WHEN: Wednesday, Feb. 17th, 7:00PM //// WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.
Marc Couroux will be performing/presenting PSYCHO(TIC)ACOUSTICS, a theory-fiction in which aurally infected pathologies are dreamed as alternate modalities for productive intervention into the negative feedback loops characteristic of cybercapitalism.
Jennifer Walshe will be discussing her recent compositional work as well as her current involvement with the Aisteach Foundation whose project is to document the activities of the 187 year history of the Irish avant-garde.
Marc Couroux is an inframedial artist, pianistic heresiarch, schizophonic magician, teacher (York University, Visual Arts) and author of speculative theory-fictions. His xenopraxis burroughs into uncharted perceptual aporias, transliminal zones in which objects become processes, surfaces yield to sediment, and extended duration pressures conventions beyond intended function. His work has been exhibited and performed internationally (Amsterdam, Berlin, Chicago, Glasgow, London). With Asounder, a sonic tactic collective, he coordinated the (un)sound occupationworkshop (collapsing sound and politics) in Toronto in 2013. He is a founding member of “The Occulture” (with eldritch Priest and David Cecchetto), a Toronto collective investigating the esoteric imbrications of sound, affect and hyperstition through (among other constellating ventures) Tuning Speculation: Experimental Aesthetics and the Sonic Imaginary, an ongoing workshop with yearly iterations, and the Sounding the Counterfactual stream at the 2014 London Conference in Critical Thought (a blog at theocculture.net documents their evolving thought-forms). Recent talks occurred at the Signal Path workshop (New York, Center for Transformative Media, Parsons), Kingston University (London), Goldsmiths, University of London, the Aesthetics After Finitude conference in Sydney, Australia and LOMAA (London Media Arts Association).
Publications include the quad-authored (Occulture) Ludic Dreaming: How to Listen Away from Contemporary Technoculture (Bloomsbury), a Preemptive Glossary for a Techno-Sonic Control Society in the Volumes catalogue (Blackwood Gallery), a speculative tract on AUDiNT for the CTM Festival (Berlin), a review of occult auditory documentation in the inceptive issue of Sound Studies (Bloomsbury) and chapters in The Idea of the Avant-Garde (Manchester University Press) and Aesthetics After Finitude (re.press). His hyperstitional doppelgänger was famously conjured in Priest’s Boring Formless Nonsense (Bloomsbury, 2013). He tweets as @xenopraxis.
Jennifer Walshe is a composer, performer, improviser, and sound artist. Her compositions have been performed, exhibited, and broadcast across the planet by a multitude of ensembles, galleries, and broadcasters, some of which would be: Alter Ego, ensemble recherché the National Symphony Orchestra of Ireland, Orchestra Sinfonica del Teatro La Fenice, Nadar Ensemble, Solistenensemble Kaleidoskop, Ensemble Resonanz, Apartment House, ensemble Intégrales, and many others.
In addition to her activities as a composer, Jennifer frequently performs as a vocalist, specializing in extended techniques. She performs frequently with musicians and ensembles in Europe and the United States, and regularly with her duos Ma La Pert (w/Tony Conrad) and Ghikas & Walshe (w/Panos Ghikas).
Since 2007 Walshe has been developing a project in which she assumes the persona of twelve members of the fictional Irish art collective Grúpat. Under the sign of these alter-egos she has created compositions, installations, graphic scores, films, photography, sculptures and fashion.
Walshe’s most recent project, Historical Documents of the Irish Avant-Garde, involves a team of collaborators who have created compositions, recordings, scores, articles and other ephemera to document the fictional history of the musical avant-garde in Ireland.