Full Description:

Volume (III) is an improvising quartet featuring electro-acoustic harpist
Shelley Burgon, turntable-ist Maria Chavez, laptop artist Stephan Moore and
electro-acoustic flutist Suzanne Thorpe.

Harpist Shelley Burgon is a performer and composer currently based in New
York City. She is a member of Stars Like Fleas and the chamber ensemble
Ne(x)tworks. As a soloist Burgon ventures into the world of spatialized
electro-acoustic music by processing her sound and moving it through many
channels. She has performed with a variety of people such as Jennifer Choi,
Fred Frith, Raz Mesinai, Butch Morris, Anthony Braxton and more.

Peruvian avant-turntablist Maria Chavez¹s work is focused on short solo
electro-acoustic sound pieces. Her instrument is a collection of new and
broken needles that she calls ³pencils of sound² and a selection of records,
which provide the palette. Many of her live sound installations have been
focused on the different attributes of the paradox of time and the present
moment, with many influences stemming from improvisation in contemporary
art. She has traveled extensively, sharing the stage with Pauline Oliveros,
Alan Licht, Phil Niblock, Otomo Yoshihide, just to name a few. Some spaces
that she has performed in include the Contemporary Arts Museum in Bordeaux,
France, Akademie der Kunste in Vienna and Berlin and Sonoteca in Lima, Peru.
She was an artist in residence with the Merce Cunningham Dance Company and
the DIA:Beacon Museum and will be a perform at the Whitney Museum this
summer as part of Christian Marclay's retrospective of works. For her work
she has been awarded the Jerome Foundation¹s Emerging Artist Grant and the
Van Lier Fellowship.

Stephan Moore is a composer, performer, audio artist, sound designer and
curator based in Brooklyn and Providence. His creative work currently
manifests as electronic studio compositions, improvised solo performances,
sound installation works, scores and sound designs for collaborative
performance pieces, and sound designs for unusual circumstances. Evidence,
his long-standing project with Scott Smallwood, has performed widely and
released several recordings over the past decade. He has created custom
music software for a number of composers and artists, and has taught
workshops and numerous college-level courses in composition, programming,
sound art and electronic music. He curates the annual Floating Points
Festival at Issue Project Room in Brooklyn, where he also serves on the Art
Advisory Board. From late 2004 to mid-2010, he performed over 250 concerts
with the Merce Cunningham Dance Company, serving as their sound engineer and
music coordinator, and as a touring musician.

Suzanne Thorpe is a composer and performer of electronic music who enjoys
revealing the peripheral consciousness, exposing coexisting perspectives and
concurrent realities via composition, performance and installation. She
performs and composes for acoustic and electronic instruments, extending her
voice with an ever-evolving set-up of analogue and real-time software
components. Her recent compositions are multi-channel works that employ
psycho-acoustic phenomena, aural harmonics and tuned filtering systems, and
have been featured at Issue Project Room (NYC), Diapason (NYC), The Stone
(NYC), Activating the Medium Festival (San Francisco), No Idea Festival
(Austin, TX), Redux Contemporary Art Studios (Charleston, SC), Pyramid
Atlantic Center for the Arts (Silver Spring, MD), and other venues. As an
improviser she has performed with Chris Brown, Annette Krebs, Maggie Nicols,
Bhob Rainey, Pauline Oliveros, Gino Robair, Zeena Parkins, Ulrich Krieger
and Miya Masaoka, among others. Before her solo career, she was a founding
member of the internationally acclaimed Mercury Rev, with whom she composed,
performed, recorded, produced and toured from 1989 through 1998, earning
numerous critical accolades . She has been awarded support for her work from
Meet the Composer and NYFA, and has a discography of over 20 recordings
released on the Sony, V2, Beggars Banquet, Geffen, Specific Recordings and
Tape Drift labels.

Full Description:

Losperus is the name of a new performance paradigm for Evidence. In making electronic music, we have observed that our process tends to be one of gradual layering, guiding, fading, carefully mixing together streams of carefully crafted recordings, textures, and processes with computer software. We began to wonder about leaving our laptops aside and moving this process into the acoustical realm - placing commonplace electrical devices and found objects into unstable relationships with each other, and using friction and gravity to build humming, whirring, rattling contraptions on the fly. Benton-C Bainbridge makes live visuals in much the same spirit, taking an 'acoustic' approach to visuals and spatially amplifying the Losperus devices through light and shadow with hacked slide and film projectors.

Sound artists Stephan Moore and Scott Smallwood began performing as the duo Evidence in 2001. Focusing on the universe of real-world sound, Evidence pours field recordings like water into their compositional and improvisational process, resulting in music that balances between tight organization and unregulated flow. Using recording equipment, laptops, and other electronic devices, Evidence creates music that deals with gradual change, improvised over time, sometimes atmospheric, sometimes pulsating, always texturall striking and unique. Resisting classification into a single genre, Evidence is equally at home performing in experimental venues, clubs, galleries, planetariums, and rooftops. More information at ecnedive.com.

Once again, Evidence will work with Benton-C Bainbridge, the Bronx-based video artist known for live visual performance with custom digital, analog and optical systems. Benton-C has shown worldwide, at venues ranging from squats to the Madison Square Garden. Currently, Bainbridge is working with Bobby Previte as the duo 'Dialed In', using a/v samplers to perform music, video and lighting. Please visit benton-c.com and fuevoz.com.

Full Description:

Stephan Moore is a composer, sound artist, and laptop audio improvisor. Diana Reed Slattery is a writer, visual artist, and laptop video improvisor. Their joint improvisational project is
called Xenolinguistics, (i.e. the study of non-human languages) , and has been shown at SIGGRAPH, the Immersive Visions Festival, and most recently at the World Psychedelic Forum in Basel, Switzerland.

Stephan Moore is a composer, audio artist, and sound designer in New York City. He has graduated from from Rensselaer Polytechnic Institute, Western Michigan University, and Interlochen Arts Academy. In 2006 and 2007, he co-curated the month-long Points in a Circle festival at Issue Project Room in Brooklyn. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Recent performances and installation artworks make use of a large multi-channel array of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught courses in sound art and electronic music at Maryland Institute College of Art, Peabody Conservatory, Massachusetts College of Art, Rensselaer Polytechnic Institute, and Simon's Rock College of Bard. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company.

Diana Reed Slattery is a novelist and videographer based in Albany, NY. For the last 10 years, she has been developing a project centered on the exploration of the visual language, Glide, which appears in her sci-fi novel The Maze Game. This investigation has led to the development of software that animates the glyphs, and allows them to transform into each other, in two and then three dimensions. The three-dimensional Glide software, LiveGlide, allows writing with the Glide forms interactively, in performance. Glide, according to its myth of origin in the story-world, is a psychedelic language. States of extended perception were used in the conception, design, and implementation of LiveGlide, in practice and in performance, and in learning how to read the writing produced. Psychedelics provided the means to emerge from the cocoon of natural language into what could be understood as both a pre-linguistic state of direct apperception of the world around and inside us, and as a post-linguistic (post-natural language) realm of evolutionary forms of language, concomitant with a sense of consciousness extended into a novel, if transient, evolutionary state. Glide has been described, screened and/or performed live at art, technology, and consciousness conferences in Tokyo, Beijing, Sao Paulo, Bilbao, San Jose, Plymouth, Perth, Siggraph (LA) and most recently, at the World Psychedelic Forum in Basel. Fulldome screening and performances have been given at the Atlantic Center for the Arts in Florida, the Schenectady Museum, The Plymouth Immersive Vision Center, and the Children's Museum of Science and Technology in Troy. Flat-screen performances have been given at the Children's Interactive Museum in Middletown, and the Center for Sustainability at Penn State. Slattery has performed at Issue Project Room in Brooklyn with long-time collaborator Stephan Moore. Slattery is pursuing Ph.D. studies at the University of Plymouth, UK on linguistic phenomena in the psychedelic sphere. Xenolinguistics-the study of alien languages-is the term she is currently using to describe the whole of these activities, which are described in more detail at http://mazerunner.wordpress.com.