This week, we’re hearing from Diana Marcela Rodriguez, aka DM R, and James Diaz. They’ll give us a preview of a roundtable discussion they had with Jose Martinez from their group C3, the Columbian Composers Collective, alongside violinist Natalie Calma. This summer, we’ll air their full conversation as an audio episode in Spanish, alongside a video with English subtitles.
For more information about DM R, visit her website: www.dmr.land/
For more information about James Diaz, visit his website: https://www.jamesdiaz.co/
Check out their collective, c3: https://c3tres.co/
Today's episode is a playlist of music we love.
0:48 CIHUANAHUALLI: Tlacualo (devorado / devoured) by Carmina Escobar
7:05 Delirious Delicacies by Nick Dunston
12:03 Pequeño tótem by Wilfrido Terrazas
18:20 and Dorothy never looked back by Patrick Shiroishi and Dylan Fujioka
25:41 7 fish in a desert byElena Rykova and Etienne Nillesen
32:21 for trumpet by Weston Olencki
37:44 Variation X by DM R
CIHUANAHUALLI: Tlacualo (devorado / devoured) by Carmina Escobar
Carmina Escobar is an extreme vocalist, improviser, sound and intermedia artist from Mexico City currently based in LA.
Justin Asher, Sound Engineer
Scott Cazan, Mixing and Mastering
Delirious delicacies by Nick Dunston
Nick Dunston is an acoustic and electroacoustic composer, improviser, and bassist. His work also embraces the fields of tape and instrument building.
Louna Dekker-Vargas: flute
Ledah Finck: violin
Tal Yahalom: guitar
Stephen Boegehold: drums
Nick Dunston: composition, bass
Pequeño tótem by Wilfrido Terrazas
Wilfrido Terrazas is a Mexican flutist, improviser, composer and educator, whose work finds points of convergence between notated and improvised music, and approaches collaboration and collective creation in innovative ways.
From the album Be Prepared (Ápice, 2019)
Wilfrido Terrazas, bass flute
Recorded by Jesús Segura, Estudio Horizonte, Ensenada, Mexico, December 2017.
Mixed and mastered by Ramón del Buey at El Palacio de Asturias, Mexico City, Spring 2019.
Produced by Wilfrido Terrazas and Ápice.
and Dorothy never looked back by Patrick Shiroishi and Dylan Fujioka
Dylan Fujioka is a drummer and composer born and raised in Los Angeles.
Patrick Shiroishi is a Japanese American multi-instrumentalist & composer based in Los Angeles.
Patrick & Dylan went to high school together where they first started making music together.
dylan fujioka - drums & percussion
patrick shiroshi - sax & voice
recorded at Dylan's house on the 15th of February, 2021
7 fish in a desert by Elena Rykova and Etienne Nillesen:
A composer and interdisciplinary artist Elena Rykova explores a wide variety of genres in music and visual art. She brings together instruments and found objects, extending one through another and creating performative musical situations with a strong visual aspect.
Etienne Nillesen is a performer and composer from The Netherlands currently based in Cologne/ Germany. His work involves elements of conceptual and spontaneous composition, structured improvisation, performance, and sound art.
for trumpet by Weston Olencki
Weston Olencki is a musician and sound artist living in Brattleboro, Vermont. They make varied work loosely centered around psychoacoustic perception, questions of instrumental music and its contexts/constructs, sonic ecology, various mediated practices of listening and improvisation, and the technological, material, and cultural histories of rural space/time.
Recorded by Michael Coleman, assisted by Dominic Coles.
Produced by Weston Olencki.
Variation X by DM R
From New 9 Variations: https://youtu.be/U6QZayX7Pgk
Born and raised in Bogotá, DM R is currently based in NYC. She is a composer of electroacoustic music, a concert series curator in Columbia Composers, C3, CanvaSound, and a 90s anime aficionado.
released November 2, 2020
Composed, mixed by DM R
Mastered by Murat Colak
® all rights reserved
Julien Malaussena considers his compositional prism to be sound energy–not timbre nor time; not dynamics, pitch, nor the sound space, but rather this element straddling all of these, one less palpable, less quantifiable.
He has been particularly influenced by the teaching of Chaya Czernowin and Pierluigi Billone. He also had master classes with Brian Ferneyhough, Raphaël Cendo, Alberto Posadas, Antoine Beuger, Dmitri Kourliandski, Georges Aperghis, Mark Andre, Beat Furrer, Franck Bedrossian, Rebecca Saunders and Ming Tsao. He has been selected for ‘Voix nouvelles’ program at Fondation Royaumont, “Composers Academy in Tchaikovsky city”, Etchings festival, Schloss Solitude SummerAcademy, Tzlil meudcan festival and Sirga Festival.
His music has been played by ensembles like Court-Circuit, Xasax, les Cris de Paris, 2E2M, L'imaginaire,Nikel, le Moscow Contemporary Music Ensemble, Ecce ensemble, Les solistes du Balcon, ensemble interface, ensemble Surplus, and Duo XAMP (microtonal accordions), in France, Israel, Switzerland, Belgium,Germany, Russia, Austria, Brazil, USA, Turkey and Spain.
On this episode, Laura and Madison interview Julien about his piece '8 minutes after boiling,' composed for TAK in spring of 2020, and set for public release in spring 2021.
To purchase Julien's music, go to https://enmossed.bandcamp.com/album/articulated-sound-energy
To hear the music of Agnes Hvizdalek, who inspired the voice part of '8 minutes after boiling,' go to https://soundcloud.com/agneshvizdalek
To download TAK's most recent album, Star Maker Fragments, go to http://takensemble.bandcamp.com/album/star-m…er-fragments
Charlotte Mundy is a vocalist who specializes in music that is new, daring and sublime. She has been called a "daredevil with an unbreakable spine" (SF Classical Voice). Recent performances include George Benjamin’s one-act opera Into the Little Hill at the 92nd Street Y and a set of music for voice and electronics presented by New York Festival of Song, described as "an oasis of radiant beauty" by the New York Times. In summer of 2021, Mundy will present a sound, light and smell installation called Light as a Feather at the Harvestworks House on Governor's Island. She is a core member of Ekmeles vocal ensemble.
On this episode, Laura and Marina interview Charlotte about TAK's beginnings and about her life outside of TAK.
To dive deeper into Charlotte's work, go to http://charlottemundy.com
To download TAK's most recent album, Star Maker Fragments, go to https://takensemble.bandcamp.com/album/star-maker-fragments
This week, Isaac Jean-François interviews Jessie Cox about his TV series, "Space Travel from Home."
“...some of the most experimental music of not just the day but the season... held a listener’s attention with surprises and delights aplenty.“ — LA Times
Jessie Cox is a composer, drummer, and scholar, currently in pursuit of his Doctorate Degree at Columbia University. Growing up in Switzerland, and also having roots in Trinidad and Tobago, he is currently residing in NYC. He has written over 100 works for various musical ensembles including electroacoustic works, solo works, chamber- and orchestral works, works for jazz ensembles and choirs. As a performer he has played in Europe, Africa, the Caribbean and the USA; with
musicians from all over the world. His scholarly writing has been published in the journal Sound American, and Castle Of Our Skins’ blog, a publication is forthcoming in Critical Studies in Improvisation; and he has presented his work at numerous conferences and festivals.
For more about Jessie, visit: https://www.jessiecoxmusic.com/
Space Travel from Home, the complete series, can be viewed at: https://www.jessiecoxmusic.com/space-travel
Isaac Jean-François (he/him) is a doctoral student in the joint degree program with African-American Studies and American Studies at Yale University. Jean-François’s research interests include black studies, phenomenology, psychoanalysis, queer theory, and sound studies. His research on composer and performer Julius Eastman is featured in an upcoming issue of Current Musicology in an essay titled, “Julius Eastman: The Sonority of Blackness Otherwise” (July 2020). Jean-François is committed to the intersection between academia and advocacy work and serves as the Secretary of the Board of Directors of the Stonewall Community Foundation based in New York City.
Jean-François earned his B.A. from Columbia University in Women, Gender, and Sexuality Studies, Cum Laude. He holds a Certificate of Study from the European Graduate School in Saas-Fee, Switzerland.
Upcoming for Jessie Cox:
3/31/21, premiere at Issue Project Room: https://issueprojectroom.org/event/propositions-deadwip-sound-listening-jessie-cox
3/20/21: premiere at Maerzmusik on March 20th: https://www.berlinerfestspiele.de/en/berliner-festspiele/programm/bfs-gesamtprogramm/programmdetail_334357.html
3/26/21: record release with Infrequent Seams on March 26th: https://stringnoise.bandcamp.com/album/alien-stories
This episode was recorded and produced by Jessie Cox and Isaac Jean-François, in collaboration with TAK Ensemble, and edited by Marina Kifferstein.
In this week's episode, Brad Garton interviews composer Taylor Brook and multi-media artist Lara Lewison about Star Maker Fragments, the new album from TAK Ensemble, out 3/3/2021.
Lara Lewison creates audiovisual art for the web and for live performance, with a focus in networking, language, and creating live works that are dependent on exchanges between “performer" and “audience." She works with combinations of software and programming languages and has given unity workshops and lessons at Harvestworks, CUNY Tech, and Columbia. She holds a bachelors of arts in music from Columbia University and was the 2020 recipient of the Louis Sudler Prize in the Arts.
Taylor Brook writes music for the concert stage, electronic music, music for robotic instruments, as well as music for video, theatre, and dance. He has worked with Ensemble Ascolta, JACK Quartet, Mivos Quartet, Nouvel Ensemble Moderne, Quatuor Bozzini, Talea Ensemble, and others. He has won numerous SOCAN Young Composers awards, including two first-place prizes and the grand prize in 2016 for Song, for solo cello.
Brad Garton is an American composer and computer musician who is professor of music at Columbia University. He has written, or helped to write, a number of computer music applications, including Real-Time Cmix, music synthesis and signal processing language for real time composition.
Star Maker Fragments: takensemble.bandcamp.com/album/star-m…er-fragments
Star Maker World: laar.world/starmaker/
Lara Lewison: laar.world
Taylor Brook: Taylorbrook.info
Brad Garton: sites.music.columbia.edu/brad
Brandon Lopez is a bassist/improviser/composer who works at the intersection of jazz, free improvisation, noise and new music. He has been an artist-in-residence at Roulette and Issue Project Room, performed as a soloist with the NYPhilharmonic and in ensembles with Fred Moten, Okkyung Lee, Ingrid Laubrock, Tyshawn Sorey and Gerald Cleaver, who is his guest for this episode.
TAK commissioned and performed Empty Church of Plenty with Brandon in the fall of 2019 at St. Mary’s Church in Harlem and on the 2020 New Ear Festival.
Gerald Cleaver, a drummer/improviser/composer who’s worked with Henry Threadgill, Roscoe Mitchell, Muhal Richard Abrams, and William Parker. He’s the bandleader of Violet Hour, Black Host and he recently released an album of electronic music titled Signs.
Black Host: https://geraldcleaversblackhost.bandcamp.com/releases
to learn more about TAK, go to http://takensemble.com
Bethany Younge’s acoustic and electronic music explores the manifold kinesthetic properties of musical performance. For her, the act of music-making cannot be divorced from the physical presence of the human instigator. Her works often incorporate instrumental deconstruction, exaggerated movement, motion tracking, sounding costumes, and/or other aesthetic devices to sonically heighten corporeal expressivity. Younge is currently pursuing her DMA in Music Composition at Columbia University in New York. Her works have been featured in the 2016 and 2018 International Summer Course for New Music Darmstadt, Resonant Bodies Festival, Gaudeamus Muziekweek, The 16th International Young Composers Meeting, and many other festivals. She has worked with many ensembles including JACK Quartet, Distractfold, ASKO|Schönberg Ensemble, TAK Ensemble, TILT Brass, Sputter Box, KLANG, Ereprijs Orkestra, Fonema Consort, AndPlay, Chartreuse, Gyre Ensemble, Ekmeles Vocal Ensemble, Inversion Ensemble, Mocrep, and others throughout Europe and the USA. In 2016, she was awarded the Stipend Prize at the International Summer Course for New Music Darmstadt. She was also awarded a commission prize by National Sawdust, in New York City and the 10th Mivos/Kanter prize.
Bethany was one of TAK's commissioned composers of the 2019-2020 season, and we premiered her work "at midnight I walked into the middle of the desert" at Saint Mary's Church in Harlem last fall.
On today's episode, Bethany speaks with Merche Blasco, a multimedia artist and composer based in New York.
Blasco designs and builds imprecise technological assemblages that catalyze embodied forms of live electroacoustic composition and new modes of listening. Through her constructed devices, she attempts to establish a more horizontal relationship with other entities, distancing herself from parameters of precision, power, and control. As an alternative form of performance, she engineers collaborative spaces with instruments that are given their own agency, in compositions where her body and the live exploration of organic materials are central elements.
She has presented her performances and installations at the Whitney Museum of American Art, Sonar Festival in Barcelona, La Biennale di Venezia, NIME conferences, Tsonami International Sound Art Festival in Chile, The High Line in New York, SONIC Festival, Mapping Festival (Geneva), Queens Museum of Art and the Museum of Contemporary Art in Santiago de Chile, among others. Her work has been featured in The New York Times, The Wall Street Journal, and The Wire magazine.
You can find Bethany online at:
You can find Merche online at:
The music in this episode is all by Merche Blasco:
RECONFIGURATIONS I: Conversations with Anette
Shelley Hirsch – Voice
Dafna Naphtali – Voice, electronics
Levy Lorenzo – Percussion
Dennis Sullivan – Percussion
Merche Blasco – Anette
Audio recording and mix: Yi-Wen Lai-Tremewan
Bardenas, live performance by The Rhythm Method
Leah Asher, violin
Marina Kifferstein, violin
Carrie Frey, viola
Meaghan Burke, cello
EEMF03: Rinoceronte azul
Christa Robinson … Electric guitar + electric toothbrushes
Alice Teyssier … Antenna and piezoelectric collar
Mosa Tsay … Electric guitar + electric toothbrushes
Viola Yip … Antenna and piezoelectric collar
Viento y Sierra
Merche Blasco - Electronics and musical saw
Rehearsal saws - recorded in Cleft Ridge Span in Prospect Park
Gryphon Rue - Musical saw
Merche Blasco - Musical saw
This week's episode was produced by Bethany Younge in collaboration with TAK Ensemble, and edited by Marina Kifferstein.
This week on the podcast, Ashkan Behzadi and Saharnaz Samaeinejad interview Marxist political theorist Alan Woods about art and socialism.
Alan Woods was born in 1944 in Swansea, South Wales, into a working-class family with strong Communist traditions. At the age of 16 he joined the Labour Party Young Socialists and became a Marxist. He studied Philosophy and Russian at Sussex University, and later in Sofia (Bulgaria), and at Moscow State University (MGU). He has a wide experience of the international labor and solidarity movements, particularly in Latin America, Pakistan, Russia, and Spain, where he participated in the struggle against the Franco dictatorship. He is a member of the National Union of Journalists in the UK. Along with Ted Grant, Alan Woods was one of the main theoreticians of the Militant tendency in Britain in the 1970s and 1980s, and the editor of the Militant International Review. He is currently the political editor of the popular website In Defence of Marxism (www.marxist.com), and Secretary of the International Marxist Tendency (IMT). He is the author of hundreds of articles, pamphlets, and books, covering a wide range of issues including revolutionary politics and current events, economics, history, philosophy, art, music, and science.
You can read some of Alan's articles on his website, In Defense of Marxism: https://www.marxist.com/tag/65-alan-woods.htm
This episode was produced by Ashkan Behzadi and Saharnaz Samaeinejad in collaboration with TAK ensemble, and edited by Ashkan, Saha, and Marina Kifferstein.
Shaped by sonic sensitivity from a young age, Pittsburgh based composer/performer/artist Devon Osamu Tipp creates unorthodox musical environments from ostensibly incompatible realms. Tipp’s music draws influence from his Japanese and Eastern European roots, his experiences as a jeweler and painter, improvisations with plants, and his studies of gagaku and hogaku in Japan and the US.
TAK had the pleasure of working with Devon earlier this year when we were in residence at the University of Pittsburgh, where he’s currently pursuing a doctorate in composition.
On today's episode, Devon speaks with Dresden based composer, shō performer, and sound artist Chatori Shimizu. As the First Prize Winner of the 2016 Malta International Composition Competition, Shimizu's works have been performed and exhibited throughout Australia, Canada, China, France, Germany, Japan, South Korea, the Netherlands, Poland, Serbia, Thailand, United Kingdom, and the United States.
For more information about today's guests, find them online at the links below.
Devon's website: https://www.greengiraffemusic.info/
... and his bandcamp: https://devonosamutipp.bandcamp.com/
Chatori's website: https://www.chatorishimizu.com/
Score follower of Mimi Spelunking (2019), by Chatori Shimizu, performed by Naoyuki Manabe (Shō), Tai Chihiro (Vla.) https://www.youtube.com/watch?v=uNpv7vCkzgM
Today's episode was produced by Devon Osamu Tipp in collaboration with TAK ensemble, and edited by Marina Kifferstein.
Hannah Kendall is a composer whose work has been described as ‘…intricately and skillfully wrought’ by The Sunday Times. Her music has attracted the attentions of the London Philharmonic Orchestra, BBC Singers, Seattle Symphony Orchestra and Atlanta Symphony Orchestra, with performances at the Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House's Linbury Studio Theatre, Westminster, Canterbury, Gloucester and St Paul’s Cathedrals, Westminster Abbey and Cheltenham Music Festival.
TAK was lucky enough to work with Hannah in early 2020 when we were in residence at Columbia University, where she is currently a Doctoral Fellow.
On today’s episode, Hannah speaks with vocalist, movement artist and composer Elaine Mitchener, who has performed at venues including Aldeburgh Music, London Contemporary Music Festival, 56th Venice Biennale, ULTIMA Festival, and La Monnaie, and with musicians such as Moor Mother, Christian Marclay, Apartment House, George Lewis and Evan Parker.
Hannah Kendall’s website: https://hannahkendall.co.uk/
Catch The Knife of Dawn / Royal Opera House performance on Oct. 24: https://www.roh.org.uk/tickets-and-events/new-dark-age-details
Elaine Mitchener’s website: https://www.elainemitchener.com
Watch SWEET TOOTH: https://www.elainemitchener.com/sweet-tooth
Hear her recent performance at Donaueschinger Musiktage: https://www.swr.de/swr2/musik-klassik/-radiokonzert-elaine-mitchener-und-das-ensemble-mam-mit-auffuehrungen-zu-texten-der-jamaikanischen-schriftstellerin-sylvia-wynter-100.html
Catch her Oct. 28 performance live on BBC radio3: https://londonsinfonietta.org.uk/whats-on/yet-unheard
This is a friendly lil teaser for some upcoming episodes of the TAK Editions Podcast! Every Tuesday for the next five weeks will feature conversations between a recent TAK collaborator and a guest of their choosing.
We are so grateful to all of our guests for contributing their time and thoughts to the podcast, and super excited to share their brilliant convos with you.
The music at the beginning and ending of this episode are from Sanctuary by Mario Diaz de Leon, recorded by TAK in 2017. Get the recording here:
Marina Kifferstein is a violinist, composer, and a founding member of TAK ensemble and The Rhythm Method string quartet. She also performs regularly Talea, Wet Ink, and the International Contemporary Ensemble, and is a co-administrator of the Open Improvisations concert series. As a composer her work has been performed across the U.S. and Europe. Marina is currently a DMA candidate at the CUNY Graduate Center. She holds an MM in Contemporary Performance from the Manhattan School of Music, a BM in Violin from Oberlin Conservatory, and a BA in English from Oberlin College.
On this episode, Charlotte and Madison interview Marina about TAK's beginnings and about her life outside of TAK.
To dive deeper into Marina's work, go to http://marinakifferstein.com
To download TAK's most recent album, Oor, go to http://takensemble.bandcamp.com/album/oor
Madison Greenstone is a clarinetist currently based between San Diego and New York City. Her creative practice encompasses contemporary & experimental music, improvisation, noise & acoustic feedback, and band-like collaborations with other creative performers. She has performed as a featured artist of the Darmstadt Ferienkurse für Neue Musik and the Lucerne Festival Academy. Notable performances have been as a soloist presented by ISSUE Project Room, as part of the Merce Cunningham Centennial in Los Angeles, and in recital at the Vigeland Mausoleum (Oslo). Madison is the clarinetist of TAK Ensemble, a founding member of the [Switch~ Ensemble], and can be heard on Wandelweiser Editions and Another Timbre.
Madison is a doctoral candidate at UC San Diego and received her Bachelor's degree from the Eastman School of Music.
In this episode, TAK flutist and Executive Director Laura Cocks and Technical Director Taylor Brook interview Madison, who is the newest member of TAK ensemble.
This episode was edited by Marina Kifferstein with help from Alex Van Gils.
Tyshawn Sorey is a multi-instrumentalist and composer born in Newark, New Jersey, known for his mastery and memorization of incredibly complex scores. He has performed nationally and internationally with his own ensembles, as well as artists such as Roscoe Mitchell, George Lewis, John Zorn, Claire Chase, Evan Parker, and Anthony Braxton, among many others.
He has been commissioned by The Spektral Quartet, Ojai Music Festival, International Contemporary Ensemble (ICE), and more recently Carnegie Hall and Opera Philadelphia. He was awarded a 2017 MacArthur Fellowship.
In this episode, Laura Cocks and Charlotte Mundy of TAK talk to Tyshawn about “Ornations,” written for TAK and featured on their album, Oor.
To stream and purchase Oor: http://takensemble.bandcamp.com
More about Tyshawn Sorey’s music: http://tyshawnsorey.com
Natacha Diels is a composer and performer whose work combines choreographed movement, improvisation, video, instrumental practice, and cynical play to create worlds of curiosity and unease. With a focus on collage, collaboration, and the ritual of life as art, her compositions have been described as “a fairy tale for a fractured world” (Music We Care About). She is a member of the composer/performer collective Ensemble Pamplemousse and the performance duo On Structure, and she teaches composition and computer music at the University of California, San Diego.
In this episode, Laura Cocks and Marina Kifferstein of TAK talk to Natacha about “The Colors Don’t Match,” written for TAK and featured on their recent album, Oor.
To stream and purchase Oor: http://takensemble.bandcamp.com
More about Natacha Diels’ music: http://natachadiels.ccom
Ensemble Pamplemousse’s quadruple album Lost at Sea: https://pamplemoussies.bandcamp.com/
Music video for The Colors Don’t Match: https://youtu.be/cpfwPgiJ7GY
Erin Gee is a composer and vocalist who has created, in her Mouthpiece series, an ephemeral world that expands the possibilities of the voice, leaving behind the constrictive structure of language, and replacing histrionic female vocals with a virtuosic mouth and a tabula rasa for an emotional palate. Begun as one piece for solo voice in 2000, the list of Mouthpieces has grown to over 30 works for orchestra, opera, vocal ensemble, large chamber ensemble and string quartet, which have been performed internationally with some of the top ensembles for new music.
On this episode, Ellery and Charlotte of TAK talk to Erin about her piece Mouthpiece 28, featured on TAK's recent album, Oor.
To stream or download Oor: http://takensemble.bandcamp.com
For more about Erin Gee: http://www.erin-gee.com/
To watch TAK's music video of Mouthpiece 28: https://youtu.be/NqZY9q0R3tE
The Albertine Workout by Anne Carson: https://www.lrb.co.uk/the-paper/v36/n11/anne-carson/the-albertine-workout
Ashkan Behzadi’s music combines a miniaturist lyrical craft with an aim to invoke the collective-memory of folklore music through the use of allusion and pastiche. The question of genre-identity and genre-blurring and, in particular, the relationship between modern lyric and contemporary music is at the core of his aesthetic and artistic research.
In this episode, Marina Kifferstein and Charlotte Mundy of TAK speak to Ashkan about his piece “Az hoosh mi..” for the violin and soprano, in which the musical dimension of the text, an erotic post-language Persian modern poem, expands in the texture of the music to create an elaborated heterophonic relationship between the voice and violin. “Az hoosh mi…” is featured on TAK’s recent album, Oor.
To stream and purchase Oor: takensemble.bandcamp.com
To learn more about Ashkan’s music: https://soundcloud.com/ashkan-behzadi
Ann Cleare is a composer whose work explores the static and sculptural nature of sound, probing the extremities of timbre, texture, colour, and form. She creates highly psychological and corporeal sonic spaces that encourage a listener to contemplate the complexity of the lives we exist within, exploring poetries of communication, transformation, and perception.
On this episode, Laura Cocks and Charlotte Mundy of TAK speak to Ann about her piece “unable to create an offscreen world (c),” featured on TAK’s recent album, Oor.
To stream and purchase Oor: http://takensemble.bandcamp.com
To learn more about Ann’s music: http://annclearecomposer.com
Hyperobjects by Timothy Morton: https://www.upress.umn.edu/book-division/books/hyperobjects
Vibrant Matter by Jane Bennett: https://www.dukeupress.edu/vibrant-matter
The photography of Andreas Gefeller: http://www.andreasgefeller.com/
David Bird is a composer and multi-media artist based in New York City. His work explores the dramatic potential of electroacoustic and mixed media environments, often highlighting the relationships between technology and the individual, and has been performed internationally by some of the best performers working in the field of contemporary music. He also happens to be director of Creative Research with TAK Ensemble, and a founding member of the group.
On this episode, Marina Kifferstein and Ellery Trafford of TAK speak to David about his piece "Series Imposture," featured on TAK's recent album Oor.
To stream and purchase Oor: http://takensemble.bandcamp.com
To learn more about David's music: http://davidbird.tv
To watch the Adam Curtis documentary The Trap: https://www.youtube.com/watch?v=BGJqU-JpbXw
To learn more about Lewis Nielson's music: http://www.lewisnielson.com/