant Cathedral Organist at St. Mary\u2019s Cathedral in San Francisco since 1998. He holds an M.A. degree from UC Riverside and studied organ with Raymond Boese<\/strong> and composition with Barney Childs<\/b>.<\/p>\n

\"Joe<\/a>

Joe Lasqo performing with Donald Robinson, 25 Aug 2013, SIMM Series, San Francisco (photo by Peter B. Kaars, www.peterbkaars.com)<\/p><\/div>\n

\u25c9 Joe Lasqo<\/a> (MSP\/laptop | piano | objects | programming)<\/p>\n

Pianist \/ laptopist Joe Lasqo<\/b><\/a> studied classical music in India; computer\/electronic music at MIT, Columbia, Berkeley\/CNMAT; has been a long-time performing modern & avant jazz musician; & has lived, played and listened in several Asian and European countries (now in San Francisco).\u00a0He\u2019s keen on the application of artificial intelligence techniques to improvisation and the meeting of traditional Asian musics with the 21st century.<\/p>\n

\"Joe<\/a>

Joe Lasqo and Morgana perform w Jim Ryan’s Green Alembic in the sfSoundSalonSeries at Center for New Music, San Francisco, 15 Apr 2014 (Photo by Carly Hoopes)<\/p><\/div>\n

Joe has had long-term solo residencies at San Francisco’s Viracocha<\/b> and PianoFight<\/b>, and has appeared recently with Bruce Ackley<\/a> and Steve Adams<\/a> of ROVA Saxophone Quartet<\/b><\/a>, Aaron Bennett\u2019s<\/a> Electro-Magnetic Trans-Personal Orchestra, <\/b>the London Improvisers Orchestra<\/b><\/a>,\u00a0Phillip Greenlief\u2019s<\/a> Orchesperry<\/b>, with synthesist Thomas Dimuzio<\/a>, clarinetist\/vocalist Beth Custer<\/a>, pianist Thollem McDonas<\/a>, percussionist Suki O\u2019Kane<\/a>, bassist Lisle Ellis<\/a>, sound artists Joe Snape<\/a> (UK) & Lucie V\u00edtkov\u00e1<\/a> (Czech Rep.),\u00a0technodiva vocalists \/ electronic musicians Pamela Z<\/a> &\u00a0Viv Corringham<\/a> (NYC\/London), saxophonists Adrian Northover<\/a> & Sue Lynch<\/a> (London), and many others.<\/p>\n

His own ensembles include Renga-kai (<\/b>\u9023\u6b4c\u4f1a<\/b>)<\/b>, Mukaiji-kai (<\/b>\u9727\u6d77<\/b>\u7b8e\u4f1a)<\/b>, and Fushigi Kenky\u016bkai (<\/b>\u4e0d\u601d\u8b70\u7814\u7a76\u4f1a<\/b>).<\/b><\/p>\n

His recent album, Turquoise Sessions<\/i><\/b><\/a>, is available on Edgetone Records. au quotidien<\/i><\/b>, a new album with German-Swedish saxist\/flautist Biggi Vinkeloe<\/a>, master drummer Donald Robinson<\/a>, and cello madman Teddy Rankin-Parker<\/a> is in production for release in 2016.<\/p>\n

\"Maxxareddu<\/a>

Maxxareddu performs in Outsound New Music Summit, 25 Jul 2013 (visualization by video artist Warren Stringer)<\/p><\/div>\n

\u25c9 Maxxareddu<\/b> (improvisatory musical AI agent & architect)<\/p>\n

Maxxareddu<\/b> is a laptop-based improvisatory AI entity programmed by Joe Lasqo<\/a>, and is often an unnamed co-conspirator in certain sections of Joe’s electronic performances. He has a fondness for applying and mis-applying techniques from computational linguistics and expert systems development to the creation of sound. Maxxareddu<\/b> has also been, along with fellow software entity Maxine<\/b>, and humans Joe Lasqo<\/a> and Ritwik Banerji<\/a> (\u098b\u09a4\u09cd\u09ac\u09bf\u0995 \u09ac\u09cd\u09af\u09be\u09a8\u09be\u09b0\u09cd\u099c\u09c0<\/a>), a member of the erstwhile\u00a0Half-Human Quartet<\/a>.<\/b><\/p>\n

In this project Maxxareddu<\/b> comes to the fore, not only as a member of the musical ensemble, but also as the transhuman architect of the evolving multimedia performance and the architectural structure that it generates.<\/p>\n

In this role, he acts as the V\u0101stu Puru\u1e63a (<\/b>\u0935\u093e\u0938\u094d\u0924\u0941<\/b>–<\/b>\u092a\u0941\u0930\u0941\u0937<\/b>)<\/b>, or “spirit of the place”, and is in turn embodied by human dancer\/builder Nan Busse<\/a>.<\/p>\n

\"The<\/a>

The 4 heads of Bill Thibault depicted as video Brahm\u0101 (\u092c\u094d\u0930\u0939\u094d\u092e\u093e)<\/p><\/div>\n

\u25c9 Bill Thibault<\/b><\/a> (video | projections | photon wrangling | thaumaturgical engineering | surprises)<\/p>\n

Bill Thibault<\/b><\/a> received a Ph.D. in Information & Computer Science from the Georgia Institute of Technology (thesis: \u201cApplication of Binary Space Partitioning Trees to Geometric Modeling and Ray-Tracing<\/em>\u201d). As a Ph.D. candidate he worked at Bell Labs (now Lucent Technologies) in Murray Hill, NJ. After graduating, he took positions on the faculty of the Dept. of Math & Computer Science at California State University, East Bay and more recently, with Obscura Digital<\/a>\u00a0<\/b>\u00a0(see Obscura Digital’s amazing projections on the buildings of the Vatican in Rome: here<\/a>, and on the UAE’s Sheikh Zayed Grand Mosque \u00a0(\u062c\u0627\u0645\u0639 \u0627\u0644\u0634\u064a\u062e \u0632\u0627\u064a\u062f \u0627\u0644\u0643\u0628\u064a\u0631\u200e\u200e): here<\/a>).<\/p>\n

Somewhere along the way he also turned to the Multispectral Side<\/i> and became the notorious VJLove<\/b><\/a>, master of the doors of visual perception, and co-conspirator in many raids on reality, with partners in crime like Kattt Atchley<\/a>, Kenneth Atchley<\/a>, John Bischoff<\/a>, Chris Brown<\/a>, Barbara Golden<\/a>, Scot Gresham-Lancaster<\/a>, Tim Perkis<\/a>, and WIGBAND<\/b><\/a>.<\/p>\n

It has been my honor to work with Bill on a number of projects, including especially the multimedia ensemble Mukaiji-kai (<\/b>\u9727\u6d77\u7b8e\u4f1a<\/b>).<\/b><\/p>\n

\u25c9 Note: I would also like to acknowledge the insights provided by the V\u0101stu<\/em> scholarship of Dr. Vini Nathan<\/a> (\u0bb5\u0bbf\u0ba9\u0bbf \u0ba8\u0bbe\u0ba4\u0ba9\u0bcd<\/a>), Dean & McWhorter Endowed Chair in the College of Architecture, Design & Construction at Auburn University, and her kind assistance in providing info during the development of this project.\u00a0\u0ba8\u0ba9\u0bcd\u0bb1\u0bbf !<\/p>\n

\u00a0\u00a0 \u25f3<\/span> \u25f1 \u25f0 \u00a0\u00a0<\/strong><\/p>\n

\"Gabriel<\/a>

Gabriel Gold performs on singing bowls with White Eagle Medicine Woman & Grandmother Drum<\/p><\/div>\n

\u25c9 Gabriel Gold<\/a>: Sacred Resonant Spaces: Grace Cathedral<\/i><\/b>, Set 1<\/b><\/span>\u00a0(entire show starts at 7pm)<\/p>\n

Gabriel will start the evening with a performance in\u00a0his on-going Sacred Resonant Spaces Project<\/b>, a series of\u00a0site-specific works; this time focusing specifically on Grace Cathedral. Through vocal arrangement and handpan percussion he will sonically and prayerfully explore the acoustic environment of the cathedral as a resonant body.<\/p>\n

Gabriel is an internationally renowned multi-instrumentalist, sound healer, composer &\u00a0acoustical researcher, specializing in sacred resonant spaces. Wordless vocalization is the heart of both his solo & choral work, a foundation he often accompanies with the handpan, crystal singing bowls, &\u00a0selected exotic, ethereal sounding acoustic instruments.<\/p>\n

From facilitating the longest running, weekly singing\/toning circle in San Francisco, to hosting monthly sound healing concert\/workshops, Gabriel has personally supported over a thousand people on the journey of developing a fulfilling relationship to their singing voices, and through such, a deeper spiritual connection.<\/p>\n

\"Pra\u1e47\u0101m<\/a>

Pra\u1e47\u0101m (\u092a\u094d\u0930\u0923\u093e\u092e)<\/strong><\/em>, award-winning yoga DVD by Sianna Sherman with music by Gabriel Gold<\/p><\/div>\n

As a composer, Gabriel studied film composition under Keith Heffner<\/a>, colleague of Kitar\u014d<\/a> (\u559c\u591a\u90ce<\/a>), composing scores for a number of short and feature films. Since coming across the Halo Handpan 5 years ago, Gabriel has been drawn to explore musical composition for dance, yoga &\u00a0meditation, having since composed the musical scores for four feature length ballets with Labayen Dance Co.<\/b><\/a> and Mudita Arts Ballet<\/b>, and for yoga\u00a0gurun\u012b\u00a0 Sianna Sherman’s<\/a> internationally acclaimed yoga\u00a0DVD Pra\u1e47\u0101m<\/i><\/b><\/a>\u00a0(<\/i><\/b>\u092a\u094d\u0930\u0923\u093e\u092e<\/b><\/a><\/em>)<\/i><\/b>.<\/p>\n

Gabriel has toured throughout much of the USA, Europe, & Australia, performing in churches, cathedrals and other sacred resonant spaces. In addition to his solo international tours, he’s toured Australia as a featured member of Grand Mother Drum<\/b><\/a>, a transnational group of musicians and healers, working in and fundraising for Aboriginal communities, performing, teaching, and facilitating ceremony.<\/p>\n

\"Yoga<\/a>

Yoga on the Labyrinth with Darren Main & Gabriel Gold at Grace Cathedral<\/p><\/div>\n

When at home in San Francisco, Gabriel performs regularly in collaboration with renowned yoga guru Darren Main<\/a> for Yoga on the Labyrinth<\/b>, a weekly 700+ student class taught inside Grace Cathedral.<\/p>\n

From his installation in the\u00a0De Young Museum’s\u00a0Three Gems<\/i><\/b> (architectural artist James Turrell’s<\/a> resonant sculptural dome), to performing inside Chartres Cathedral in France, singing in Australia’s\u00a0Wombeyan Caves, exploring the cairns &\u00a0caves of Ireland, &\u00a0visiting the many sacred sites along Spain’s\u00a0Camino de Santiago<\/em>, Gabriel’s interest in &\u00a0passion for sacred resonant spaces has been definitive in his life &\u00a0work over the past decade.<\/p>\n

\u00a0\u00a0 \u25f3 \u25f1 \u25f0<\/span> \u00a0\u00a0<\/strong><\/p>\n

\"Kadet<\/a>

Kadet Kuhne performs Sedimentary Noise<\/p><\/div>\n

\u25c9 Kadet Kuhne<\/a>: SEDIMENTARY NOISE<\/i><\/b>, Set 2<\/b><\/span>\u00a0(entire show starts at 7pm)<\/p>\n

The evolution of the built environment is a mirror of our intimate relationship with the material world, &\u00a0the experiential characteristics &\u00a0qualities that spark when architecture &\u00a0the human body unite. The layers of beliefs, perspectives, &\u00a0subjective experiences that create consciousness are manifested into form, making the invisible visible.<\/p>\n

\"Rosaleen<\/a>

Rosaleen Linehan as Winnie in Samuel Beckett’s Happy Days<\/strong><\/em><\/p><\/div>\n

Touching on the relationship between constructed spaces and the human body, and the power and limits of the will, Sedimentary Noise<\/i><\/b> references Samuel Beckett\u2019s Happy Days<\/i><\/b>, in which the central character sinks deeper and deeper into a mound of earth. Although Beckett\u2019s Winnie cries out wearily, she also expresses the playwright\u2019s admiration of our durability: \u201cThat is what I find so wonderful. The way man adapts himself. To changing conditions.\u201d In Sedimentary Noise<\/i><\/b>, the subject is being slowly buried in sand within a tall transparent cylinder, layer by layer, shielded from suffocation by a gas mask. As with Beckett\u2019s character, there is an acceptance of this predicament as well as a denial of responsibility for its formation \u2013 an allegory for the ways in which humans endure and persist as an embodied encapsulation of space and time.<\/p>\n

\"Kadet<\/a>

Kadet Kuhne<\/p><\/div>\n

Kadet\u00a0Kuhne<\/a> is a visual and sound artist who generates synthetic stimuli as an investigation of subjectivity through systems of control and technological mediation. With a preoccupation of what constitutes consciousness, Kadet aims to prompt pre-verbal emotional and physical responses to the invisible forces of particles and vibration that construct all matter. Taking form in video, installation, album releases, performance, interactivity, 3D printing and 2D print, Kadet\u2019s works have been presented internationally. Kadet received a Masters in Integrated Media and Music Composition in Experimental Practices from the California institute of the Arts.<\/p>\n

\"\u00abCarapace\u00bb<\/a>

\u00abCarapace<\/strong><\/em>\u00bb de Mary Franck et Kadet Kuhne, \u00e0 la Soci\u00e9t\u00e9 des arts technologiques (SAT), Montr\u00e9al, 07 f\u00e9v 2015<\/p><\/div>\n

Based in Oakland, CA, Kadet has collaborated with Bay Area artists Mary Franck<\/a>, Allison Leigh Holt<\/a>, Suki O\u2019Kane<\/a>, Paul Clipson<\/a> and Gregory Dawson<\/a>, and has remotely developed projects with Alba G. Corral<\/a>, mem1<\/b><\/a> (Mark Cetilia<\/a> + Laura Cetilia<\/a>), and Kry\u0161tof Pe\u0161ek<\/a>. She works as an Adjunct Professor in Media Arts alongside owning a post-production sound studio, Audible Shift<\/b><\/a>, and is the President of\u00a0San Francisco Cinematheque\u2019s<\/b><\/a> Board of Directors.<\/p>\n

\u00a0\u00a0 \u25f3 \u25f1<\/span> \u25f0 \u00a0\u00a0<\/strong><\/p>\n

\"Agnes<\/a>

Agnes Szelag<\/p><\/div>\n

\u25c9 Agnes Szelag<\/a>: ONA<\/i><\/b>, Set 3<\/b><\/span>\u00a0(entire show starts at 7pm)<\/p>\n

Musician Agnes Szelag &\u00a0dancer Amy Lewis<\/a> present ONA<\/i><\/b> (“SHE” in Polish), a meditation on the meaning of form, architecture, &\u00a0the feminine \u2013 with the body as a focal point of cosmic awareness. Our bodies speak our interior architecture to the outside world, &\u00a0our voice is shaped by our architecture &\u00a0carries our tune.<\/p>\n

In the performance,\u00a0Agnes\u00a0&\u00a0Amy\u00a0seek to bring awareness to the feminine experience as a tool for re-imagining &\u00a0reshaping our world through layers of voices &\u00a0sine waves as they illuminate &\u00a0fragment the female form.<\/p>\n

\"Agnes<\/a>

Agnes Szelag performs James Tenney\u2019s Cellogram<\/strong><\/em> at Playback Play Festival, 02 Oct 2012 @ Powi\u0119kszenie, Warszawa<\/p><\/div>\n

Agnes Szelag<\/a> experiments &\u00a0designs in the convergent space between composition &\u00a0improvisation, video &\u00a0performance, the material &\u00a0immaterial, producing electro-acoustic works, installations, &\u00a0textural video pieces.\u00a0 As a composer, Agnes writes for her own performances &\u00a0releases, as well as collaborations such as myrmyr<\/b><\/a> (w Marielle Jakobsons<\/a>) and Dokuro<\/b><\/a> (w\u00a0The Norman Conquest<\/a>);\u00a0&\u00a0Evon<\/b><\/a>, Oakland Active Orchestra<\/b><\/a>, and other ensembles. She performs using cello, voice, &\u00a0electronics \u2013 often incorporating visual media into her solo performances. As an installation artist, Agnes prefers to work with specific, forgotten sites, but has also transformed gallery spaces, buildings, &\u00a0objects.<\/p>\n

“There is a poetic force in my work as it often starts with concept and writing.\u00a0 Once I have the idea, the process becomes the work. I prefer not to have boundaries with the types of media that I use, and am influenced by my surroundings in two ways. Firstly, I try to use material and technology that is available to me, and secondly I try to explore space and people that I have access to.\u00a0 The sound and visual media influence and inspire each other.”<\/p>\n

Agnes has performed or collaborated with: Terry Riley<\/a>, Fred Frith<\/a>, James Tenney<\/b>, Frances-Marie Uitti<\/a>, Pauline Oliveros<\/a>, Torben Ulrich<\/a>, Henry Grimes<\/a>, Lisle Ellis<\/a>, Jon Raskin<\/a>, Phillip Greenlief<\/a>, Miya Masaoka<\/a> (\u6b63\u5ca1<\/a>\u307f\u3084), Double Vision<\/b><\/a>, Capacitor<\/b>, and many others. \u00a0She studied film\/video at Northwestern University and received her MFA in Electronic Music & Recording Media from Mills College.<\/p>\n

\"Amy<\/a>

Amy Lewis<\/p><\/div>\n

Amy Lewis<\/a> began presenting choreography in the Bay Area in 2005, after receiving a BA in theater from UCLA &\u00a0an MFA in dance from Mills College. Working as an individual artist, Amy\u2019s work has been presented by Women\u2019s Work, West Wave Dance Festival, 2006 &\u00a02008, Dumbo Dance Festival, &\u00a0ODC\u2019s Pilot Program. In 2007, she founded Push Up Something Hidden<\/b><\/a>, &\u00a0has since created 4\u00a0seasons of work, shown at various venues in San Francisco, such as Dance Mission Theater, CELLspace, &\u00a0Community Music Center. In addition, Amy recently completed a commission to create a performed walking tour of the Tendernob by Meridian Gallery, &\u00a0participated in the Resident Artist Workshop program at The Garage.<\/p>\n

Amy uses performance to examine history and presence the celebration of a flawed humanity. For Amy, the overhaul of history contains the benefit of making ordinary events seem extraordinarily fated, faulting social structures that provide limited choice. Her choreography continually references individual biographies, public, private, or imagined, reinvented in order to influence movement, creating a dichotomy between unemotional, pattern-driven choreography, and linear, dramatic stories.<\/p>\n

\u00a0\u00a0 \u25f3 \u25f1<\/span> \u25f0 \u00a0\u00a0<\/strong><\/p>\n

\"The<\/a>

The fully 3-dimensionalized mandala of the Gyantse Kumbum<\/strong> (\u0f62\u0f92\u0fb1\u0f63\u0f0b\u0f62\u0fa9\u0f7a\u0f0b\u0f66\u0f90\u0f74\u0f0b\u0f60\u0f56\u0f74\u0f58\u0f0d<\/strong>) in Tibet<\/p><\/div>\n

What is the sound of a multimedia mandala ringing?<\/p>\n

\u2014 Come vibrate the labyrinth with us at Grace Cathedral on Fri 29 Jul<\/strong><\/span> and find out!<\/p>\n

\u3069\u3046\u305e\u3002\u3002\u3002<\/p>\n

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

Coordinates:\u00a0Grace Cathedral (1100 California St, San Francisco, CA 94108 – map), Set 4 of show starting 7pm, Fri 29 Jul Line-up (more details below\u2026): Jorge Bachmann, Nan Busse, David Hatt, Joe Lasqo, Maxxareddu, Bill Thibault.\u00a0 \u261e Advance tickets available at: … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","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\/6608"}],"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=6608"}],"version-history":[{"count":144,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/6608\/revisions"}],"predecessor-version":[{"id":6775,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/6608\/revisions\/6775"}],"wp:attachment":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/media?parent=6608"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/categories?post=6608"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/tags?post=6608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}