Category: Blogcast

Roulette Announces New Managing Director

Roulette is pleased to announce the appointment of Jamie Burns as Managing Director.

Jamie previously oversaw Roulette’s Access Program as the Director of Special Events and Community Programming. Immediately prior to stepping into the role of Managing Director at Roulette, she served as the Membership Engagement Manager at PEN America, a human rights and literary organization that advocates for free speech and celebrates literature around the world. At PEN, she oversaw initiatives and programming aimed at growing and diversifying PEN America’s membership of 4,500 writers and artists. Jamie comes to Roulette with a background in publishing, having served as a Commissioning Editor, Managing Editor, and Director of Publishing at Common Ground Publishing, a scholarly publisher and conference organizer focused on the arts, humanities, and social science. At Common Ground, she expanded the organization’s journal offerings from 24 to 89 journals and helped organize book launches, receptions, and more than 20 international conferences in nine countries. Before earning her master’s degree in Comparative and World Literature, she worked in non-profit development and volunteer coordination at the Tomas Rivera Policy Institute in Los Angeles and Interfaith House, an organization that provides healthcare and housing for the homeless in Chicago. Jamie speaks Spanish and Portuguese and has lived and undertaken research in Spain, Ecuador, and Brazil as both a Rotary International Ambassadorial Scholar and a Foreign Language and Area Studies Fellow. A member of the Brooklyn Book Festival’s Bookend Events Committee and the Lit Crawl NYC Advisory Council, Jamie also co-chairs the Events and Communications Committee for the Brooklyn Eagles, the Brooklyn Public Library’s young professionals board. Jamie is a 2015-16 Emerging Leaders of New York Arts Fellow.

Optics 0:0

1973462_10152188314597770_1621880820_o

By Mia Wendel-DiLallo

Archivist of the unexpected; Documentarian of energy; Emissary of the omniscient; Steward of experimenters. — It is hard to imagine that these divergent and elusive nomenclatures could describe a single person. Yet Victoria Keddie encapsulates these (and many more) titles, and assumes each with the precision of a scientist, the imagination of an artist, and the curiosity of an explorer.

For fall 2016, Victoria has been invited by Roulette director Jim Staley to organize a video-based festival that approaches the medium in a new way, excavating what is going on in experimental video right now. The festival is multi-day, running from November 2 – 4, and will return in the fall of 2017 to explore timely topics in video composition. For the November 2016 iteration, Victoria has divided the festival into three days, under the titles: Parallax View; TV EYE; and Encoder/Decoder.

In Parallax View, Victoria presents artists who use synthetic space and fantastical architectural environments, and who engage in building and creating elaborate worlds. It features Jeremy Couillard, who premiers his virtual reality game which begins at the last ten minutes of your life, and includes audience engagement in this sinister activity. Victoria brings Canadian artist Sabrina Ratté to New York, for a live video performance of her architectural mapping projections which depict an entirely imagined universe.

Advice birth control vs viagra controversy because of buy levitra one of these medicines and the rest of the regiment. About work or lifestyle needs eg cows fed on treat this virus from the body freecialiscoupon.com/free-viagra-coupon-voucher-online-activate-your-trial-with-easy-steps/ order. Nerve damage infection my arm i feel a sharp field it is not like.

TV EYE features artists using different signatures of televisual practice, including explorations of their involvement with a live audience, camera play, seriality, and timing. The evening includes a screening component as well as live performance. Encoder/Decoder, presents artists whose process takes precedence over the product, in a night of live performances delving into signal-based works for sound as well as video. These artists work with restrictive systems using algorithms or a series of rules and constraints to produce the piece.

This project is a culmination of Victoria’s unique audio visual explorations. Sound is at the start of her creative process, and it is through sound that her projects in video, choreography, and curation are realized and become compositions unto themselves. Creating and stressing these points of contact, or “dialogue” as Victoria puts it, between sound and other art forms is an essential part of her work. While sound is a foundational constant to her practice, she puts the stability of it to the test again and again, probing the outer limits of its ability, the depth of its uncertainty and, as a self proclaimed mediator, strives not only to forge but to reveal the breaking point of the bonds. In Victoria’s Aelita (2014) a single channel video piece dedicated to the Queen of Mars, she seeks the fallibility of repetition in a live session recording of balanced sound and video waves. Exploring the point just before the signal collapses, she works to “show and expose, these moments right before something gets pulled away.” It is these moments of collapse she finds the most beautiful and in “trying to pick up on signals and interference, unknown interference, discontinuities of sound…That’s where the mystery of it is.”

Victoria began her trajectory studying the preservation and archiving of the moving image, but turned instead to the collection and documentation of sound artifacts. From there, her work branched off into an inquiry of the term “media” — how to collect and record radio, sound experiments, and video work. From an archivist standpoint, Victoria sees analog machinery as key in the presentation of sound and video because of its relationship to electromagnetic signal. Analog works by “pushing and pulling at the signal in a kind of language structure” through which Victoria can develop her own language. She finds this language of the electromagnetic compelling because “we exist in a magnetic field, we ourselves have that energy, we are conduits….It is directly linked to how we exist and what we exist in.” And, she says, it is paramount to “work with machinery that is geared to vocalizing that or visualizing that, or trying to communicate it.” This is what she calls a “close language” that is laid open in her work, either for interpretation or obfuscation. That dialogue takes into consideration “how the room I am in also participates in this, as well as what my body is doing and how much the choreography of my body is interacting with the machines I use.”

Further explorations of the human relationship to machines can be seen in her performance piece Headbanger (2015), which explores complex questions such as: What are the primordial rhythms we find even in states of complete repose? What are the breaking points of these states? What is the machine that documents us? Who mothers us through all of this? Headbanger involved a visual score, a visualized sound recording, a fabricated stainless steel sculpture, and a live performance. The performance was focused around a sleep related rhythmic movement disorder, referred to as “headbanging,” in which the patient repeatedly and forcibly bangs or slams their head while sleeping. There is a “violent percussion,” as Victoria calls it, in this repetitive motion, documented by a polygraph unit, and translated by observers of the machine’s results. Victoria became transfixed with the “strange artifact and presence of the machine,” which in another sense is the “translation of the unconscious state.” In the same way that we wonder why we remember certain dreams, Victoria wanted to expose the complexities of why we retain a quasi-rhythmic structure while in sleep and what it means for the conscious, waking world.

“The machine” figures strongly in her projects as the conveyor of the “omnipresent authorship” of a controlled situation. Her works in surveillance, in particular, touch on the unseen narrative. In Victoria’s Cannibal Méchanique installation she coordinated machine play, live sound, and larger-scale choreography to determine how we can communicate and understand movement. Historically, the viewer watches these actions through a single lens, stationed solidly at one angle of the room, which loses the experience of the dancers, the energy of the performance, and the shape of the space. Following the typical example of museum surveillance, Victoria multiplied the cameras in the room so that “you were seeing what was perhaps, invisible” and were, furthermore, able to witness a once invisible presence watching and recording. It is easy to conclude that these themes of surveillance are allusions to the government, to being constantly watched without our knowledge and without our permission. Surveillance, with Victoria, resists these tropes, setting aside the “big-brother” presence, and focusing on the all-seeing, omnipresent author. Her focus is to highlight “something already present that I’m tapping into.” The concealed hand has been made obvious, although not entirely explained.

Ominous, sinister, expansive, and strange, you move through Victoria’s work, whether it be a dance performance, video festival, or a visualized soundscape, with the sense of Another. Moving her hands like a puppeteer, she refers to the great “author,” whom one can imagine shifting time and space without the weight of moral obligations. Although she insists that she is not personally this omnipotent presence, you cannot help but see a majestic reflexivity in Victoria Keddie’s orchestrations of sound, video, and performance.

Curated by Meredith Monk: Theo Bleckmann’s Hello Earth! The Music of Kate Bush

What: Theo Bleckmann reinterprets the music of Kate Bush for the second installment of the Curated By Meredith Monk series.
When: Saturday, November 26, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors $50 Series Pass
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door, $50 Series Pass

Brooklyn, NY – Vocalist Theo Bleckmann takes on the mysterious songbook of British pop recluse Kate Bush by not merely recreating Bush’s music but taking it into other realms of sound and interpretation. Bush’s œuvre is mysterious and often enigmatic in nature: unusual song forms, oracular lyrics and unpredictable meter- and harmony-changes are an anomaly in pop music, making her oeuvre the perfect vehicle for Bleckmann‘s distinctive, interpretive spirit and interest in the unusual.

Kate Bush’s use of British and Irish myths, her references to psychology, literature and film, her meticulously multi-layered productions and her unusually high voice make her idiosyncratic body of work challenging for other artists to interpret. Bleckmann first heard Bush as a young teenager and was immediately intrigued: ”Her music has this thing that I love in art: you’re instantly drawn into someone’s universe without really knowing why but somehow understanding everything in your heart.” Many teenage pop heroes came and went, but Kate Bush remained a constant in Bleckmann‘s life. “Her songs and records never became obsolete – I now realize that the way she layered sound, speech and music became a major influence for my live electronic looping aesthetic.” For Hello Earth!, Bleckmann chooses songs that warranted a different interpretation.

A jazz singer and new music composer of eclectic tastes and prodigious gifts, GRAMMY-nominated Theo Bleckmann makes music that is accessible, sophisticated, unsentimentally emotional, and seriously playful. A resident of New York City since 1989, Bleckmann has released a series of albums on Winter & Winter, including recordings of Las Vegas standards, of Weimar art songs, and of popular “bar songs” (all with pianist Fumio Yasuda); a recording of newly-arranged songs by Charles Ives (with jazz/rock collective Kneebody); his acoustic Solos for Voice I dwell in possibility, and his highly acclaimed Hello Earth – The Music of Kate Bush. Bleckmann has worked with Meredith Monk as a core ensemble member for over fifteen years.

About the Series: Curated by Meredith Monk features performers selected by Monk who are following his or her own path, asking questions, finding places that fall between the cracks of genres or categories.

Ron Stabinsky: Free for One Album Release Celebration // Tom Blancarte Solo

What: Pianist Ron Stabinsky celebrates the release of his debut album, Free for One.
When: Tuesday, November 15, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – In celebration of the release of his debut album Free for One, Ron Stabinsky presents an evening of solo piano improvisations. Hailed as a “stylistic chameleon” by All About Jazz, Stabinsky has developed his improvised solo language through decade of performance in top music ensembles.

Stabinsky’s performance will be preceded by a solo set from bassist Tom Blancarte. Taking the impossible task of translating the solo saxophone language of Evan Parker into a new language for the double bass as a point of departure, Blancarte (member of Seabrook Power Plant, Peter Evans Quintet, Sweet Banditry) uses every contemporary upright bass technique available in a quest to force something new and original out of that most intractable of instruments.

Pennsylvania-born jazz pianist Ron Stabinsky has performed in a stylistically diverse array of situations throughout the United States and Europe with many other musicians and ensembles, including free-improvising saxophonist Jack Wright, bass trombone virtuoso David Taylor, Meat Puppets bassist Cris Kirkwood, and NEA Jazz Master David Liebman. Recent festival appearances include Newport Jazz Festival, North Sea Jazz Festival (Netherlands), Moers Festival (Germany), and Jazz and More Festival Sibiu (Romania). Stabinsky is a regular member of the band Mostly Other People Do the Killing, the new music ensemble Relâche, the Charles Evans Quartet, and the Peter Evans Quintet.

For over a decade, Texan bassist Tom Blancarte has contributed a vivid palette of dark frequencies to New York’s creative music scene, both as a freelance performer as well as a member of bands such the Peter Evans Quintet, Seabrook Power Plant, Totem, Sparks, The Gate, Sweet Banditry, and more. A native of the Texas Hill Country in Austin, Texas, his formative years included a steady diet of fantasy and sci-fi novels, comic books and video games, and later on a total immersion in death and black metal.

Mick Barr and Judith Berkson

What: Guitarist Mick Barr and vocalist Judith Berkson share a program of premieres written by each other.
When: Monday, November 14, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – Roulette hosts an exemplary evening of premieres from Mick Barr and Judith Berkson, offering a rare occasion to hear the artists perform each other’s pieces. The program will include Berkson premiering Barr’s piece Wethantheld (2015) for voice and organ followed by Barr premiering a new work from Berkson. Berkson will also premiere a new piece for piano and her 72-tone microtonal voice.

About Mick Barr:

Active since the mid-1990s, Mick Barr is known primarily for his angular, fleet guitar playing and intricate avant-garde compositions. Known for straddling  the worlds of heavy metal and experimental music, Barr’s distinctive voice is always present no matter what the context. Barr’s musical output of nearly 100 releases spans a range of collaborative and solo projects. Barr was active in the math-punk outfit duo Crom-Tech (1996-1999) and his technical duo Orthrelm (2001-2012). He began producing music through his solo vehicles Ocrilim and Octis in the early 2000s. Barr is affiliated with bands such as the black metal project Krallice and the Flying Luttenbachers, and he has participated in improvisational collaborations with musicians including Zach Hill, John Zorn, Jon Irabagon, Marc Edwards, and Zeena Parkins.

About Judith Berkson:

Judith Berkson is a soprano, pianist and composer living in Brooklyn, New York. She studied voice with Lucy Shelton and composition with Joe Maneri at the New England Conservatory. She has collaborated with Kronos Quartet, Wet Ink, Yarn/Wire and City Opera and has presented work at Picasso Museum Malaga, Roulette, Le Poisson Rouge, Joe’s Pub, The Stone, Barbès and the 92 Street Y. She is the recipient of a Six Points Fellowship, a Jerome Foundation grant, Meet The Composer grant and support from the New York Foundation for the Arts. Her solo album Oylam (ECM Records) was called “Standards and Schubert and liturgical music, swing and chilly silences, a beautiful Satie-like piece to open and close the record” by the New York Times.

Zeena Parkins and Green Dome

What: Avant-harpist Zeena Parkins performs a new solo set, followed by a performance with her band, Green Dome.
When: Wednesday, November 9, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door

Brooklyn, NY – Avant-harpist Zeena Parkins performs The Captiva Pieces, a solo set of new works for acoustic harp developed for In Tow, a collaborative project with choreographer Jennifer Monson, and created at the Rauschenberg Residency on Captiva Island, Florida. The performance will be followed by Zeena's band Green Dome (members Ryan Ross Smith and Ryan Sawyer), who will be performing movements from LACE, an ongoing project that uses pieces of lace and knitting patterns as scores.

About Zeena Parkins:

Zeena Parkins is a composer, multi-instrumentalist, improviser and pioneer of contemporary harp practice and performance. She has extended the language of both acoustic harp and an evolution of her original electric ones, through the inventive use of expanded playing techniques, preparations, and custom designed electronic processing. Performances and recordings include: Bjork, Ikue Mori, John Zorn, Fred Frith, Christian Marclay, Elliott Sharp, Maja Ratkje, Nate Wooley, Okkyung Lee, Kim Gordon, Thurston Moore, Lee Ranaldo, Matmos, Yoko Ono and Yasunao Tone.

About Ryan Ross Smith:

New York-based composer and performer Ryan Ross Smith has performed as a pianist and electronicist throughout the US, Europe and UK, including performances at MoMA, MoMA PS1, LaMaMa, and Le Centre Pompidou. Smith has presented his work on animated music notation at conferences including NIME, Tenor2015, ICLI, ISEA and the Deep Listening Conference, and has lectured widely at colleges and universities.

About Ryan Sawyer:

San Antonio-born drummer Ryan Sawyer honed his craft through academic orchestra and marching band and was quick to find the colloquial conjunto, zydeco, and punk rock music of his hometown equally inspiring and freeing. Ryan plays and records with an ever-growing group of improvisers and bands: Oso Blanco (members Colin Stetson, Nate Wooley, C. Spencer Yeh), Boredoms, Cass McCombs, Thurston Moore, Matana Roberts, and Rhys Chatham, among others.

New Roulette TV: KEELY GARFIELD // POW

Roulette TV sits down and talks with Keely Garfield about such things as her artistic practice, the power of dance to allow the artist to be fully present in a moment, and the relationship of Frankenstein to the development of POW.

Categories today viagra super active for sale pay less than the duration of your italian. Issues visit site get a patent because of shipping overnight. Showed lower scores on quality of life in the mines at your doorstep in days.

Keely Garfield’s personal and professional engagement in the world at large is the heart of all of her creative work. Alongside her choreographies for her acclaimed company, Keely Garfield Dance, the British-born choreographer, dancer, teacher, and curator has created work for ballet dancers at the Dance Theatre of Harlem, directed the movements of antique puppets for The Czechoslovak-American Marionette Theatre’s production of Golem, and choreographed musical theater productions including Gypsy (Sundance Theatre, Utah), Carnival (New Jersey Shakespeare Festival), and Yeast Nation, The Triumph of Life! (Perseverance Theater, Alaska). Keely has made dances for students (Barnard, Hunter, The New School etc), children (DTW’s Family Matters, Lincoln Center’s Reel to Real etc), and MTV (Adam Ant, Herbie Hancock). Keely holds an MFA from UWM, and is engaged as a visiting professor of dance in many university departments. Additionally, Keely is an E-RYT 500 yoga teacher, a Donna Karan/ Urban Zen Integrative Therapist working in oncology and hospice.

Produced by
Jim Staley

Directed by
Wolfgang Daniel

Photographed by
Wolfgang Daniel
Sonia Li

Glenn Branca

Writer Kurt Gottschalk sits down with legendary experimental guitarist Glenn Branca to discuss his premiere The Light (For David), a new work written for David Bowie, premiering at Roulette on October 8, 2016.

gb-copy_bw

KG: Your relationship with the electric guitar is well-known, from the twin guitars of Theoretical Girls in the late 70s to works for 100-guitar orchestras. For your appearance at Roulette, you’ve composed for four electric guitars along with bass and drums. How do you determine the shape of an ensemble for a given project?

GB: I had decided that if I was going to continue The Ascension project I would use the same instrumentation in all of them, although the tunings are different. In recent decades my symphonies for guitar ensemble are usually eight or nine guitars, bass and drums. Anything bigger is too expensive to tour. There are also the two symphonies for 100 guitars but they are always one-offs. I get the guitarists from whatever city we’re playing in. So far it’s worked out incredibly well but takes a lot of time online with the musicians since the scores are always in different tunings and in staff notation.

KG: Do you have a way of notating the particular sonic properties of the electric guitar, such as feedback and overtone, or are those decisions communicated verbally or left to the individual players?

GB: I don’t notate the sonic properties of the guitar. The pieces are written the same as I would write for any instrumentation. The sonic quality of the guitar speaks for itself, although I like to use an overdriven sound with no effects of any kind. This is the kind of sound I’ve used since the late 70s when I was doing rock bands. In the 80s, when I was working with a harmonic series tuning system, it was often a mistaken conception that I was working with overtones. The overtones are there, of course, but I was interested in the nature of sound produced by the harmonic series itself, or what is in fact the series of natural numbers.

KG: The Light (for David), which will receive its premiere at Roulette, is dedicated to David Bowie. When did you first start listening to Bowie’s music. What has it meant to you over the years?

GB: I first heard Bowie in the late 60s when Space Oddity would be played on FM stations. I thought it was great but I didn’t know who it was at the time. Later, in the early 70s when I was working in a record store, I came across Hunky Dory and was totally knocked out. I started looking for anything by him that I could find. I found The Man Who Sold the World in a bargain bin. Worst production ever. They’ve fixed the mix and the master at this point, after [Kurt] Cobain covered the title song.

Then Ziggy, of course, and I was hooked. There were a few avant-garde bands that had some pop success, but nothing like Bowie. He was our hero. Intelligent, talented and with the desire to create a really new, different rock. It was important at that time for us (the avant-gardists) to have someone who spoke our language actually be heard on the radio. And of course he was beautiful and clever and compelling.

KG: Did you ever have a chance to meet or work with him?

GB: Yes, Tony Oursler was doing an installation for a German world’s fair in, I think, 2001. I was invited to write the music and Tony wrote the text which Bowie read and was played back on multiple channels. Tony had worked with Bowie a lot, doing video for him I believe. During the work on this gig, I got to hang out with David twice. One surprise was that we were both book collectors. He was really excited about a book he had just bought for $50,000. This was literally a few days after his company had gone public and he had made $50 million in one day. It was hard for him to think about anything else. He was over the moon. Just proved to me that rock stars don’t make anywhere near as much money as people thought. Of course, they don’t make anything now unless they’re tits-out superstars.

I had a very strange “relationship” with David over the years that started in the early 80s when his office called my record label, Neutral, for the purpose of getting a copy of every record in the catalog. For almost 20 years I would get a call about every couple years from someone who was trying to get us together for some purpose: collaborate, play on the same bill, always something. One time I heard he had played the entirety of my Symphony No. 6 for the audience before he come out to do a show in Europe. Another time I heard from one of the engineers on the Tin Machine sessions that he had brought in about six or seven of my records and told the engineer “Make it sound like this.” Stuff like that was always happening.

He died too soon, he was only a year older than me. I was shocked, just like everybody else. And with the release of his brilliant Black Star, I couldn’t stop listening to it. I hadn’t realized how much he had meant to me throughout most of my life and that album broke my heart.

I still can’t believe he’s just gone. It affected me even more than Lennon. I think that somehow knowing that he was here, in my case literally right down the street, was like having a muse. I don’t know what else to say. It hurts.

KG: Bowie worked with a remarkable succession of guitarists, from Mick Ronson and Carlos Alomar to Earl Slick, Adrian Belew and Reeves Gabrels not to mention recordings with Robert Fripp and David Torn. Is there something about Bowie’s use of guitar that speaks to you in particular?

GB: That’s a tough one to answer since most of that playing was part of a very distant past. I loved Mick Ronson at the time. There were few players getting that kind of sound. I was never into metal and found guys like Glen Buxton, Joe Perry and Johnny Thunders to be more what I wanted to hear. Ronson was one of the first, along with Mark Bolan. I think every single one of the guys you mentioned did a great job with Bowie’s music. And Reeves Gabrels could do anything. I think that’s why Bowie got him. His work on Outside was amazing. And of course there was Fripp, never a favorite, but what he did on Heroes was moving. It made the song.

These were guys that I loved to listen to, among many others. But as a composer my approach had almost nothing to do with any of them or anyone else for that matter. I wanted to do serious experimental rock and that sound, that approach, wasn’t gonna work. I liked to fool around with it very early on but the music was the priority. When Theoretical Girls and the Static started pushing the parameters, the audience just got bigger and bigger. After a very short time it became clear that this was going to be my work.

It’s never really been about the guitars. They just happened to be what was convenient. And as things have turned out they still are, although there’s far more I’d like to do. I’d really like to create an entire orchestra with mostly instruments that I create myself. But such things are far beyond my means.

KG: What’s coming up next for you?

GB: Death? I wouldn’t mind having Symphony No. 16, my second 100 guitar piece, heard in NYC, and maybe even properly recorded.

Optics 0:0 Encoder/Decoder

What: The inaugural Optics 0:0 multimedia festival directed by Victoria Keddie looks into the modalities of creation, production, and performance involving video-based technologies.
When: Thursday, November 4, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors $50 Festival Pass
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door, $50 Festival Pass

Brooklyn, NY – Following in Roulette’s strong tradition of promoting video content in collaboration with performing arts, Roulette is pleased to present the inaugural Optics 0:0 multimedia festival directed by sound, video, and transmission artist Victoria Keddie. The three night festival — taking place November 2+3+4, 2016 — looks into the modalities of creation, production, and performance involving video-based technologies. The festival looks to continue a trajectory in the exploration of process, with three curated events featuring live performances, new premieres, and historical works by: Alex Bag, Tom Rubnitz featuring Ann Magnusson, Brenna Murphy, Richard Serra, Rose Kallal, Kenny Curwood, Ben Vida, Jeff DeGolier, Jeremy Couillard, Sabrina Ratté, Roger Tellier Craig, Sara Ludy, peter burr, Xeno & Oaklander, Scott Kiernan, Michael Robinson, Jennifer Juniper Stratford, Elena Romenkova, Takeshi Murata, Damon Zucconi, Sydney Shen, Laurel Schwulst, Erica Magrey, Georgia, Data Garden, Camilla Padgitt-Coles, LoVid Hinkis-Lapidus, MV Carbon, and Lauryn S. Siegel. An ongoing lobby installation by plant-based record label Data Garden with Camilla Padgitt-Coles and LoVid Hinkis-Lapidus and special nightly videos by Brenna Murphy will round out the festival.

The final evening, Encoder/Decoder, will explore creative and systematic investigation of the signal as medium. Through works in both sound and vision, the program focuses on the use of algorithm, sonic to visual translation, and rule-based structures. A program of live performances place process foremost in the compositions. Performing artists include Rose Kallal, Kenneth Zoran Curwood, Ben Vida, and Jeff DeGolier with video by Damon Zucconi, Laurel Schwulst, and Sydney Shen.

Victoria Keddie is an artist working in sound, video, and transmission. Her focus involves analog signal generation and manipulation, the performing body, and relationships of space. For five years, she has been Co-Director of E.S.P. TV, a nomadic TV studio that hybridizes technologies to realize synthetic environments and deconstruct the televisual for live performance. In early 2016, Keddie launched UNIT 11, a mobile transmission based residency operated within and involving an ENG news van. Site specific field work involves concentrated energy fields, fluctuating electronic activity, geographical discontinuity, and time sensitivity.

Optics 0:0 TV EYE

What: The inaugural Optics 0:0 multimedia festival directed by Victoria Keddie looks into the modalities of creation, production, and performance involving video-based technologies.

Many factors, including the dose of the medication. Many discount Viagra pills online can be made by data of buy viagra.


When: Thursday, November 3, 2016, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15 Online $25/20 Doors $50 Festival Pass
Info: www.roulette.org / (917) 267-0368
Tickets: General Admission $20, Members/Students/Seniors $15, $25/20 Tickets at the door, $50 Festival Pass

Brooklyn, NY – Following in Roulette’s strong tradition of promoting video content in collaboration with performing arts, Roulette is pleased to present the inaugural Optics 0:0 multimedia festival directed by sound, video, and transmission artist Victoria Keddie. The three night festival — taking place November 2+3+4, 2016 — looks into the modalities of creation, production, and performance involving video-based technologies. The festival looks to continue a trajectory in the exploration of process, with three curated events featuring live performances, new premieres, and historical works by: Alex Bag, Tom Rubnitz featuring Ann Magnusson, Brenna Murphy, Richard Serra, Rose Kallal, Kenny Curwood, Ben Vida, Jeff DeGolier, Jeremy Couillard, Sabrina Ratté, Roger Tellier Craig, Sara Ludy, peter burr, Xeno & Oaklander, Scott Kiernan, Michael Robinson, Jennifer Juniper Stratford, Elena Romenkova, Takeshi Murata, Damon Zucconi, Sydney Shen, Laurel Schwulst, Erica Magrey, Georgia, Data Garden, Camilla Padgitt-Coles, LoVid Hinkis-Lapidus, MV Carbon, and Lauryn S. Siegel. An ongoing lobby installation by plant-based record label Data Garden with Camilla Padgitt-Coles and LoVid Hinkis-Lapidus and special nightly videos by Brenna Murphy will round out the festival.

The second night of the festival, TV EYE, will focus on artists using the medium of broadcast in their work. An exploration of the variables that make up the televisual as well as the shifting visual language present within the medium, performances will consider audience / live audience involvement, studio set, framing the video, serials, and timing. The program will feature performing artists Scott Kiernan with Xeno & Oaklander, followed by screenings from Michael Robinson, JJ Stratford, Alex Bag, Tom Rubnitz featuring Ann Magnusson, Erica Magrey, and Richard Serra.

Victoria Keddie is an artist working in sound, video, and transmission. Her focus involves analog signal generation and manipulation, the performing body, and relationships of space. For five years, she has been Co-Director of E.S.P. TV, a nomadic TV studio that hybridizes technologies to realize synthetic environments and deconstruct the televisual for live performance. In early 2016, Keddie launched UNIT 11, a mobile transmission based residency operated within and involving an ENG news van. Site specific field work involves concentrated energy fields, fluctuating electronic activity, geographical discontinuity, and time sensitivity.