Maryanne (Draft: August 2010) by micahsilver

THE END OF SAFARI (EXCERPT – Stereo Downmix of 14 Channel Installation ) by micahsilver

More tracks here: http://soundcloud.com/micahsilver/

Micah Silver is an artist and curator working in music and its many intersections with other areas of culture.

Shows have been mounted by the Jersey City Museum, Issue Project Room (NYC), Artspace New Haven, Mass MoCA, the Hudson Valley Center for Contemporary Art, The James Joyce Centre (Dublin), The Place (St. Petersburg), and the 2008 MATA Festival (NYC) among others. His most recent installation (2009/2010) was a commissioned installation-opera titled The End of Safari for Mass MoCA which was on view from April, 2009 to March 2010.

As a curator and co-conspirator, Silver has worked at Diapason Gallery for Sound, The Earle Brown Music Foundation from 2002-2006, the Experimental Media and Performing Arts Center at Rensselaer from 2006-present, and the Maryanne Amacher Archive.

He holds a degree in music from Wesleyan University where his primary teachers were Alvin Lucier, Ron Kuivila and Anthony Braxton. He studied composition privately with Earle Brown, Lewis Spratlan, and cornet with Raphe Malik.

Installation in downtown New Haven

The Phoenix was my first attempt at creating primarily sound-based public art works that are radical reorientations of a space’s identity, both constantly reframing and creating an aura of wonderment for the place.
In 2005, myself and Colby Brown (a transportation planner as consultant) won a competitive commission from the City of New Haven to make a new work that would transform a specified site for a period of six months (May- Sept ‘06).

The two of us spent about 40 hours observing the site, experiencing its fluctuations and documenting it’s characteristics under different conditions. I then made audio recordings in and around the site and both created and gathered sounds relating to the observations made. For this piece, I extended the approach taken in *asterisk to include sounds that came to me on-site as elaborations of existing conditions. (This kernel of sound, fantasy, and memory is more thoroughly explored in my most recent work, The End of Safari).

My goal was to create a piece that that could establish itself as an evolving organism that locals and commuters using the site on a daily basis would be interacting with. It was designed to be inviting, while perhaps inscrutable at first, and then more and more transparent over time while never losing it’s ability to surprise. It would operate twenty-four hours a day for the entire six month period, not making sound constantly but rather varying in its type and degree of site transformation.

The history of sound as a material for art in public space is primarily gentle, ambient, on the border of perceptibility. Part of this has been due to regulations governing noise in public space, but even more due to a prevalent drone-as-beauty aesthetic in sound art coming out of Max Neuhaus, LaMonte Young, Pauline Oliveros and the Acoustic Ecology movement. I’ve taken a different angle, which is to consider recorded sound as a public object that contains history, meaning, and values— a cultural artifact that can operate as a shorthand for many aspects of contemporary society. The way I’ve been composing invites the listener to hear sound not only for it’s musical/temporal value but for how the sounds within a work relate to each other as fractures and facets of cultural objects, bits of identity.

Colby Brown helped to conceptualize what information was knowable about the site in terms of traffic patterns and bus ridership, and assisted in gathering and structuring the data we could obtain. Together we devised how to gather and interpret long-term patterns of use via on-site motion sensors.
I wanted to create a piece that was not only site specific, but temporally specific, a work that would evolve in relation to the time-based phenomena that was already giving the site it’s temporality. While the sound material for the piece was composed intuitively, I expanded the approach to the score/software taken in *asterisk to include additional layers of information, some hard coded from observation and some gathered on-site via constantly activated sensors.
Seasons, traffic, bus schedules, time of day, day of week, where people were currently located in the site, where they had been most often, ambient loudness, and other factors were taken into consideration. In the final score, micro- compositions or what was called a “state” in *asterisk, were correlated to site conditions.
For example, there were pieces that only played on Sunday afternoons (one piece was composed entirely from bell sounds recorded all over New Haven) and some pieces only played in summer when the temperature reached above 80 degrees. After observing a woman who came and fed birds every day after lunch, I gathered many calls from birds common in New Haven and on occasion, at the normal time of her arrival, the site would erupt in an extreme aviary exuberance, timed as a kind of excitation of this existing use. Upon gathering that the bus schedule was astonishingly accurate, we realized that bus arrival and departure points constituted a dramatic change in site population. Depending on the time of day, these populations could be commuters, children going to school, or more difficult to pinpoint groups. Bus departures would become near-cadences in the sound piece, an opportunity for dramatic transformations. There were also a series of stop lights that would affect the ambient noise level dramatically — as a way to engage this dimension, I installed a shotgun microphone that would inform my software of how loud the Church St. facing was and adjust the piece to be in the appropriate relationship (usually the site was about equal, with both disappearances and stronger overlays possible). All of these factors were used not in the interest of establishing a quantitative artwork, but rather to inform my subjective relationship to the site.

About the Score
What follows the general description above is a series of pages that detail the structure of the score. The documents were created to communicate with a computer programmer who helped me to realize the score as software.

Overview of Score Structure

Planets

Continents

Events

MATA Commission 2008

Eight Channel Audio

Commission by the MATA Festival

Duration: 14’

You and Me, Going (2008) by micahsilver

You and Me, Going is the result of an imaginary unfolding — of a near- archaeological process through my recent work: of unearthing artifacts, brushing them off, finding new resonances with old things, and deducing/ constructing narrative from emerging layers of association. My recent installations have required the capture and creation of vast libraries of audio material, much of which never found the right home. You and Me, Going is a landscape of these bits and a departure for me from working with algorithms to realize pieces that endlessly permute within stochastic bounds. For this project I wanted to refocus on the microscopic details of mixing and to discover how the more constructed basis for my recent works has been metabolized into intuitions and tastes. And so I returned to an entirely handmade approach. In one section of the piece, part of Agonism, a poem by Bethany Ides, is sung.

LISTEN: You and Me, Going — Stereo Reduction (AIFF: 212MB)

agonism by Bethany Ides (pdf)

HVCCA Version

*asterisk was commissioned for a festival of public art in Peekskill NY. The piece took six months to complete, the first stage being about one hundred hours of observation and audio recording around downtown Peekskill, along with recording “staged” sound events. The second stage involved the editing and composing of the audio material (sound library), creation of the score, design of the software to realize the score, design of the sculpture, and installation/testing.
The idea behind *asterisk, and several other public sound projects I’ve taken on, has been about finding ways to observe and then work with the localized sound memory of a public’s relationship to a place, extracting and reconfiguring this aurality. In *asterisk, I created a life and memory cycle for these sounds, extracting them from place, processing them through a sculpture built from objects associated with the place, and then transmitting the output of this sculpture back into the environment.
*asterisk uses upturned broken pianos as resonant bodies, as vessels. Sound is projected through the pianos with loudspeakers coupled to their soundboards (the wood that amplifies the very quiet natural sound of the struck strings). On the other side of the soundboard are the strings. Above these I suspended microphones that would listen to the filtered/embodied sound of the piano, rather than the loudspeakers directly. In the first version, installed at the town’s historic Ford Pianos, there were enormous plate-glass storefront windows, with the sculpture visible from the street. I attached special vibration transducers that turned the entire storefront into a low quality loudspeaker. Pianos, with the dampers raised will sustain the last sound that has been made, usually the latest strings to be struck. In the case of my piece, the pianos were broken and I was “reanimating” these bodies with speakers, more or less using them as a means to embody sound at life size scale, something speakers can not do on their own. As the composition is played from a computer, my software was also sensing how loud the resonance in the pianos was — and when this resonance had built up to a sufficient volume, the speakers would stop, leaving only the resonance of the pianos audible — this sound alone, a ghost-like spectra created by the synergy between the broken instrument and the accumulation of resonances created by the loudspeakers, was transmitted through the storefront windows into the street. Given this mode of transmission, it was hard to tell where exactly the sound was coming from.

About the Score

I won’t go into extensive detail about the score (software), which in this case is a set of 179 sound files or “sound events” organized into “states” (collections of events that are allowed to occur simultaneously). Instead, I’ll describe it generally and then zoom in on the way each sound was interpolated as one example of depth. For a reader who is not a composer this might seem overly technical or esoteric.
The algorithmic composition was structured as a conditional probability structure which results in a series of modular “bagatelles” — or short interwoven episodes — punctuated by silences after sufficient acoustic accumulation was sensed by the microphones within each piano. They were highly layered, and each sound was used as a semi-transparent surface through which other sounds can peek through, modifying the meaning of another through mutualized perforation.
The 179 sound files ranged from a few seconds to five minutes. A sound could be a simple timbre, a piano note, or a two minute collage of interweaving events. I shaped each sound file within the library into a “Sound Event” that encompasses the entire manner in which a sound exists within the sculpture, its signature. This allows it to maintain a more unique identity in many contexts (since most sounds were part of a cluster of different “states”). Below are the variables I composed for each sound, the sum total of which creates the identity. Each variable below was not a static value but followed individual morphologies that I composed as graphs.
Attacks per Second

Number of movements from silence to sound within one second. This corresponds to starting and stopping a method of playback and allows for very perforated iterations, the playback of an entire file, and everything in between. An indication of density within the duration of the entire Event — the number of links in the chain.

Attack Duration

Duration, in seconds, that the the audio file player will play for each attack. The length of each link in the chain.
Volume Envelope

Volume envelope for the entire Event. This allows dynamic entrances and exits (emergence, disappearance, where a sound causes the most resonance, etc)
Event Cycle Duration How long the entire event is, the scale for interpolating all aspects of the Sound Event.
Spatial Assignment

A constellation of output channels. A Sound Event may be sent to all output channels (tutti) or just one (solo). Every sound has a specific manner in which they are embodied by the pianos.

THE END OF SAFARI (EXCERPT – Stereo Downmix of 14 Channel Installation ) by micahsilver

The End of Safari was commissioned by Mass MoCA for their Elegies
exhibition. The project took nearly two years from beginning to end and
is by far my most ambitious piece to date. The end result was the
transformation of the gallery into a kind of “set” within which a thirty
minute, fourteen channel audio work unfolds. All technology is
concealed. Ten of the speakers are used to replace the existing acoustic
space with a shifting landscape that moves the listener through a
sequence of locations. Three creature-like sculptures are made of wire,
fabric and died silicon, two of which erupt into warped operatic episodes
(treated elements from an english translation of the orientalist opera,
Turandot) emanating from their headless bodies. The third is mute and
unfinished.The final channel is a special speaker (Holosonics) whose signal
sounds as though originating from the site of it’s first reflection, rather than
the speaker itself. If this first reflection is one’s head, it sounds almost like a
raspy, interior voice has entered one’s skull. If it hits another surface, it
seems as if it is emanating from it – I chose to use this speaker, accepting it’s
bandwidth limitations, for this ventriloquist-like quality. I mounted this speaker
on a microcontroller-driven pan and tilt head (hidden within the set), which allowed
the voice to move sourcelessly around the room, throwing itself, reflecting from
and speaking through the objects within the space. The material for this speaker
was a series of recordings I made with extended vocalist Yvon Bonenfant with the
intention of performing a faux-channeling of Yves Saint Laurent — a series of
wide ranging absurd fantasies and self-reflexive meanderings.

Originally I had intended to make the room extremely hot and humid,
but this was eventually deemed too risky for the museum. I decided that
by creating a diffused scent I could accomplish something similar. The
goal was to use the quality of air to place the plush fake jungle into
limbo — encouraging the body to feel as if it were outdoors, creating a
tension between the quality of the air and the objects within it. I
researched various aromachemicals that can replicate the sense of wet
dirt, grass, moss, dew, mushrooms, and so forth. In the end, I used a
combination of “absolutes” (chemical extractions of natural materials)
and resins that I think accomplished this quite well. The scent was
diffused by a near silent ultrasonic device.

The process for making the piece included an extensive research phase
resulting in a library of archival audio: early radio plays, dollar store
relaxation tapes, recordings of a wide variety of animals, and a
menagerie of miscellaneous bits of culture ripped from home videos of
East African Safaris. I had hoped to use material from Yves Saint
Laurent’s archive, but the scandal surrounding his stolen art objects
erupted and conversations with his partner dropped away (strangely, my
piece was very much related to the scandal, which might have
discouraged his estate). Given this lack of access I managed to amass a
collection of materials relating to a study of Yves Saint Laurent as a
figure whose partly researched and partly imagined eyes I would use to
challenge a conventional post-colonial reading of YSL’s relationship to
fantasy and intercultural domination.

The piece was on view from April 2009 until March 2010.

Lamb Tree

Reptile Half-Shirt / Flamingos

2010 Amacher Homage Commissioned Performance for the Floating Points Festival NYC, July 2010, Curator Stephan Moore

2009 The End of Safari Commissioned Installation for Mass MoCA, April 2009-Feb 2010, Denise Markonish, Curator
2008 You and Me, Going eight channel sound installation, MATA Festival commission
2007 Nine Mountain Process for 15-30 participants, tuned aluminum sculptures, choreography, prose score
2007 Taking: The Pulse of a Medium, Text + 2 Audio Pieces for the first Journal of the Valkenberg Hermitage
[Berlin, Chris Kelley, Curator]
2006 The Phoenix, a twelve-channel public outdoor sound installation commissioned by the City of New
Haven [Denise Markonish, Curator]
2006 Return to Sender a six channel sound piece to accompany a video by Treva Wurmfeld tracking tenuous
relationships between the parallel histories of open heart surgery and the career of Elvis Presley [Bethany
Wright, Curator]
2006 not music music commissioned performance for Movement Research Festival [Koosil-Ja Huang,
Curator]
2006 blank lineup for “Group Show I” at Diapason Gallery for Sound, NYC [Michael Schumacher, Curator]
2005 empty cartoon music commissioned by Carley Petesch for her dance company [Dance Theater
Workshop NYC premier]
2005 *asterisk for twelve broken grand pianos, twelve loudspeakers, and transduced glass [Kari _Conte,
Curator]
2004 for 3 percussionists and 8 locations – a brief graphic score for three players, eight music stands, 16
sound objects, and choreography
2004 Blood on Hands: Dedicated to Soldiers Acting Against Their Conscience, for Prepared Pianist and
Prepared Piano commissioned by Nuke Magazine [Paris]
2004 Creative Diplomacy I: North Korea unsolicited public art proposal for decommissioned propaganda
loudspeakers from Kim Jong-il’s regime in several public spaces across the United States, funding and concept
proposal to president’s office, audio content provided by the President on an ongoing basis
2004 falling music,for 1000 tambourine chimes slowly replacing the leaves of one or more deciduous trees
2004 carousels [parallax], 19 transcriptions of pedestrian movement, 19 metronomes, 1000′ wire -
Commissioned for Wandering Rocks Revolving Doors exhibition as part of the Centennial Bloomsday
2003 People in Boxes I gallery installation for two participants in different boxes creating a “telepresent”
touch relationship within close proximity
2003 Pinball, game music for solo prepared piano and pianist with pianohammer-activated-ball bearings of
varying sizes.
2002 Anthem for solo voice, live electronics [Supercollider], eight loudspeakers
2002 ummer secret imaginary music, sound sculpture
2002 be still take up as much space as possible, a sequence of solos derived from prose scores
2002 Scale for just-intonation synthesizer and shortwave radio, available on Stasisfield Records
2002 Soundtrack for Paper a film by David McDougall
2001 Shadows and Overlays, a collaborative project with eight strangers leading to an installation of several
living environments composed of the same objects.
2001 Very Brief Piece for String Quartet and Ball Bearings [For Alvin Lucier]
2001 scant motives release, for small ensemble
2001 Touch for Halcyon tone generators, fractal noise, guitar, and video, available on Stasisfield
2000 Genesis [For John Barlow], a performance for a large empty space, rows of chairs,
heavy books, 10-20 performers and one    non-participating observer
2000 murmurs, a series of short works based on electrocardiograms of outpatients from Athol Memorial
Hospital
2000 spell, mobile music of 26 unconducted lettered [A-Z] compositions

Studio 1

After working with an amazing team to get EMPAC up and running (starting with six of us and now over 40) and fifty projects later I’m moving on from Troy NY .. stopping full-time work May 1 and continuing as consultant until a successor is found. When I get through all the archiving I need to do, I’ll post some highlights. In the meantime, I’ve cut/pasted a bunch of recent projects.

http://empac.rpi.edu

Steve Lehman Octet

Friday May 28, 8:00 PM | Concert Hall

A trailblazing young saxophonist and composer whose thrilling, multilayered work stands at the frontiers of contemporary music

New Nothing: Josephine Foster + Victor Herrero

Friday April 2, 8:00 PM | Concert Hall

In the final New Nothing of the season, two charismatic performers offer different takes on the construction of the song and the role of the human voice.

Music of Helmut Lachenmann

Saturday March 27, 8:00 PM | Concert Hall

A rare US performance of one of the most influential living European composers, interpreted by two exciting new music ensembles.

PREMIERE: The OpenEnded Group: Upending

Thursday March 25, 7:00 PM | Theater

An evening-length work that combines breathtaking 3D experimental animation with music by Morton Feldman, recorded at EMPAC by the FLUX Quartet Followed by the making of Upending with The OpenEnded Group.

Frederic Rzewski

Saturday March 20, 8:00 PM | Concert Hall

A monumental figure in new music who is both an instrumental virtuoso and a composer of revolutionary ambition in the tradition of Hanns Eisler and Kurt Weill.

New Nothing: Extra Life + Dan Deacon with Nuclear Power Pants

Saturday February 13, 8:00 PM | Studio 1 – Goodman

A thrashing, zig-zagging, gorgeously heavy band that reconciles the 21st and 13th centuries mixes it up with two beacons of exuberant indie noise dance.

Rensselaer Holiday Concert

Tuesday December 15, 7:00 PM | Concert Hall

In celebration of winter and the turning of the year, Rensselaer invites you to the holiday concert at EMPAC – establishing a new tradition on campus.

Unfiction: Examined Life

Thursday November 19, 7:30 PM | Studio 2

In Examined Life, filmmaker Astra Taylor accompanies some of today’s most influential thinkers on a series of unique excursions through places and spaces that hold particular resonance for them and their ideas.

Garth Knox

Saturday November 14, 8:00 PM | Studio 2

A world master of the viola plays an evening of music, some very old, some very new– written expressly for his instrument and its baroque-era cousin, the viola d’amore.

New Nothing: Prefuse 73 w/ Imnopf, Skeleton$ + Luciano Chessa

Friday November 13, 7:30 PM | Studio 2

Punky funk meets Futurism and homespun electro in this paradoxical grouping of artists from far ends of the musical spectrum.

Marc Downie: FIELD Workshop

Saturday November 7, 10:00 AM | Studio 2

Marc Downie, the creator of the powerful digital art programming environment FIELD, leads a two-day workshop in its manifold uses.

Marc Downie: The Secret World of Making Art by Writing Code

Friday November 6, 7:00 PM | Studio 2

A not-to-be missed sneak peak at the process and tools of OpenEnded Group – one of the most sophisticated digital artist teams working today. Presenting will be artist and programmer Marc Downie, one of the three OEG members collaborating on the commissioned stereoscopic video project “Upending”.

New Nothing: Zs + Little Women

Friday October 30, 8:00 PM | Concert Hall

Zs, the scariest band from EMPAC’s Between a Rock and a Tiny Bell concert, returns on Halloween for a careening set of “[sputtering] Morse code dots of percussion and saxophone”

Art21: Systems

Wednesday October 28, 7:30 PM | Studio 2

A special preview screening of “Systems,” the fourth episode from the fifth season of the award-winning program Art21, including interviews with Julie Mehretu, John Baldessari, Kimsooja, and Allan McCollum.

Daniel Teige & Volkmar Klien

Friday October 16, 8:00 PM | Goodman Studio/Theater

36 loudspeakers hung in different heights and in 360° around the audience; German composers and sound artists Daniel Teige and Volkmar Klien play music specifically designed for this immersive sound environment.

Per Tengstrand: The Battles of Beethoven

Saturday October 3, 8:30 PM | Concert Hall

On the anniversary of his performance as soloist in EMPAC’s Opening Concert, pianist and ambassador of classical music Per Tengstrand presents a concert tracking the evolution of the piano during the life of Beethoven.

Slow Wave: Seeing Sleep (Realization of Lucier’s Music for Solo Performer w/Jonathan Chen)

September 25 – September 27 | multiple venues

A three-day festival of installations, film, music, and scientific experiment devoted to the methods for giving form to the elusive, and at times, ineffable enigma of sleep. (Please note: September 26 includes a sleep-over with advanced reservations).

New Nothing: Boredoms: BOADRUM 9 plus DEERHUNTER

Friday September 11, 8:00 PM | Concert Hall

The New Nothing series kickoff includes two bands, nine (make that ten) drummers, and an evening of noise/music that’s experienced not just with the ear but the entire body.

Contact Ensemble: ELEVATED

Thursday September 3, 8:00 PM | Theater

Composer and Bang on a Can co-founder David Lang presents four genre-defying new musical works in conjunction with films by visual artists William Wegman, Bill Morrison, Matt Mullican, and Doug Aitken.

Yvon Bonenfant: Beacons

Friday May 29, 8:00 PM | Studio 1 – Goodman

Bringing together the musicality of cutting edge vocal art with sensual, multi-screen video explorations of light and colour, “Beacons” takes the audience on a theatrical journey that explores love and loss, coming and going, and the intensity of the primordial human act of reaching.

Rafael Toral: The Space Program

Friday May 8, 8:00 PM | Studio 1 – Goodman

Musician and artist Rafael Toral presents “The Space Program,” a series of works exploring peculiar combinations of gestural control and sonic palette. Each ‘study’ is a conjoined spatial and aural exploration, often using Toral’s own DIY electronics.

In a Glass Hour: Steven Connor

Thursday April 2, 7:00 PM | Theater

Steven Connor, Academic Director of the London Consortium Graduate Programme in Humanities and Cultural Studies, delivers his EMPAC-commissioned text titled, “The Chronopher” a meditation on time and the nature of voice.

Catherine Sullivan with Sean Griffin: Triangle of Need, The Chittendens & D-Pattern

March 20 – March 29 | Studio 1 – Goodman

Three multichannel video and audio installations on rotation by the artist Catherine Sullivan with whom Griffin has been collaborating for over six years on music, sound, and “language design”: “D-Pattern”, “The Chittendens” and “Triangle of Need”.

Unfiction on Safari

Thursday March 19, 7:00 PM | Theater

A collection of three films: Olaf Breuning’s “Home 2″; Sascha Paladino’s “Throw Down Your Heart”, with Bela Fleck; and Coco Fusco and Guillermo Gomez-Peña’s “The Couple in the Cage”, together, present a complex terrain of intention and action surrounding tourism, cultural interchange, appropriation, and hybridity.

Zeroth Channel II

Friday March 6, 8:00 PM | Theater

Is listening to a “recording” of a bottle somehow still listening to a bottle? What about the wind around a glacier or a hammer? New works using up to eighteen loudspeakers by composers Doug Henderson (Berlin), Seth Cluett (Paris), and Natasha Barrett (Oslo) lead the listener into questions of what is real, true, or important in identifying the concrete origin of a sound used in the work.

Bobby McFerrin

Sunday January 25, 8:00 PM | Concert Hall

A solo performance by the inimitable vocalist, improvisor, conductor and musical enigma whose path has ranged to audience-participatory improvisations, 10 Grammies, performances with major symphonies, and several unusual ensembles of his own design.

Quicksilver: Stile Moderno: new music from the 17th century

Friday January 23, 8:00 PM | Concert Hall

Critically acclaimed early-music violinist Robert Mealy leads the new early-music ensemble Quicksilver, presenting a concert of brilliant and virtuosic music from the avant-garde of the 1600s

Sean Griffin: Hitting Things, Saying Things

Saturday January 17, 8:00 PM | Studio 1 – Goodman

As part of his two-part residency at EMPAC this spring, LA-based composer Sean Griffin presents “Hitting Things, Saying Things”, a collection of works in which the staged nature of music performance evaporates into an idiosyncratic breed of theater.

Unfiction: Our Daily Bread

Thursday December 11, 8:00 PM | Studio 1 – Goodman

Welcome to the world of industrial food production and high-tech farming! “Our Daily Bread” is a wide-screen tableau of a feast which isn’t always easy to digest and in which we all take part. A meticulous study that enables the audience to form their own ideas through long shots calculating what happens before food journeys to tables around the globe.

In a Glass Hour: Alfred Crosby

Tuesday November 18, 7:00 PM | Studio 2

Alfred Crosby, author of “The Measure of Reality: Quantification and Western Society, 1250-1600″, will speak about time from the historical perspective detailed of Western Europe’s adoption of quantitative approaches to time, space, finance, art, and music.

ZEROTH CHANNEL: Hans Tutschku

Saturday November 15, 8:00 PM | Studio 1 – Goodman

Arraymusic

Saturday November 8, 8:00 PM | Concert Hall

The Arraymusic ensemble is an eight-member performing group from Toronto recognized worldwide for its innovative programming and virtuosic performance. Their extensive repertoire includes a library-like collection of pieces they have commissioned from composers with highly individual voices from around the world.

Election 08: Take Me to Your Leader

Tuesday November 4, 7:00 PM | Evelyn’s Cafe

Join hundreds of citizens to watch election night coverage on EMPAC’s big screens wandering through Evelyn’s Cafe, Studio 1 – Goodman and Studio 2. Door Prizes! Scorecards! Free apple pie!

Inaugural Concert

October 4, 7:30 PM | Concert Hall

Pauline Oliveros Deep Listening Workshop

October 5, 11:00 AM | Concert Hall

Cecil Taylor: Floating Gardens

October 5, 2:00 PM | Theater

Pauline Oliveros and Cecil Taylor

October 5, 8:00 PM | Concert Hall

Events that took place around campus before the EMPAC building opened:

04.25.08
Between a Rock and a Tiny Bell

03.06.08
Jonathan Berger: Data Speaks. Are you listening?

http://empac.rpi.edu/events/2008/berger.html

Or call: (347) 944-0047

Or fax: (501) 634-2679

Or on twitter: m_icahsilver