Full Description:

Kabir Carter: Presentity

In Presentity , Kabir Carter will meet with individuals (by appointment only) in public locations throughout Lower Manhattan. Each meeting will center around a person-to-person sonic event that is particular to time and place. Each encounter will include both improvised and fixed components and will be shaped in the moment. A variety of sounds, spatialities, energy flows, ideas, and states of presence will be revealed and shared. To make an appointment, please contact Kabir.

Kabir Carter's compositions, performances, and sound installations have been presented at Art Interactive, Atlantic Center for the Arts, Bronx Museum of the Arts, Diapason, Dorsch Gallery, d.u.m.b.o. arts center, Jersey City Museum, PS122 Gallery, Rensselaer Polytechnic Institute, Socrates Sculpture Park, and in public presentations throughout New York City. Carter has been artist-in-residence at LMCC/Workspace: 120 Broadway, and has received awards from the American Music Center, Experimental Television Center, Media Alliance, and Rhizome.

Jessica Feldman: Overheard

2pm to 6pm, Located in the arch underneath the overpass to the Brooklyn Bridge at Frankfort Street and Gold Street (on the Manhattan Side)

Overheard seeks to break down the boundaries of private and public sound and information by examining the way that amplification and recording and broadcast technologies can facilitate or destroy these boundaries. The work turns private sounds into public property, secret information into common knowledge, makes obvious the hidden and hides the obvious, seeking to invert the intentions of surveillance and increase our individual and collective awareness of our community's habits of listening, listening in and being listened to. For the piece, Feldman has collected hundreds of individual recordings of people from the area whispering their secrets (with the promise that the recordings will be broadcast in such a way that the person becomes indistinguishable from these secrets.) The voices are then slightly manipulated in time/pitch and the recordings are played back, layered and sculpted, many at a time, in the extremely resonant, extremely public space of the arched passageway. The resultant sounds fill the arch with a rich chorus of the echoes and ghosts of these voices, each of which is just on the verge of audibility/distinguishability in relation to the others. The piece poses the possibility of removing the danger of sharing information by bringing voices together, in public.

Jessica Feldman is an intermedia artist with a background in sound, sculpture and installation. She creates work that asks its audience to engage in dynamic relationships with their physical surroundings, with each other, with larger communities and with political questions. Recent pieces tend toward interactivity and often occur in extremely public or extremely private spaces. She makes use of sculptural materials, video and choreographic practices in addition to sound. Works have been performed, installed and exhibited internationally at art galleries, concert halls, public parks, city streets, tiny closets and the internet. Recent and upcoming venues include The Kitchen, The Museum of Contextual Amputations (ongoing online project), The Stone, The Tank, Chelsea Waterside Park, Tenri Cultural Institute and various outdoor locations. Her work has received grants/awards from the LMCC, the Max Kade Foundation, Columbia University and the Experimental Television Center, among others.

Full Description:

Kabir Carter: Presentity

In Presentity , Kabir Carter will meet with individuals (by appointment only) in public locations throughout Lower Manhattan. Each meeting will center around a person-to-person sonic event that is particular to time and place. Each encounter will include both improvised and fixed components and will be shaped in the moment. A variety of sounds, spatialities, energy flows, ideas, and states of presence will be revealed and shared. To make an appointment, please contact Kabir.

Kabir Carter's compositions, performances, and sound installations have been presented at Art Interactive, Atlantic Center for the Arts, Bronx Museum of the Arts, Diapason, Dorsch Gallery, d.u.m.b.o. arts center, Jersey City Museum, PS122 Gallery, Rensselaer Polytechnic Institute, Socrates Sculpture Park, and in public presentations throughout New York City. Carter has been artist-in-residence at LMCC/Workspace: 120 Broadway, and has received awards from the American Music Center, Experimental Television Center, Media Alliance, and Rhizome.

Jessica Feldman: Overheard

2pm to 6pm, Located in the arch underneath the overpass to the Brooklyn Bridge at Frankfort Street and Gold Street (on the Manhattan Side)

Overheard seeks to break down the boundaries of private and public sound and information by examining the way that amplification and recording and broadcast technologies can facilitate or destroy these boundaries. The work turns private sounds into public property, secret information into common knowledge, makes obvious the hidden and hides the obvious, seeking to invert the intentions of surveillance and increase our individual and collective awareness of our community's habits of listening, listening in and being listened to. For the piece, Feldman has collected hundreds of individual recordings of people from the area whispering their secrets (with the promise that the recordings will be broadcast in such a way that the person becomes indistinguishable from these secrets.) The voices are then slightly manipulated in time/pitch and the recordings are played back, layered and sculpted, many at a time, in the extremely resonant, extremely public space of the arched passageway. The resultant sounds fill the arch with a rich chorus of the echoes and ghosts of these voices, each of which is just on the verge of audibility/distinguishability in relation to the others. The piece poses the possibility of removing the danger of sharing information by bringing voices together, in public.

Jessica Feldman is an intermedia artist with a background in sound, sculpture and installation. She creates work that asks its audience to engage in dynamic relationships with their physical surroundings, with each other, with larger communities and with political questions. Recent pieces tend toward interactivity and often occur in extremely public or extremely private spaces. She makes use of sculptural materials, video and choreographic practices in addition to sound. Works have been performed, installed and exhibited internationally at art galleries, concert halls, public parks, city streets, tiny closets and the internet. Recent and upcoming venues include The Kitchen, The Museum of Contextual Amputations (ongoing online project), The Stone, The Tank, Chelsea Waterside Park, Tenri Cultural Institute and various outdoor locations. Her work has received grants/awards from the LMCC, the Max Kade Foundation, Columbia University and the Experimental Television Center, among others.

Full Description:

Kabir Carter: Presentity

In Presentity , Kabir Carter will meet with individuals (by appointment only) in public locations throughout Lower Manhattan. Each meeting will center around a person-to-person sonic event that is particular to time and place. Each encounter will include both improvised and fixed components and will be shaped in the moment. A variety of sounds, spatialities, energy flows, ideas, and states of presence will be revealed and shared. To make an appointment, please contact Kabir.

Kabir Carter's compositions, performances, and sound installations have been presented at Art Interactive, Atlantic Center for the Arts, Bronx Museum of the Arts, Diapason, Dorsch Gallery, d.u.m.b.o. arts center, Jersey City Museum, PS122 Gallery, Rensselaer Polytechnic Institute, Socrates Sculpture Park, and in public presentations throughout New York City. Carter has been artist-in-residence at LMCC/Workspace: 120 Broadway, and has received awards from the American Music Center, Experimental Television Center, Media Alliance, and Rhizome.

Jessica Feldman: Overheard

2pm to 6pm, Located in the arch underneath the overpass to the Brooklyn Bridge at Frankfort Street and Gold Street (on the Manhattan Side)

Overheard seeks to break down the boundaries of private and public sound and information by examining the way that amplification and recording and broadcast technologies can facilitate or destroy these boundaries. The work turns private sounds into public property, secret information into common knowledge, makes obvious the hidden and hides the obvious, seeking to invert the intentions of surveillance and increase our individual and collective awareness of our community's habits of listening, listening in and being listened to. For the piece, Feldman has collected hundreds of individual recordings of people from the area whispering their secrets (with the promise that the recordings will be broadcast in such a way that the person becomes indistinguishable from these secrets.) The voices are then slightly manipulated in time/pitch and the recordings are played back, layered and sculpted, many at a time, in the extremely resonant, extremely public space of the arched passageway. The resultant sounds fill the arch with a rich chorus of the echoes and ghosts of these voices, each of which is just on the verge of audibility/distinguishability in relation to the others. The piece poses the possibility of removing the danger of sharing information by bringing voices together, in public.

Jessica Feldman is an intermedia artist with a background in sound, sculpture and installation. She creates work that asks its audience to engage in dynamic relationships with their physical surroundings, with each other, with larger communities and with political questions. Recent pieces tend toward interactivity and often occur in extremely public or extremely private spaces. She makes use of sculptural materials, video and choreographic practices in addition to sound. Works have been performed, installed and exhibited internationally at art galleries, concert halls, public parks, city streets, tiny closets and the internet. Recent and upcoming venues include The Kitchen, The Museum of Contextual Amputations (ongoing online project), The Stone, The Tank, Chelsea Waterside Park, Tenri Cultural Institute and various outdoor locations. Her work has received grants/awards from the LMCC, the Max Kade Foundation, Columbia University and the Experimental Television Center, among others.

Full Description:

Kabir Carter: Presentity

In Presentity , Kabir Carter will meet with individuals (by appointment only) in public locations throughout Lower Manhattan. Each meeting will center around a person-to-person sonic event that is particular to time and place. Each encounter will include both improvised and fixed components and will be shaped in the moment. A variety of sounds, spatialities, energy flows, ideas, and states of presence will be revealed and shared. To make an appointment, please contact Kabir.

Kabir Carter's compositions, performances, and sound installations have been presented at Art Interactive, Atlantic Center for the Arts, Bronx Museum of the Arts, Diapason, Dorsch Gallery, d.u.m.b.o. arts center, Jersey City Museum, PS122 Gallery, Rensselaer Polytechnic Institute, Socrates Sculpture Park, and in public presentations throughout New York City. Carter has been artist-in-residence at LMCC/Workspace: 120 Broadway, and has received awards from the American Music Center, Experimental Television Center, Media Alliance, and Rhizome.

Jessica Feldman: Overheard

2pm to 6pm, Located in the arch underneath the overpass to the Brooklyn Bridge at Frankfort Street and Gold Street (on the Manhattan Side)

Overheard seeks to break down the boundaries of private and public sound and information by examining the way that amplification and recording and broadcast technologies can facilitate or destroy these boundaries. The work turns private sounds into public property, secret information into common knowledge, makes obvious the hidden and hides the obvious, seeking to invert the intentions of surveillance and increase our individual and collective awareness of our community's habits of listening, listening in and being listened to. For the piece, Feldman has collected hundreds of individual recordings of people from the area whispering their secrets (with the promise that the recordings will be broadcast in such a way that the person becomes indistinguishable from these secrets.) The voices are then slightly manipulated in time/pitch and the recordings are played back, layered and sculpted, many at a time, in the extremely resonant, extremely public space of the arched passageway. The resultant sounds fill the arch with a rich chorus of the echoes and ghosts of these voices, each of which is just on the verge of audibility/distinguishability in relation to the others. The piece poses the possibility of removing the danger of sharing information by bringing voices together, in public.

Jessica Feldman is an intermedia artist with a background in sound, sculpture and installation. She creates work that asks its audience to engage in dynamic relationships with their physical surroundings, with each other, with larger communities and with political questions. Recent pieces tend toward interactivity and often occur in extremely public or extremely private spaces. She makes use of sculptural materials, video and choreographic practices in addition to sound. Works have been performed, installed and exhibited internationally at art galleries, concert halls, public parks, city streets, tiny closets and the internet. Recent and upcoming venues include The Kitchen, The Museum of Contextual Amputations (ongoing online project), The Stone, The Tank, Chelsea Waterside Park, Tenri Cultural Institute and various outdoor locations. Her work has received grants/awards from the LMCC, the Max Kade Foundation, Columbia University and the Experimental Television Center, among others.

Full Description:

Jessica Feldman is an intermedia artist with a background in sound, sculpture and installation. She creates work that asks its audience to engage in dynamic relationships with their physical surroundings, with each other, with larger communities and with political questions. Recent pieces tend toward interactivity and often occur in extremely public or extremely private spaces. She makes use of sculptural materials, video and choreographic practices in addition to sound. Works have been performed, installed and exhibited internationally at art galleries, concert halls, public parks, city streets, tiny closets and the internet. Recent and upcoming venues include The Kitchen, The Museum of Contextual Amputations (ongoing online project), The Stone, The Tank, Chelsea Waterside Park, Tenri Cultural Institute and various outdoor locations. Her work has received grants/awards from the LMCC, the Max Kade Foundation, Columbia University and the Experimental Television Center, among others.

Tonight, Feldman presents Final Statement, a social sculpture/sound installation that challenges traditional concepts of memorial and proposes that a memorial can be as interactive, fluid and volatile as memory itself. The work explores the conflation of a number of issues of recent concern: documentation, history, truth, recording technology and its failure, mortality, execution, the disjunction that technology allows between the killer and the killed, and communal decisions about resources, preservation and destruction.

The vocabulary of objects used for this installation is intended to make the setting look as institutional as possible. Multiple circuits installed in the space contain the recordings of testimonials (some of them final statements) from inmates on death row. Circuits self-destruct (by short-circuiting and burning out/electrocuting the recording) after a finite number of playbacks. Playback is activated by a sensor that the viewer touches. The sound plays quietly through one small, quiet speaker - so quietly that listeners have to place their ears against the speaker to hear the sound. In this way, the sound is made private and individual - only one person can receive the sound at once, and no one else can hear what he or she hears. Viewers/listeners are confronted with choices: to play the recording, to preserve the recording, to leave it for someone else, to share the information with a group, etc. Thus, the community's choices activate the work and the work documents the community's choices.

http://www.myspace.com/jessmedia

Full Description:

Composer/Sound Artist Jessica Feldman offers up a night full of new pieces made especially for Roulette, including a new intermedia piece for voice and video-camera-monitored-mouth, performed by soprano Beth Griffith. Feldman's work tends toward interactivity, frequently crosses through many artistic disciplines and often occurs in extremely public or extremely private spaces. Her pieces have been performed, installed and exhibited at art galleries, parks, city streets, tiny closets and concert halls. Recent venues in NYC include The Kitchen, the Flux Factory, the Tank and Danspace at St. Mark's Church. Her sounds activate the physicality of the space and the body and have been likened to "one of those Japanese fish that, if cooked right, is delicious. If cooked wrong, it kills you." (Neely Bruce.)