Audio visual performance in the time of temporal collapse
Brock Monroe visual & Nick Hallet audio
Fair Use (Duo) Luke Dubois, Matthew Ostrowski
David Linton: Bicameral Research Sound & Projection System
w/ special guests David Watson & Alex Waterman
Fair Use, Matthew Ostrowski looks at our accelerating culture through elecronic performance and remixing of cinema.
R. Luke Dubois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural ephemera. Stemming from his investigations of “time-lapse phonography,” his recent work is a sonic and encyclopedic relative to time-lapse photography. Just as a long camera exposure fuses motion into a single image, his work reveals the average sonority, visual language, and vocabulary in music, film, text, or cultural information. His second solo exhibition with bitforms gallery in January 2011 marked the debut of “A More Perfect Union”, which looked at American self-identity through the medium of online dating services – melding romance, the census and U.S. geography.
An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. DuBois holds a doctorate in music composition from Columbia University, and teaches interactive sound and video performance at the Brooklyn Experimental Media Center at NYU’s Polytechnic Institute.
Has been a teacher and programmer at Harvestworks since 2002. Composer, performer, and installation artist, he has been a recipient of a NYFA Fellowship in Digital Arts, and his work has been seen worldwide. He has developed audio and video software for dozens of artists in interactive video, extended musical instruments, sound installations, show control systems, and interactive juggling pins. He is currently most active as a member of the audio/video trio Fair Use, creating live performances based on sped-up film classics, and in the duo KRK with contrabass player George Cremaschi.
David Linton (born Newburgh NY) is a Time based multiple media artist traveling the vectors of sound, subculture, and signal flow. He has been active in the downtown NYC experimental arts community for 30 years. Originally a percussionist, David has created sound, music, and something in between, for many collaborative dance, theater, & performance settings since his arrival in NY at the end of 1970′s. By the later 80′s – after a good deal of percussion work along side other musicians: Lee Ranaldo, Rhys Chatham, Glenn Branca, Elliott Sharp among others – he was equally known for his live wired solo electro-acoustic drumkit performances as well as his soundscore productions for the Wooster Group & choreographers Karole Armitage & Steven Petronio among many others. His 1986 solo Lp “Orchesography” was an unlikely collusion of street beats, early sampling tek, and theatrical post modernism. By the early 90′s he had retired from performing in the live electro-acoustic vein to concentrate on the vocabulary of entirely electronic music and the resultant paradigm shift in performance priorities this new ‘compressed’ format suggested. Throughout the 90′s Linton became a dedicated advocate for the expansion and appreciation of realtime performance in electronic media through the design and/or production of event/environments such as ‘SoundLab’ (1996) and eventually ‘UnityGain’ (1997-present). In the later 90′s David was a key participant in Meg Stuart/Damaged Goods multimedia improvisation project “Crash Landing”. From 2001 Linton’s fascination with instantaneous collaborative audio visual communication among select units of electronic sound and visual artists assumed the form of a live experimental television Manhattan cable/webcast project – UGTV – Unitygain Television (2001-2004) – for which he was producer/director – and occasional performer. In 2004 David embarked upon his present course with the launch of his solo audio-visual project: the Bicameral Research Sound & Projection System – With his “Bicameral Research Sound & Projection System” (2004) Linton aims to make vibrational wave induced perceptual energy states manifest by deploying interconnected measures of electric sound & pulsing light in live action with hand manipulated objects in physical (live camera) space. He employs an integrated recursive audio & video feedback system of his own perversely simple design modulated by freehand intervention to deliver vigorous eye, ear, and – sometimes – body shaking realtime audio visual performances from which a kind of retro-tech animist ritual “medicine show” emerges where subject and object blur. Thematically David likes to consider that within the 20th Century 60 Hz alternating electrical current gradually came to function as a primary subliminal Prana in the mass bio-energetic body/culture of human life in North America…
Brock Monroe is a multimedia artist working mainly in the intersection of improvisatory projections to live music. As a solo artist and in conjunction with the Mighty Robot A/V Squad, his visuals have appeared at the Brooklyn Academy of Music, The Kitchen, The New Museum, All Tomorrow’s Parties UK, PS1, and Secret Project Robot among others. He has been a member of The Joshua Light Show since 2007.
Nick Hallett is a NYC-based composer, vocalist and impresario who works across genre and media to create innovative, multidisciplinary music-based performance. After organizing a performance for the Joshua Light Show at The Kitchen in 2007, Hallett became its music curator and producer, collaborating with its founder, multimedia artist Joshua White to contextualize his pioneering approach to live cinema for contemporary audiences.