Somehow, I never managed to make a timely post about the many installations and large quantity of music that I’ve been making as a member of the collaborative Seven Count, alongside Jake Nussbaum and Angus McCullough.
We recorded our first album in 2016, largely in the carriage barn at the Park McCullough House, North Bennington, VT (in the background of the gif).
Here’s me in the superstation at the heart of Invitation, the exhibition we made in May-June 2017 , in a wonderful gallery called Border Patrol, in my hometown of Portland, ME.
We documented and catalogued that installation on a series of custom collaged cassettes, which we collated into a small edition tape called An Invitation Clock
…which was exhibited at several art book fairs (Boston, New England, Overland, all 2017), alongside a zine catalogue of the show.
Here’s a shot of our next installation, Request Line (BUOY Gallery, Kittery, ME, Augu 2017)
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.
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.