performance: Han-earl Park, Catherine Sikora and Josh Sinton at Harvestworks, New York

Tuesday, October 29, 2013, at 7:00pm: Free play meets social engineering? ‘Glorious noise’? Anti-structures? Willful complexity? Perhaps the last chance to hear Han-earl Park (guitar), Catherine Sikora (saxophones) and Josh Sinton (saxophone and clarinet) explore interactive noise and improvisative complexity via Metis 9. The performance takes place at Harvestworks (596 Broadway #602, New York, NY 10012) [map and directions…]. Free admission.

See the performance diary for up-to-date info. [Harvestworks page…]

details

Free play meets social engineering? ‘Glorious noise’? Anti-structures? Willful complexity? An orchestrated, real-time, interactive collision between the cyborgism of guitarist Han-earl Park, and the incomparably original melodic and timbral sensibilities of saxophonist Catherine Sikora and saxophonist-clarinetist Josh Sinton. The trio will render into music, Metis 9, a collection of improvisative tactics, and higher-level interactive macros for group improvisation.

An orchestrated, real-time, interactive collision between the cyborgism of guitarist Han-earl Park, and the incomparably original melodic and timbral sensibilities of saxophonist Catherine Sikora and saxophonist-clarinetist Josh Sinton. The trio will render into music, Metis 9, a collection of improvisative tactics, and higher-level interactive macros for ensemble performance designed, designated and specified by Han-earl Park.

Metis 9 has ‘glorious noise’ or ‘frenzy’ at its root, yet it is not so much structuring the noise as it is a meta-layer of complexity that performers can introduce at will. Metis 9 does not tell the performer what to play, or provide all the details of how to interact, but it is an auxiliary network protocol for interactive possibilities. Group improvisation is always the primary protocol; Metis 9 provides secondary or tertiary tactics that create an additional focused complexity. The decision for each bloop and bleep is still retained by the ensemble. These macros enable specific interactionist schemes to be expressed in an open improvisative context; it is improvisative play channeled by group consent.

This entry was posted in gigs and tagged , , , , , , . Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.

2 Trackbacks

Post a Comment

  • Subscribe

    Signup to the newsletter [details…].

  • Kickstarter: Help Make Noise!

  • Recent News

  • Archives

  • Recent Releases

    CD covers (‘Anomic Aphasia,’ ‘numbers,’ ‘io 0.0.1 beta++’ and ‘Mathilde 253’)
  • Elsewhere on the Web…

    Facebook twitter Bandcamp YouTube