SIREN, PEKKA and AGNIESZKA
SLEIGHT OF MIND GROUP
JACK (alias Matt Fair)
World Owes You A Living (1988)
A provocative collage made from hundreds of hours of recordings of day-time
radio programming. It addresses the effects of the computer revolution
and our increasingly high-tech environment on North American and international
(alias Matt Fair) (Victoria, British Columbia) is a painter, audio
artist, writer, and composer. He decided years ago to make his life
his art and he has followed the idea faithfullywithout ever pursuing
the sale of his work. top
Alan, "What's Left?" top
with Jane (1993)
Investigates the question: What can progressive feminists and lesbians
(the Janes) do to move from their current self-involved personal knowledge
and "emotional victim" awareness to political and collective struggle
to affect social change? Partially improvised conversations are layered
and linked by music, rhythmic use of ambiances, and the repetition of
catch words. Commissioned by NEW AMERICAN RADIO.
(Santa Cruz, CA) is a writer, activist, and feminist. Between 1985
and 1989 she wrote and produced public radio documentaries on lesbian,
feminist, and multicultural issues for WXPN FM, Philadelphia, Pacifica
Radio, and National Public Radio's Latin File and All Things Considered.
Since 1988 she has worked as an educator, counselor, and advocate in
the Battered Women's and Rape Crisis Movement. top
(1992) With audio/visual artist John J. H. Phillips. A bizarre sci-fi
play that unfolds as one person's inner monologue and as a sound collage
that evolves into the equivalent of the text, entwining itself first
between sections, then between words until it finally becomes the words.
The story traces one person's reaction to a mounting dislocation in
the structure of the physical world. "This fable embodies my own questions
about the overwhelmingness of our fractured culture." (Seidel) Commissioned
by NEW AMERICAN RADIO.
(Philadelphia, PA) is a writer and artist. Her artworks include
outdoor and indoor installations, several collaborative works including
a performance/public ritual presented at Philadelphia's Painted Bride
Art Center; and several dramatic works. Seidel's writing about art has
appeared in The New Art Examiner, High Performance, Art in America,
and other publications. top
(1987) by Christine Baczewska: a "colloquial operetta" commissioned
by David Moss for the OpeRadio project in 1987.
In the Dark
(1990) (6:30) by Helen Thorington: audio images that evoke an unpeopled,
cinematic geography. A landscape of loneliness and loss.
(1990) (5:30) and The Respirator (1990)
(5:31) by Gregory Whitehead: "It's the Malpais we're talking about:
hot sand, black rocks, and a whole lotta dead things." A dramatic
geography. The Respirator: sensual and unusual audio inspired by the terminal
Illness of the broadcast medium. "There is no sign of brain activity,
but we are able to keep the patient breathing through the use of a respirator."
Guillermo, "Temples of Confessions." top
Magnus, "Faust." top
PEKKA and AGNIESZKA WALIGORSKA
SAGA, PART 1: AKAKLAKLAK Return From Death
(1990) A fascinating blend of the
mythological past and technological present: the story of the woman
Aka and her man Kala, both members of the fish clan, and their enemies,
the people of the reindeer clan. When Kala is killed by the reindeer
clan, Aka swears revenge and Kala's soul promises to return "gliding
as a bird, riding with the wind, carried by the night." A meticulously
researched radiophonic mythology, AKAKLAKLAK makes use of the human
voice and ancient musical instruments, such as amber rattlers, straw
brushes, and wooden pellet bells. It is presented in Finnish with introduction
in English. A commission of Yleisradio, Finland. [Listen]
PART 2: ALAK (1990) The second
part of the "Aka Saga" continues the story begun in AKAKLAKLAK. Following
the fate of Kala's son, Alak, the work makes use of the human voice
and ancient musical instruments and is produced in a high-tech style.
Presented in Finnish with an English introduction. [Listen]
SAGA, PART 3: AKAMER (1990) In the third
part of the "Aka Saga," Aka is the leader of her own clan and Alak a
full-grown man. One day, Aka dreams of a dying walrus being washed ashorea
premonition that speaks of evil to come from underwater. In the rousing
finale, she fights a battle with "the demon eye" for the power of knowledge.
She wins, but exhausted by the effort, finds herself swimming towards
darkness and a reunion with her beloved Kala. . . Presented in Finnish
with an English introduction.
Sixth Day (1994) (9:05) Addresses
the question: "How did life begin?" Focusing on the sixth day as portrayed
in the book of Genesis, this work is a radiophonic composition for tape,
clarinet, didjeridu, bullroarer, and processed voice.
PEKKA SIREN and AGNIEZSKA WALIGORSKA
(Helsinki, Finland) are both members of the radio art group, ProTon.
He a composer, sound designer, and engineer she an art historian,
graphic and vocal performance artist. They have collaborated on numerous
radio art works, sound installations, and performances. Their most recent
projects include the Wings of Sound, an international sound art festival
in Helsinki (1993), and the 1995 art festival Sounding Isles on the
Faroe Islands in the North Atlantic. top
(1993) An interior musical and verbal
monologue about psychic and physical wandering. Set in New York City,
it chronicles a character's attempt to escape into the drama and energy
of the city. As the piece progresses, the character's narrative begins
to be projected onto surrounding sounds, and a structure begins to emerge
from the act of wandering through the multiple ambiances of the city.
Sounds for Around were composed from a guitar feedback algorithm, from
the CB radios in New York City taxis, and from numerous city recordings.
Created on the NEXT computer using CMIX, CSound, RT and other direct
digital synthesis software packages. Commissioned by NEW AMERICAN RADIO.
(1989) A composition made up of the sounds of the New York Stock
Exchange and the violin. For the artist the worlds seemed at the start
almost antithetical: the violin a symbol of the world of European art
music and the stock exchange, a powerful American symbol of the world
whose business is business. But as Skibell uses the materials, distinctions
blur and meanings get exchanged. Skibell used the Sun 3 based digital
synthesis system at the Brooklyn College Center for Computer Music to
analyze, process and organize the sounds of the exchange and the violin
into a musical dialogues. Renowned violinist Rolf Schulte performed
in this work. Commissioned by NEW AMERICAN RADIO.
(The Telling) (1990) With Susan Lepselter. A collaborative work
that juxtaposes creation myths of the Makiritari culture in Venezuelathe
oldest known creation myths in the Americaswith the musicalized
sounds of New York City. Lepselter's narrative includes poetic adaptations
of the original texts. The sounds of New York serve as the contemporary
screen on which to view the text. And they illustrate the text in the
same way that orchestral instruments illustrate the text of Peter and
the Wolf. Reading by Lepselter. Commissioned by NEW AMERICAN RADIO.
(New York, NY) is a composer, sound designer, and multimedia designer.
As a composer he has gravitated towards use of computers and direct
digital synthesis and analysis to process and produce recorded sound.
He has been composer-in-residence at the Columbia University Computer
Music Studios, the Center for Computer Music at Brooklyn College, and
at Studio PASS in New York City. His works have been performed or broadcast
at Roulette, Columbia University, the Whitney Museum, New Music America,
CBGB's Real Computer Music Series, Merce Cunningham Studios, Bowling
Green New Music Festival, WNYC-TV, Danish National Radio, and the Australian
Broadcasting Corporation. He is currently working on sound design for
a CD-ROM on the Beat poets for Voyager and an upcoming exhibit at the
Whitney Museum (with the music production company Tomanandy), on the
World Wide Web-based media removal machine, "Snuff," and on a Web-based
serial which takes place on a subway car. top
OF MIND GROUP
Underseen World of Claude Jateau, Part 1: The River of Angels
(1989) Do you remember the long-running
Jacques Cousteau nature documentary series on television? In The River
of Angels you'll meet his radio cousin, Claude Jateau. With a delightful
French accent and a tireless thirst for scientific knowledge Jateau
and a group of scientists and friends, explore the freeways of Los Angeles
and examine the nomads who travel them with the same enthusiasm that
Cousteau brought to his explorations of the Amazon and the Nile. He
even goes in search of such endangered native wildlife as The Fading
Film Star, and manages to capture and tag one with a radio collar. Skillful
writing, acting, and a wonderful sense of humor combine in a guaranteed
half hour of pure fun. [Listen]
Underseen World of Claude Jateau, Part 2: A Trick of Perspective
(1989) (21:20) Jateau develops a shrinking gas, reduces himself
and his team of experts to a height of 1.7 centimeters, and sets up
an encampment in the shag rug in his living room. Another thoroughly
amusing episode in the life of Claude Jateau.
SLEIGHT OF MIND
is a group composed of freelance producer Christopher Hastings, sound
designer John Wilson, and computer system designer Ted Hlavac. Hastings
has also acted on Broadway and in the TV soap As the World Turns. Wilson
manages his own production company, Sound Choices, and works for a San
Francisco audio visual firm. Hlavac is currently working in Oslo, Norway,
as a systems designer for Bankeness Betalingsentral. top
Stopped but Never Gave Up (1990)
(5:00) A dramatic narrative about a girl who drops out of high school.
(#32,91 with Negron, Mason, and Oliver.)
(Philadelphia, PA) is a media artist whose credits include two major
radio series for national and international distribution: First and
Last Wordsa poetry series hosted by writer Sonia Sanchez, featuring
Essex Hemphill, Larry Duckette and Linh Dinh; and Even the Sounds Are
Bluea musical series hosted by vocalist/composer Cassandra Wilson
and featuring Michel Rosewoman, Craigh Harris and David Murray.
With Claire Schoen. What does it mean for the Left in the West now that
upheavals in the former Soviet Union have unraveled the Bolshevik Revolution?
Based on hundreds of hours of interviews with democratic activists in
what is now the Confederation of Independent States, What's Left? is
a docu-satire about the identity crisis facing progressives after the
collapse of communism and the end of the Cold War. It follows a North
American television reporteronce a radical activiston his
travels through the Soviet Union as he tries to make sense of it all.
(San Francisco, CA) is an award-winning radio and television news
and documentary producer. He has been news director at KPFA-FM in Berkeley
(1987-present) and news producer at KTVU-TV in Oakland (1987-present).
Snitau is also a consultant on live satellite productions and the board
president of the San Francisco Jewish Film Festival.
(Berkeley, CA) is a freelance radio reporter, and documentarian
and founder of Fine Lines Productions in Berkeley. Her credits include
Sanctuary Caravan, a documentary on the sanctuary movement's response
to problems in Central America; and Hard Work: Job Training for Urban
Youth. In film and video, Schoen has been involved in such diverse and
well-known projects as Apocalypse Now, The Black Stallion, and The Mothers
of the Plaza. top
Melody Sumner, "Manananggal" and "The Bench."
Julia, "Eating in Tongues." top
of SilenceThe Old Ras (1991-92)
A sound-music work of great serenity and beautiful images. Recorded
in the ruins of the ancient town of Ras (the first capital of Serbia),
it combines processed animal sounds, improvised music that ranges from
old folk songs to new music, and natural ambient sounds: a group of
horsemen passing by, the wind in the surrounding fir trees. Produced
at JRT, Radio Belgrade. Included with Metropolis of Silence are parts
of Stephanovic's speech to her colleagues in London asking them to think
of the Serbs and all Yugoslavian people faced with the hardships of
winter, and also producer Helen Thorington's comments and reading of
excerpts from a Stephanovic letter.
is a Serbian composer and former director of JRT, Radio Belgrade's Radio
Workshop (the experimental music and radio art department.) An outstanding
critic of the war and the politics of her government, Stephanovic was
dismissed from her job in 1992, shortly after the completion of Metropolis
of Silence, and has since worked with other artists in Belgrade's underground.
Geography of Friendship (1991)
(13:00) With Marcie Stoyke. A collage of authentic audio letters between
two long-time friends: Marcie, who lives on a farm in southern Minnesota;
and Catherine, who lives in the San Francisco Bay Area. Each letter
makes some everyday event a moment in their friendshiptime spent
togetherfeeding the farm animals, commuting to the city, looking
at the full moon. The Geography of Friendship is an unusual portrait
of an ordinary friendship. In the words of its producers it is also
"an invitation to remember why we women are friends." Commissioned by
NEW AMERICAN RADIO.
(San Francisco, CA) grew up in rural Minnesota, moved to Los Angeles
and now lives and works in San Francisco. Her career in radio spans
fifteen years and reaches in many directions. She was production manager
at KALW, San Francisco (l985-88) and served as associate director of
training, operations, and development at Western Public Radio (1988-89).
She has produced award-winning documentary work for National Public
Radio's Horizons, numerous art features for Morning Edition and Performance
Today, and experimental radio pieces for Artifacts at KPFA-FM Berkeley.
Stifter is NPR's Training Specialist.
(Mapleton, MN) is a videographer and manager of the Community Cable
Access Channel in St. Peter, Minnesota. Her childhood dream came true
when she moved from Minneapolis to the small rural community of Mapleton
twelve years ago with her husband. They have learned to break horses,
farm organically, butcher chickens, and live comfortably in an agricultural
community. Stoyke writes and performs music. top
(1989) (15:00) Audio portrait of
life in tropical latitudes. Testimonies about the impact of "the greenhouse
effect" on coastal city life are interwoven with the sounds of life
inside a seaside residential hotel. The consequences of the rising tides
and temperature take a toll on living within the rooms of a tinderbox,
"where people huddle like flotsam and live on the jetsam of discarded
odds . . . and ends." (from the work) Created for New Music America
(1990) Her fear, his fantasy, his incisions, and her insanity collect
and collide in the corners of a room in which both operate. This audio
journey into a woman's heart of darkness takes place in a hospital operating
room; there cardiac surgery charts the way through the surgeon's probing
of her valley walls, intervening divides, and summits. The soundscape
provides aural entry into his reconstruction of her heart, while he
deconstructs her humanity. Illusion, delusion, and "instrumental" foreplay
are derived from an interweaving of a male and female voice, medical
actuality, and the manipulated musical phrasings of Hilding Rosenberg.
Commissioned by NEW AMERICAN RADIO. [Listen]
Story (1986) (3:00) With writer
Melody Sumner Carnahan. Inner monologues of a deaf-mute woman struggling
to reconcile herself to a loveless marriage. The speech rhythms and
phrasings of her silent world, which has been shattered by betrayal,
ultimately takes the form of a letter written secretively to a friend.
Snake-Charming in America (1994)
A docu-drama based on the life of a young snake handler at a roadside
attraction in the South. Caught up in the religious zeal of her serpent
worship, and an innate skill of reptile wrestling, the heroine, Chance,
reveals the nether world of the freak show. There, slithering sleights
of hand expose a magical sideshow life. "In small pockets of the Southern
United States, oddity, aberration, and delusion captivate the curious.
There, the willing suspension of disbelief fosters the on-going popularity
of freak shows. Similarly, daring acts of faith in snake-handling fuel
a belief in life in the Hereafter." (Stone)
(1989) (22:00) Audio portrait of passion, constructed as a radio
play between two lovers who share very close quarters. Drawing on the
consequences of intimacy and appetite, their pillow talk reveals deep
sensations of longing, possession, and primitive need. They are linked
by emotions that pull them together, while driving them apart. In the
confinement of a studio apartment, an unexpected gesture of love proves
fatal. Commissioned by NEW AMERICAN RADIO. [Listen]
Producer, writer SUSAN
STONE (San Francisco, CA) is director of Pacifica Radio/KPFA-FM's
drama and literature department (Berkeley), where she is also executive
producer of the weekday documentary series, Audio Evidence, and weeknight
sound arts series, The Eleventh Hour, featuring experimental spoken
arts and performance readings of world literature and drama. Stone also
teaches audio-taping techniques in the California public school system.
Her independent productions of original mixed media texts and sound
design for theater, film and television have received numerous awards.
Her writings and recordings have been featured in multimedia installations
and productions of international radio theater through Westdeutscher
Rundfunk (Cologne, Germany), the Canadian Broadcasting Corporation,
the Australian Broadcasting Corporation (Sydney, Australia) and National
MELODY SUMNER CARNAHAN Writer,
Ruby's Story. (see Carnahan, Melody Sumner) top
Catherine, "Geography of Friendship." top
A lively composition of voices that will introduce you to the skills
and insights of master auctioneers, and to the aspirations and experiences
of their students at the Missouri Auction School in Kansas City. While
presenting a delightful array of counting practices, bid-chants, and
anecdotes, The Auctioneer also reflects the economic realities of rural
America, where the number of little towns are dwindling and you hate
to go in there and sell out the backbone of the whole community: the
general store. . . Commissioned by NEW AMERICAN RADIO. [Listen]
Perhaps best known as a country music singer, NED
SUBLETTE (New York, NY) has also worked extensively in
radio. He was four times a composer in-residence at KUNM-FM, Albuquerque.
There he developed such projects as the first ever complete performance
of John Cage's Empty Words. In 1982 he was a composer-in-residence at
VPRO, Holland. Sublette also produced a series of commissioned work
by new music composers for The Kitchen (New York City). Sublette is
originally from Lubbock, Texas. top
Unforgettable Songs (1987)
With Xie Wenxiu and others. The first Chinese radio broadcast ever to
be adapted for American audiences. As delicate as a Chinese ink-drawing,
the work is about folk songs and folk singers in the Province of Shanxi.
Lui Jucang, for instance, who sings a song in memory of his deceased
wife"Little Oil Lamp"the very song she sang for him at their
wedding four decades earlier. "Little Oil Lamp" was deemed "pornographic"
and forbidden during the Cultural Revolution. Produced for China National
Radio (CNR), and adapted for NEW AMERICAN RADIO.
Biography unavailable. top
Fear and Longing: Marginally Stable in San Francisco
(1990) One of the first compositions
to derive its impetus from the October 1989 San Francisco earthquake.
In it Swearingen explores personal fear and longing as expressed in
the words and thoughts of various individuals "overheard" during the
earthquake and its aftermath. Interspersed with the spoken texts are
snippets of radio broadcasts. All are embedded in a musical context
whose rhythms and colors echo those of the spoken words. Commissioned
by NEW AMERICAN RADIO.
at 1 A.M. (1991) takes its inspiration
from the myriad of promotional programming on late night cable television.
Typically they are 30-minute advertisements that imitate the format
of talk shows. Anything you want: sex, money, self-esteem, God, celluloid
freedom, a full head of hair, property, beauty, an exciting life style
. . . just call 1-800. Call now. What are you waiting for? Put your
hand on the TV screen. Feel the power! [Listen]
Elect To (1989) A radio opera
featuring the voices of seven American presidents and singer Pamela
Z, who counterbalances their lofty words with the reality of newspaper
headlines. This piece is about the highly charged and emotionally loaded
phrases that our leaders employ and which, over the years, have acquired
a life of their own. In We Elect To they are placed in a musical context,
with the music integrated into the flow and rhythm of their words, and
their pronouncements highlighted by varying musical styles and moods.
Interwoven throughout the piece are continuing references to religious
themes and familiar hymns. Commissioned by NEW AMERICAN RADIO.
(San Francisco, CA) Composer/Performer Donald Swearingen's professional
career has been a garden of forking paths: to Memphis where he worked
as a rock musician with legendary studios Stax and Hi Records; to California,
where he designed software systems for LucasFilm/THX, Telenetworks/NLC,
Fujitsu, NSC, Octel, NET, and numerous other Silicon Valley firms; to
San Francisco, where he has established himself as an original and vital
member of the Bay Area new music community; and to points beyond, touring,
lecturing, and performing throughout the US and internationally. Along
the way, he has picked up advanced degrees in music and mathematics,
and pursues continuing interests in literature, physics, writing, cooking,
and living, all of which feed his activities as a musician, composer,
programmer, and designer of new instruments for the performance of expanded-music.
In addition to performances of his own work,
Swearingen has premiered several live sound works employing light-activated
musical controllers of his own design; since 1990, he has been a regular
consultant to LucasFilm/THX; and he is the software architect and programmer
of the THX R2 Acoustical Analyzer. top
African-Americans have had to define self and person before America
had its definition. One of the post-colonial mechanisms for self exploration
has been what we now call "therapy." Session One is a visit with one
woman as she encounters how she is imaged, as well as what she images.
The fluid nature of the constructed versus reconstructed self are examined;
the selves fight for equilibrium before her time runs out. Commissioned
by NEW AMERICAN RADIO.
(New Haven, CT) is a playwright who has worked extensively around
the country in alternative and New Form Theatre. A participant in the
International Playwrights Institute at the Eugene O'Neill Theatre Center
in Waterford, Connecticut in 1994, Taylor recently directed the workshop
production of Fresh Faust, a hip-hop opera, at the Institute of Contemporary
Art in Boston. He is currently at work on a new opera entitled The Negroes
Burial Ground for a 1995 production at The Kitchen in New York City.
From out of the East comes the story of the giant MELOG. Conceived originally
by the old philosopher XRAM to help the people, and brought to life
by the crafty NINEL, MELOG soon grew powerful, corrupt and oppressive.
When the people tried to escape, MELOG built an iron wall and imprisoned
them in their own lands. Finally they rose up. In the triumph of their
revolts an electrician vanquished a general, a jailed playwright became
president, and the wall was dismantled and sold as art. The people were
joyous, but dark forces of violence and chaos threatened. Noone knew
what the future might portend. A sound work that makes use of the voices
and musics of eastern Europe and the Soviet Republics. Commissioned
by NEW AMERICAN RADIO. [Listen]
received his Masters of Music from Yale University in 1964, and was
then awarded a Fulbright scholarship to study with Luigi Nono and Goffredo
Petrassi in Italy. Teitelbaum returned to Italy in 1966 where he co-founded
the legendary Musica Electronica Viva group with Frederic Rzewski and
Alvin Curran. Teitelbaum is recognized internationally for his live
electronic performances and his work with interactive computer systems.
His music and performances appear on over a dozen releases on Cantaur,
Hat Hut, and other labels, broadcast and performed throughout Japan,
Europe, and the United States. His opera Golem was performed at the
Ars Electronica Festival in Linz, Austria in 1991. Teitelbaum teaches
electronic music at Bard and Vassar College in New York.
Tap at Miss Patterson's (1990)
(5:00) A delicately crafted sound poem set in a children's tap class
in the mid-1940s, at a time when tap was king. Commissioned by NEW AMERICAN
RADIO. (#51,90 with Alburger/Tietz and Thorington)
Poet ELAINE TERRANOVA
(Philadelphia, PA) has contributed poems to Southern Poetry Review,
American Poetry Review and Poetry Northwest among other journals. Her
most recent awards and honors include a residency at the Tyrone Guthrie
Centre in Ireland, 1988, and the 1990 Walt Whitman Award of the Academy
of American Poets for her first book of poems, The Cut of the Right
Hand (Doubleday). Terranova is currently reading/writing specialist
at the Community College of Philadelphia. top
Front Manhattan (1991)
"When I arrived in New York, two tragedies were taking place. One was
the Gulf War, radiating like a day-glo nightmare from the nation's television
screens. The other was homelessness. The daily contact with extreme
poverty is still my most poignant memory . . . I was unprepared for
the sheer scale of the problem: the shanty towns on vacant lots, the
hordes of subway dwellers, the people living in cardboard boxes . .
. I could not help drawing analogies between the brutality and sheer
extravagance of the U.S. intervention in the Gulf crisis and the absence
of domestic social services." (Thomas). Produced for The Listening Room,
Australian Broadcasting Corporation, as a one-hour program.
(Sydney, Australia) is a writer and researcher. In the spring of
1990 he went to the U.S. to interview the rich and famous, and ended
up talking to beggars. top
and Others (1990)
(8:00) Written in response to Gregory Whitehead's Male Digger Bees,
this short work is a humorously poignant appeal for diversity and choice
in our lives. It features a laughing aphid, three bumping snails, and
an octopus arm that swims.
a Universe, Part 1 (1985) Outrageous,
and at times downright silly, an experimental new drama that focuses
on contemporary technologies, such as cloning, cross-breeding, and the
ability to exchange body parts. [Listen]
a Universe, Part 2: Rifts, Absences and Omissions
(1987) Satiric and experimental new drama that focuses on the new
reproductive technologies and the scientists responsible for their development.
"I will get a Nobel, I will . . . " While shaped into dramatic scenes,
the text is based on the actual statements and writings of scientists.
Providing associational and causal links between sounds (an old record,
semi military aerobic exercises, textbook lessons on female infanticide
and the new technologies), Building A Universe creates an incredibly
funny and disturbing picture of an active and unregulated new science,
preparing a future with unexpected and undiscussed implications. [Listen]
Appeal (1989) (18:00) An experimental
drama composed entirely of soundmusical, electrical, vocal, environmentalmost
of it processed and organized into events that are not necessarily related,
although their placement may suggest some sort of narrative. Someone
is definitely getting squashed in the great technological machine! (#4,90
with Parrot Talk and Fiddling Around.)
Wives (1992) (12:00) An otherworldly
geography peopled by the disembodied voices of the undead; a radio film,
at times operatic in its approach, about women vampires, their bond
with the vampire of all vampires, and their unending lust for that "juice
of the rarest quality"the blood of the living. With the vampire
voices of Pamela Z and Agnieszka Waligorska, and the cello of Deidre
Murray. Produced for RNE, Spain.
Part 1 & 2 (1979) (5:58) One of
the first compositions for radio to make use of electronic processing,
The Dream Sequence unfolds associationally, its lyrical text reflecting
humorously on the author's rural experience and her concern for personal
Around (1987) (3:21) A tiny monkey
escapes his cage and is pursued by other monkeys and his keepers. A
true story out of Monkey Jungle, Miami, told with monkey screeches and
Between (1993) A hypertext fiction
for radio about consciousness and the imagination; how thought and language
materialize in the world; how we perceive, understand and communicate
the nature of our existence, and what we define as "reality." Composed
of a series of discrete yet linked stories, musics, geographies, word
plays, and quotes that take place both in a real (fictional) world and
a (fictional) virtual world. Its materials are earthquakes, mud and
MUDS [on-line text-based virtual spaces]; dungeons and underground passages,
worms and wormholes, black holes and white holes, and the idea of "going
between." Going Between is the original from which the larger work Going
BetweenOne Word at a Time (created with Jacki Apple) evolved.
Produced for ORF, Austria, and Transit.
City RockNew York City in Sound
(1987) With radio documentarian Regine Beyer. Resounds with the
energy, excitement, and noise of one of the U.S.'s largest metropolitan
areas. The piece opens at South Ferry as the morning commuters arrive;
it moves on to the Fulton Fish Market, Wall Street, and Chinatown in
lower Manhattan; then on to Times Square and Central Park, and ends
at a block party in East Harlem. A flow of sounding images interrupted
by short informative and anecdotal comments from Robert Bennon of the
Environmental Protection Agency. An environmental composition with an
the Dark (1990) (6:30) Audio images
that evoke an unpeopled, cinematic geography. A landscape of loneliness
the Devils Footsteps, Parts 1 & 2
(1993) With writer Sarah Montague. Created especially for Halloween,
these two complimentary programs celebrate and explore the vampire tradition,
which is as ageless and enduring as its own subject, and the shadowy
world of the bat, which though its popularity is on the rise, is still
very much of an endangered species. The first part recreates the image
of the vampire through dramatic readings from the rich literary tradition
of vampire lore, and a lush compelling sound score. The second part
focuses on the bat, a mysterious creature as fascinating in its own
way as the mythological creation which, since Bela Lugosi first lifted
his cape in 1931, has literally cast a shadow over its life. Bat experts
Dr. Merlin Tuttle, founder of Bat Conservation International, and Dr.
Roy Horst, discuss bat behavior and bats' vital ecological contributions,
as well as the nature of true vampires. [Listen]
(1992) (12:00) An electronic environment impervious to the hurried,
energetic movements of the many little engines that scuttle back and
forth across it. Based on the artist's sound score to a work of the
same name by Suzan-Lori Parks.
Classic (1987) (1:10) Drop-in
cock-a-doodle-doo. Music for cello and rooster.
Country (1995) The second in a series
of hypertext-inspired stories for radio: a narrative that uses short
blocks or fragments of texts to shape a web of linked ideas that reflect
the way the mind works. In North Country, meaning and memory, and fiction's
role in both are part of the plurality of connections made. The cast
of characters includes a forensics expert, a lawyer, a dead woman, and
another woman who travels in a text based virtual world similar to the
biological world once inhabited by the dead woman; a tamarack tree and
the eleven Eastern woodrats remaining in New York State. With an original
sound score by the artist. [Listen]
to Win (1989) (10:00) A short,
humorous, audio art work that recreates a single event in a horse-racing
day. Presented from many perspectives, including that of the horse,
One to Win carries the listener quickly from one location to anotherthe
announcer's booth, the betting hall, the racetrack, the horse's stallas
it presents the victorious race of Cold Spot, a bay gelding from Yukon
by Smart Helen. The sounds range from the hushed movements of horses
alone in their stalls to the tremendous visceral heave of their lungs
as they plunge toward the finish line. Commissioned by New Music America
MUD Journals, Parts 1 & 2 (1995-96) A
beginner's odyssey into the text-based on-line communities known as
MUDs and MOOs. As Parker tries to learn how to communicate with the
computer and the people he (or is it she?) encounters in text-designed
living rooms, libraries, and coat closets, an on-line world comes to
life that is very much about role playing, social interaction, and FUN.
With a performance-narrative and a large-scale original score that express
in sound and music the wildly animated print-expressions on the computer
Talk (1986) (5:00) Controlled
insanity in sound. A work about repetition and entropy. Told with live
recordings from Parrot Jungle, Miami, feedback, carnival music, static
and other anathema of the broadcast world. Winner of First Prize in
Macrophon '91, the First International Festival of Radio Art, Wroclaw,
Perceptions (1991-92) Cinematic
audio that works on different levels of perception. Its underlying concerns
are closely linked to the reshaping of traditional concepts of nature,
woman, and machine.
for a Lark (1992) (1: 35) With
vocalist Shelley Hirsch. It's a lark!
Space An audio essay on her work
for radio, a creative audio compilation with commentary that includes:
(1) an excerpt from Locomotive (5:20); (2) Dracula's Wives (8:30); and,
(3) an excerpt from Terra Dell'Imaginazione (Landscape of the Imagination)
Ahead (1989) (11:00) Originally
created for the award-winning experimental film Optic Nerve by Barbara
Hammer, a work about the filmmaker's grandmother. Thorington's sound
score takes its title from the question, "Straight ahead, Grandma?"
repeated by the filmaker as she pushes her grandmother around the hospital
in a wheelchair. In the fragmented context of the score, the phrase,
repeated by the grandmother, "Yes, Barbara, straight ahead," becomes
a metaphor for endurance. [Listen]
dell'Imaginazione (Land of the
Imagination) (1990) A sound composition in which the artist evokes a
landscape and tells a story without a text. Originally commissioned
as an audio installation for a riverside cave in Mattera, Italy, Terra
reflects the artist's view of the place for which it was intended but
which she had not as yet seen: wet, quiet, and dark but inhabited by
multitudes of insects and small mammals. The story is that of a solitary
person paddling through these waters. [Listen]
American Buffalo (1980) (2:00)
Why the American buffalo is not a true buffalo but a bison. And what
we may learn from this ancient creature.
Hunt is on: Reflections on the Human Genome Project
(1994) A documentary work on the federally supported Human Genome
Project. According to the producer, "I intended an entirely other kind
of production a sort of associative drama with satirical overtones,
but when I inquired, I found very few people who know what the Human
Genome Project is, let alone what impact it is already having on us.
And satire is impossible without shared knowledge. So here's some information.
And here's hoping, that at a time when health concerns are national
concerns, the questions raised by this production will be treated seriously."
Interview participants include: Dr. Ruth Hubbard of Harvard University,
co author of the book, Exploding the Gene Myth; Dr. Daniel Callahan,
President of the Hastings Center, Briarcliff Manor, New York; Dr. Barbara
Katz Rothman of Baruch University, author of The Tentative Pregnancy;
and Dr. Steven Hilgartner of the Center for the Study of Society and
Medicine at Columbia University.
(Jamaica Plain, MA) is a sound artist, writer, and radio producer. Her
work has been presented in Australia, Canada, Europe, and the United
States for the last twenty years. The Executive Director of New Radio
and Performing Arts, Inc. (aka Ether-Ore), the founder and producer
of New American Radio (1987-1998), and the founder and producer of the
Turbulence and Somewhere websites, Thorington is also an Internet artist.
Her net work includes the narrative exploration Solitaire and the real-time
Internet performance event Adrift, a multilocation collaboration with
Marek Walzcak and Jesse Gilbert, initially created for the Ars Electronica
Festival in Linz, Austria in September 1997. An evolving project, Adrift's
final iteration was as a performance spectacle utilizing three projectors
and screens at the New Mueum in New York City in 2001. Thorington continues
to create sound compositions and narrative explorations for the internet.
Her audio work 9_11_scapes won the 2003 Honourable Recognition,
PRIX BOHEMIA RADIO FESTIVAL, Czechoslovakia; and was the winner at the
2003 AETHER FESTIVAL, KUNM-FM, Albuquerque, New Mexico.
Documentarian Hard City Rock. (see Beyer, Regine)
Vocalist in Recipe for a Lark. (see Hirsch,
(New York, NY) Co-writer, co-director, In the Devil's Footsteps,
Parts 1 & 2. Montague is a writer, radio producer, and director who
was born and educated in Great Britain. Since the early 1980s she has
built a career in New York City with numerous radio drama productions
for public radio. A co-founder of Exit 3 Productions, Montague is currently
the executive producer of Radio Stage, a series of dramatic works co
produced with radio station WNYC. top
Scott, "A Sound Education." top
From The Front (1990)
(12:30) With Mikko Laakso. Original idea, Pekka Siren. Produced for
the Finnish Broadcasting Company (YLE) in 1990, and based on letters
by unknown soldiers dating from 1939-41, the work is a multilingual
radio performance that movingly conveys the human aspectsand universalityof
the Western war experience: "This nationits standard owned by
Heaven itselfcan never be defeated . . . " "First, I am a soldier.
Secondly, I am a soldier. Thirdly, I am a soldier." "I can't write to
you myself, since I can't see. What's more, there's only a small chance
that I'll ever see again. The war is over, maybe you want to forget
me . . . "
(Helsinki, Finland) has directed over 200 radio plays for the Yleisradio's
radio theater department. He has also directed several indoor and site-specific
sound performances. Toiviainen is a member of the sound art group, ProTon.
(see Laakso, Mikko) top
for the Requiem (1992)
(16:50) Based on brief quotations from requiems with an innovative and
daring musical language. The artist makes use of highly contrasting
materials, composing them into an electro-acoustic commentary. Produced
for Radio Slovenia.
(Ljubeljana, Slovenia) studied music at the Academy of Music in
Ljubeljana. After further studies in Austria, England, and France, Turel
now works in Ljubeljana as a freelance composer. His electro-acoustic
compositions have been performed at many European New Music venues,
including the Composer's Forum in Cologne; the Zagreb Biennial; and
the Biennial of Young Composers in Paris. top
"Theme -- Repairing the Elements of Rust." top
Walk Through the City (1981)
(16:08) An environmental composition based on a poem by Canadian poet
and playwright Norbert Ruebsaat. Urban sounds such as car horns, sirens,
brakes, pinball machines and the rhythmic pounding of trains are presented
both as they were recorded on Vancouver's skid row and as they were
processed in the studio. The voice of the poet reading his poem moves
in and out of the composition, entering into dialogue with many of its
sounds. A continuous flux is thus created between real and imaginary
landscapes, recognizable and transformed places, between reality and
composition. Produced for the Canadian Broadcasting Corporation. [Listen]
Voice (1987) (11:00) A musical
exploration of a cricket whose song was recorded in the stillness of
a Mexican desert region called the Zone of Silence. Slowed down it is
like the heartbeat of the desert; at its original speed it sings to
the stars. The percussive sounds in Cricket Voice were created by playing
on desert plants, dried roots and palm eaves, and by exploring the ruins
of an old water reservoir. [Listen]
HILDEGARD WESTERKAMP was
born in Osnabrück, Germany in 1946 and emigrated to Canada in 1968.
After completing her music studies in the early seventies Westerkamp
joined the World Soundscape Project under the direction of Canadian
composer R. Murray Schafer at Simon Fraser University (SFU) in Vancouver.
Her involvement with this project not only activated deep concerns about
noise and the general state of the acoustic environment in her, but
it also changed her ways of thinking about music, listening and soundmaking.
The founding of Vancouver Co-operative Radio during the same time provided
an invaluable opportunity to record, experiment with and broadcast the
soundscape. One could say that her career as a composer, educator, and
radio artist emerged from these two pivotal experiences and focused
it on environmental sound and acoustic ecology. In addition, composers
such as John Cage and Pauline Oliveros have had a significant influence
on her work.
Westerkamp taught Acoustic Communication with colleague
Barry Truax in the School of Communication at SFU until 1990. Since
then she has written additional articles and texts addressing issues
of the soundscape and listening and has travelled widely, giving lectures
and conducting soundscape workshops, internationally. She is a founding
member and is currently active on the board of the World Forum for Acoustic
Ecology (WFAE). as well as the Canadian Association for Sound Ecology
(CASE). Between 1991 and 1995 she was the editor of The Soundscape Newsletter
and is now on the editorial committee of Soundscape -The Journal of
Acoustic Ecology, a new publication of the WFAE.
Her compositions have been performed and broadcast
in many parts of the world. The majority of her compositional output
deals with aspects of the acoustic environment: with urban, rural or
wilderness soundscapes, with the voices of children, men and women,
with noise or silence, music and media sounds, or with the sounds of
different cultures, and so on. She has composed film soundtracks, sound
documents for radio and has produced and hosted radio programs such
as Soundwalking, and Musica Nova on Vancouver Co-operative Radio.top
the Pleasure Principle (1987)
A journey into the seductive and dangerous zone between Eros and Thanatos.
With a "cameo" appearance by Freud's prosthetic jaw.
Letters (abridged version) (1985)
Starring in this unusual documentary are the Rosetta Stone, the Body
of Judy Garland's Voice, Hitler's Handwriting, Fake Fingers, the Tongues
of Extinct Dinosaurs, Napoleon's penis and other dead letters. Both
darkly humorous and highly informative, this work points new directions
in the art of radio documentary. Dead Letters was produced independently
as a one-hour program.
in Dreamland (1991) "A radio manifesto
in memory of the body in pieces." (Whitehead) Commissioned by NEW AMERICAN
Wounds (1986) A fictionalised
monologue that addresses the "woundscape" of the human species in the
wake of the history of technology through the brooding ruminations of
a "vulnerologist"a wound doctor whose slow and seductive voice
unfolds the history of wounds, and the damage that extends even into
the future, (mis)shaping the unborn. Punctuated by periodic suggestions
from tango music ("Life is but a dry wound. Oh hot-blooded sadness,
bleed away from me.") Commissioned by NEW AMERICAN RADIO. [Listen]
Ziggurat Inhalation (1986-87)
(4:35) A reflection on the fate of language in the mouth of time.
to Pronounce "Prosthesis" (1991)
(4:45) A new castaway in search of a prosthetic language. A co-commission
of Harvestworks, Inc., the Wexner Center for the Arts, and NEW AMERICAN
a Voice Like, Then What? (1986-87)
Malpais (1990) (5:30) "It's the
Malpais. We're talkin' about hot sand, black rocks, and a whole lotta
dead things." A dreamlike geography. Commissioned by NEW AMERICAN RADIO
makes me blush . . . (1990) (3:45) Commissioned
by NEW AMERICAN RADIO.
Ways To Burn (1990) A fascinating
docu-performance on the contradictory aspects of fire/electricity: seduction
and powerfear and destruction. "Everybody's got the fever," a
chorus sings in many variations, providing the glue for several intercut
and inter-related stories: the fiery childhood memories of a young woman;
expert ruminations on the use of electro-shock in therapy and as capital
punishment; and sonic outbursts of pyromania. Commissioned by NEW AMERICAN
Digger Bees (1990) (5:44) An account
of the energetic habits of the male digger bee. "Listen to the following
scenario: Powered by the laws of Darwinian selection, each digger bee
is born with the instinct to reproduce more than any other member of
its species, driving the males to excavate, tumble, fight, mount and
sing in the hot desert sun." (From the work). Commissioned by NEW AMERICAN
is for the Million Things (1991)
(2:40) A co-commission of Harvestworks, the Wexner Center for the Arts
and NEW AMERICAN RADIO.
PainThe Theater of Operations
(1989) "I opened this place," the narrator says, "as an inter-disciplinary
center for exploring the phenomenon of phantom pain. Phantom pain is
the experience of pain in an area where the real organs of sensation
no longer exist. The problem then is finding some way to address the
reality of feelings that have been cut loose from the body. So as a
director of the center my main role is to try to facilitate making connections
in a situation, where real contact among the subjects is impossible."
(from the work)
of the Unspeakable (1991) Over
the course of several weeks, Whitehead, as "Resident Director of the
International Institute for Screamscape Studies" established a Scream
Room at the Australian Broadcasting Company and a National Scream Line
answering machine, where screams were collected. The resulting work
for broadcast combines selections from participating screamers, in counterpoint
with notes and ruminations on the fundamentals of scream discourse.
Together they map a journey into the vast territories of the Australian
screamscape. Produced for The Listening Room, Australian Broadcasting
Corporation. Winner of the 1992 PRIX ITALIA. [Listen]
Schizophonica (1998) (6:40) A
lecture-demonstration on communication technologies and electronic media,
cut into radiophonic life.
Degree Zero (1990) (1:25) A drop-in
polemic to slow the frantic pace of current radio programming. Commissioned
by NEW AMERICAN RADIO.
and Wildfire (1989) (18:10) Soundspaces
of water, rain, and wild fire transport the listeners to a place where
"The Heat is heavy, but soft. And all that moves, moves quietly." A
dream-like piece of great sensual beauty and lyrical power in which
nature and reptiles and humans merge. "It's hot and wet. And above my
head I see mangrove, gumbo, limbo and cocoa plum. Where are we? . .
." Created for New Music America '89, Miami.
Rattle and Roll (1992) A personal
history inscribed in a technical history. Or, as Whitehead himself describes
it, "The strange and inescapable desire to electrocute myself, under
the delusion that I will then somehow be able to fly. Brainwaves and
radiowaves: magnetic dreams. BUT: the con/current fear of the CRASH,
'ending up in a burn unit.'"Radio as a sensual seduction and political
provocation. Radio as a theater of ideas. Winner of the 1993 PRIX FUTURA
Berlin. Commissioned by NEW AMERICAN RADIO.
Pleasure of Ruins (1989) (14:20)
Begins with a haunting new age style incantation of obliterated civilizationsa
slow-paced voicing of ruins. Then, with closely-timed razor interruptions,
brief outbursts of sound are heard that increase in speed and densityand
drive the work relentlessly forward until it becomes a ruin of voices.
An excellent example of conceptual art that expresses itself with a
highly sensual sound language.
Respirator (1990) (5:30) Sensual
and unusual audio art inspired by the terminal illness of the broadcast
medium. "There is no sign of brain activity, but we are able to keep
the patient breathing through the use of the respirator." Commissioned
by NEW AMERICAN RADIO.
Thing About Bugs (1994) With Christof
Migone. In this collaborative "field trip," Migone and Whitehead invite
us into their bug-infested soundscape to investigate live wire cross-currents
of extermination and redemption; the vitality of dirt and the urge to
clean; the joys of pure noise and the fate of bodies gone to the worms.
Professional exterminators philosophize about their daily warfare against
other species while the producers orchestrate a mad carnival of the
True Bugs. Winner of a Special Commendation at the 1994 PRIX FUTURA
Berlin. Commissioned by NEW AMERICAN RADIO. [Listen]
is Not a Test (1991) (2:10) A new castaway
in search of a prosthetic language. A col-commission of Harvestworks,
Inc., the Wexner Center for the Visual Arts, and NEW AMERICAN RADIO.
Mindless Thing (1990) (5:00) The
story of a twelve-year-old forced to show and be shown.
(1990) (3:30) Two words migrate into each other to compose an acoustic
requiem. Commissioned by NEW AMERICAN RADIO.
for Idols (1990) (4:25) An incantation
in hommage to the wasted memory of utopia. Commissioned by NEW AMERICAN
is a writer, audio artist, and the director of sea-crow media.
He has produced over fifty radio features, voice works, and earplays
for programs in the United States and abroad. Drawing on his background
in improvised music and experimental theater, Whitehead has created
a body of radiophonic work distinguished by its playfully provocative
blend of text, concept, voice, music and pure sound. Production credits
include: Dead Letters; Pressures of The Unspeakable (Prix Italia, 1992);
and NEW AMERICAN RADIO commissions: Lovely Ways to Burn; Shake, Rattle,
Roll (BBC Award, Prix Futura, 1993); and The Thing About Bugs. He is
also the author of numerous essays on subjects relating to language,
technology, and "the public," and he co-edited Wireless Imagination:
Sound, Radio and the Avant-Garde, a selective history of audio and radio
art (MIT Press). top
A highly entertaining musical on teenage sexuality in the age of AIDS.
Developed by playwright Erin Wilson and performed by a group of San
Francisco high school students, it describes the plight of Cinderella
and Prince Charming, hurled out of their fairy tale world (where neither
pregnancy nor disease exist) into a present-day high school. What follows
is a series of interwoven vignettes and songs that educate Cinderella
and the audience about birth control, AIDS, and anatomy. Among them
are two sportscasters announcing the sperm race; a condom song, an AIDS
rap, and Dr. Abstinence. Barney Jones of Earwax Productions was the
technical director and mixing engineer. Commissioned by NEW AMERICAN
Berlin Understudy (1990) In poetic
inner monologues, dramatic scenes, staged interviews, and eclectic music
and soundscapes, the story of a woman unfolds whose spiritual power
borders on magic. Born in Berlin and lost by her mother during a riot
at the time the Berlin Wall was erected, she was adopted by an American
serviceman and brought to the United States. In the 1980s, at the time
the Wall was dismantled, she suddenly hears the cries of her younger
self and returns to Berlin. What follows is a sensual journey inside
this woman's imagination and the depiction of how she finds power, strength
and healing in her own creative way of living. Commissioned by NEW AMERICAN
ERIN CRESSIDA WILSON
is an internationally produced and award-winning playwright and
screenwriter. She has written over fifteen plays produced regionally,
in New York City, and abroad - at such stages as The Brooklyn Academy
of Music, Joe's Pub at the Public Theatre, Classic Stage Company and
the Traverse Theatre in Edinburgh. In 2003, she won the Independent
Spirit Award for her screenplay, Secretary. Her musical, Wilder - co-written
with Red Clay Rambler composers Jack Herrick and Mike Craver - opened
at Playwrights Horizons in October of 2003. Her first novel will be
published in 2004 by Simon & Schuster. Formerly an associate professor
at Duke University, Wilson is now on the English Department faculty
at Brown University. top
of Mind Group, "The Underseen World of Claude Jateau,
Parts 1 & 2." top
the Shadow of Forward Motion (1991)
(10:00) With Ben Neill. An excerpt from a large-scale, multi-media performance
piece. Wojnarowics' urgent, eloquent text juxtaposes the transfiguration
and ecstasy sought in sexuality with the harsh reality of intolerance
and repression against gays and people with AIDS in contemporary America.
Neill's fragmented musical score, performed on the "Mutantrumpet," along
with computer-generated and designed sounds, tapes and percussion, form
a counterpoint to the text. A co-commission of Harvestworks, Inc., the
Wexner Center for the Arts, and NEW AMERICAN RADIO.
was a visual artist and writer whose work was seen in galleries and
performance spaces throughout the United States until his untimely death
Active both as a composer and performer, BEN
NEILL (New York, NY) is the designer of the "Mutantrumpet,"
an instrument which expands the capabilities of the normal trumpet.
He has toured throughout Europe and the United States, and worked closely
with such composers as John Cage, Rhys Chatham, Earl Brown, John King,
David Behrman and Pauline Oliveros. top
of Speech (1995)
Utilizes found texts from advertising, communications systems, "buzzwords,"
and slang. The sound sources for the work are a combination of actual
samples from these language elements, and versions rendered by the artist
reading, singing, chanting, and processing the language. These fragments
are woven together by non language sounds sampled and composed into
a cohesive audio environment that deals with words as propaganda, words
as mantra, words as poetry, words as authority, and words as music.
Commissioned by NEW AMERICAN RADIO. [Listen]
String Movement (1994) (11:00)
A brief, sonic journey into the puzzling world of exotic particles.
Using her voice as the only sound source, the artist combines found
texts, strange melodies, whispers, gasps, and pronouncements to depict
the multi-dimensional world of particle interaction. The String Movement
was developed and recorded during a residency at Yellow Springs Institute
in August of 1992 as part of a larger work Exotic Particles.
to Reach You (1990) Text and musical
episodes that describe the long, seemingly endless endeavor of trying
to locate and communicate with a mysterious, unknown beloved. What is
it that keeps the seeker separate from the sought after: language? distance?
misunderstanding? Using her extraordinary singing voice and unique brand
of music, clusters of other voices and ambient recordings, Pamela Z
creates a playful and hauntingly beautiful aural journey. Commissioned
by NEW AMERICAN RADIO.
is Better? (1989) A youthful search
for an answer to the questions: What is reality? What is fantasy? and
Which is better? When she is unable to solve the riddle herself, she
turns to others: to a coin-operated information machine and to friends.
"This is all very interesting," she remarks, "but not terribly enlightening."
Which is Better? combines expressive operatic solos, in which digital
delay creates textures of varying denseness, spare percussion, and brief
narrative statements. Be prepared for an upbeat, playful and utterly
engaging production. Commissioned by NEW AMERICAN RADIO.
(San Francisco, CA) is a composer/performer. She has performed solo
in Bay Area clubs and galleries, and throughout the U.S. since 1984.
She works primarily with voice, live electronic processing, and sampling
technology creating lush textures and frenetic rhythmic structures overlaid
with melodic lines and spoken text. Pamela Z has also collaborated on
works for dance and experimental theater and produced numerous multimedia
performances, featuring her own work and that of other Bay Area artists.
Vatten) (1994) (10:10) The work invites its listeners for a ride on
the Swedish cruise ship, the M/S Birka Princess. Glasses clinking, the
voices of crew members and passengers, the thumping of disco music,
and water sounds are some of the sound phenomena that make up the material
of this sound-music work. "Genom Vatten" was produced for the Swedish
Broadcasting Company, and premiered on the M/S Birka Princess during
a music cruise.
(Stockholm, Sweden) was a professional trumpet player for many years
before taking classes in composition and teaching music at the Royal
College for Music in Stockholm. Under the guidance of Lars Gunnar Bodin
and Miklos Maros at the newly founded Electronic Music Studio (EMS),
Zwedberg began exploring his own artistic language. His work combines
music with film, music drama, and modern dance. top
Angels of Tamara (1993)
(10:20) A text-sound-music composition with a tantalizing Middle Eastern
flavor. From the text: "Ilana looks at Tamara looking at Katerina observing
the angels of Tamara slowly moving around the edges of the room, dancing,
touching each other, floating lazily above the floor, dragging their
heavy, wonderful wings nonchalantly behind them, males and females nearly
alike, the signs of their sex almost invisible, ripe with sensuality,
smiling innocently." Produced for Studio One, KOL Israel in Jerusalem.
(Jerusalem, Israel) is an audio artist and performer whose work
has been presented in Israel, Italy, Spain, Germany, and Poland. She
received a first place award at the international radio art festival,
Macrophon 1991, in Wroclaw, Poland, for her composition Primot 84. Zuckerman
is currently senior feature producer at KOL Israeli and the director
of KOL's Radio Art Workshop Studio One. top