[ 8. Oktober 2010 ]

HAMBURG – Hörbar, Konzerte im November 2010

Von: Hörbar e.V. – Konzert- und andere Ankündigungen
Datum: 8. Oktober 2010 10:04:45 MESZ
Betreff: Konzerte im November

verein zur förderung experimenteller musik
brigittenstraße 5 (im b-movie)
20359 hamburg
tel : 040 / 430 58 67
(mittwochs 20-1 uhr)

Die Konzerte im November

Folgende Termine stehen für den November fest:

Mittwoch, 03. November
An diesem Tag fällt der gewohnte Mittwoch Abend in der Hörbar aus.
Stattdessen veranstaltet das B-Movie ihr ebenfalls empfehlenswertes
Näheres unter:

Mittwoch, 10. November
Dafna Naphtali (BROOKLYN, New York)
Dafna Naphtali is a sound-artist/improviser/composer/singer/guitarist/
electronic-musician. An active and versatile performer, she has been
performing and composing since the mid-90’s using her custom Max/MSP
programming for sound processing of voice and other instruments. She
co-leads the digital chamber punk ensemble, What is it Like to be a
Bat with Kitty Brazelton (http://www.whatbat.org) and has
collaborated / performed with many experimental musicians and video
artists, such as Lukas Ligeti, David First, Chuck Bettis, Joshua
Fried, Ras Moshe, Alexander Waterman, Kathleen Supové and Hans Tammen,
Benton-C Bainbridge and Angie Eng among others, and is a member of
Magic Names vocal ensemble championing the vocal work of Stockhausen.

Mittwoch, 17. November
Präsentiert Radio Gagarin ein kleines Noise-Festival mit folgenden
THE RITA (Vancouver, British Columbia, Canada)
Sam McKinlay
The Rita, a sound art project by Sam McKinlay, practices in the media
arts audio genre termed as ‘harsh noise’. The Rita’s first recorded
document was released in 1996 and has participated in live audio
performances since 2002. Many of McKinlay’s international audio CD,
LP, cassettes, and live performances are also under his sound art
moniker The Rita. The genre of ‘harsh noise’ is a part of the world
of academic experimental sound and performance with the use of various
live and pre- recorded analog sources, distortion pedals, large
amplifiers, and sometimes visuals. The Rita’s live audio sets are
characterized as being very loud, abrasive, textural, dynamic, and
visceral as the live shows and recorded documents are powerful
examples of the possibilities of abstracted sound and its effect on
the listeners
Oscillating Innards (Portland, Oregon, USA)
Gordon Ashworth
The dynamic live sets of Oscillating Innards consist of visceral
electro-acoustic noise, textural collages of tape manipulation, and
overwhelmingly cathartic vocal and physical presence. Performances
and audio documents have often used acoustic objects in unusual but
highly effective manners, i.e. an entire car door and bumper, a metal
file cabinet, a boat propeller, a prepared piano, a power drill and
broken cymbals. Use of such objects lends to a form a physical,
concrete parallel to the aural impressionism.

Freitag, 26. November
Gene Coleman (USA)
Gene Coleman is a composer, musician and artistic director. He has
created over 40 works for various instrumentation, often-using complex
notations and improvisation in the same score. Radical use of the
instrument’s sound producing possibilities makes Coleman, both as a
composer and as a performer, a musician who seeks a greater synthesis
between what is called sound (or noise) and what is called music.
Since 2001 his work has focused on globalization and music’s
relationship with architecture and video.
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