Throughout the spring, I led a monthly workshop at the Tang Museum called SoundMind, and I’m psyched to share that it will be returning this fall: September 8, October 13, November 10.
From the museum’s website: “SoundMind is a workshop that combines meditation, sensory awareness, and aesthetic activation of the breath, body, and voice. Alone, in pairs, and as a group, participants will explore resonance and vibration through touching, listening, and collaborative creation.”
The Skidmore news office wrote a little piece about it, which you can find here.
Some other time, I’ll post some documentation and write something about how I came to develop this practice, which combines insights I’ve mined from heroes like Pauline Oliveros, Marina Abramovic, Karl Berger, and others.
Pursuing a longstanding and intensifying interest in reverberant space and natural resonance, I made the trek across the Vermont border to perform in this spectacular series earlier this summer, and was rewarded with a lovely recording of myself playing alto sax atop a pile of rubble in an underground lake. I’m on cut 4.
Excited to report that an article I wrote inspired by my work with the Universal Language Orchestra has just come out in Leonardo Music Journal, which happens to be one of my absolute favorite scholarly/creative publications, helmed as it is by the oft-imitated by ultimately inimatable Nicolas Collins.
My article: Experimental Music with Young Novices: Politics and Pedagogy.
If you happened by Teacher’s College, Columbia University on Sat 3/28/15, you would have had the pleasure of seeing the debut of the Adam Tinkle Mystic-Civic Participation Pressure Group, my new project exploring the collision of post-AACM free improvisation, electroacoustic sound/noise art, and the broad-based participatory strategies of Cardew’s Scratch Orchestra and Pauline Oliveros’ Sonic Meditations. Joining me on stage were longtime collaborators Will Brant (guitar/electronics) and Jake Nussbaum (drums).
The event we played at was the debut of the Horizontal Sounds series, sponsored by TC Coumbia’s Music and Music Ed departments, which was perfect, (a) because Horizontal is my middle name and (b) because the ethos of experimental music participation is all about that horizontality. Consider booking the ATMCPPG (ATM Pressure Group for short) for your next anti-austerity rally, teambuilding retreat or shamanic self-realization ritual.
On February 9th, 2015, Joe Mariglio and I trekked up from San Diego to Palo Alto to premiere our new performance piece, “They Shoot Lasers, Don’t They?,” at the beautiful CCRMA stage on the Stanford campus. The proper two-camera documentation of the whole thing is forthcoming, but I wanted to just share some early photos, and the text I delivered at the beginning, which set the tone for the sounds, visuals and somatics that followed:
“By way of an introferduction, I just wanted to firstly thank CCRMA and thank all of you for coming to hear our paper. I thought you might value a little extra interformation about our techniques, which actually blend interferometry (measurement via interference) and inferometry (measurement via inference). This interface (as well as this interferface) is our main area of research, inquiry, grant-seeking and grant-getting at CREOSOTA, which as you may know, stands for the Center for Research in the Evolution of Organisms, Sound Objects, and their Teaching Assistants.
Last week, I participated in a three-day workshop led by Marina Abramovic, at UCSD.
It was an incredible, indescribable experience, and, I must say, it has me salivating over the prospect of the Marina Abramovic Institute getting its foothold here in upstate NY.
lt was also my great pleasure to do the sound design for the installation presented at the UCSD University Art Gallery. It’s on view until 1/30/15. In the end, I produced and mixed two different versions (!) of the installation, one of them alongside the great novelist Kim Stanley Robinson, from whose text we worked during the week, and another mix with Marina (The two artists are pictured together, above). It was a rare pleasure just getting to sit at the mix desk for those hours, next to one of my heroes. I hope that both versions will make their way out into the world before too long. (all photo credits: Arthur C. Clarke Center for the Human Imagination, UCSD)
I’ve been exceptionally lucky in my first semester at Skidmore College to get involved with the Tang, the wonderful teaching museum and contemporary art hub on campus.
The current Tang show, I Was A Double, was co-curated by the oh-so-lauded Bang on a Canner David Lang, who kindly made a guest visit to my Intro to Music class. New music mavens like Ashley Bathgate and So Percussion also came to play inside the museum galleries in coordination with David’s on-campus residency and they totally killed it. Now, I’ve gotten roped into two additional Tang events: a remix workshop (where campus DJs and I will talk and teach some basics around working remixing and the various ways of working with digital audio) and an ensuing remix party.
The goal here is to get a lot of students to take the individual tracks from the sound installation David Lang composed for the museum show, and then transfigure them, creating new music out of David’s tracks (which themselves were settings of artists’ statements). This is all very apropos of David’s work, of course, since his recent work has included various riffs on the idea of recontextualization and remix.
But it’s also totally on point for my MU 100 class–all semester, students have been invited to do their assignments either as written work or using Audacity, the free digital audio workstation. I’m offering the option of participating in the remix events as one way to complete the final project.