Author Archives:

26-28.Jan.2018 – From Me to You and Back Again

WHEN: January 26-28th /// WHERE: Various locations
Squaring The Circle: a new series of events curated by Viola Yip and Julian Day


A vocalist fits a tiny speaker in his mouth. A network of speakers swings back and forth. Performers sculpt feedback using giant foam sheets.


Six radical approaches to acoustic feedback

Cathy van Eck/ Matthias Kaul/ Cecilia Lopez/ Viola Yip / Tim Bruniges/ Julian Day/ Heath Franco/ Richard Kean with Thomas Buckner/ Jenn Grossman / Merche Blasco




1. Jan 26-28
sound installation by Tim Bruniges
Room 220, Waverly Building, NYU  (entrance at 31 Washington Place) FREE
Fri, 5-7pm – launch, artist talks, performance
Sat/Sun, 12-6pm – installation, performances (1/3/5pm)

2. Jan 31, 7:30pm
works with performative feedback
JACK, 1/2 Waverly Ave, Bk, $12/$10


27.Jan.2018 – “ab uno pluribus” (Phase II) – January 2018 Session

WHEN: Saturday, January 27th, 8:00PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003 / Enter through 31 Washington Place on weekends) /// $10 at the door; open to the public.
Join us on this Saturday, 1/27 for the first session of the fifth season. You will hear electro-acoustic live music in 8.1 surround sound by:
– HITOMI HONDA [piano]
– DAFNA NAPHTALI [voice + live sound processing]
– ANDREW NEUMANN [live electronics + integrated video]
with live visuals by LILY JUE SHENG, MIAH ARTOLA & other participating visualists.
In its monthly sessions “Ab Uno Pluribus” presents new exploratory experiences in the audio-visual realm. The versatile energies of select live musicians and video artists are synthesized into explosive though unrehearsed solo and group performances. You will never hear or see the same thing twice.
Doors 8:00pm, show 8:30pm, $10
BRING YOUR OWN YOGA MAT (so that you can have a relaxed experience)
Curated by WvS & Miah Artola
Produced by Sofy Yuditskaya, Miah Artola & WvS
MIAH ARTOLA is a cross media artist who creates interactive installations and works of all kinds that combine her paintings and drawings with new media.
HITOMI HONDA is a pianist from Japan. She started piano at age of 5 and quit at age 17. After ten years of blank, she decided to come back to playing again after she heard Emanuel Ax’ inspiring solo performance at Carnegie Hall. Her contempo-music performances begun with an electroacousitc music composer Akio Mokuno in 2013 right after receiving the master degree in piano performance from Brooklyn College. Hitomi mostly loves works of Baroque period (Bach) and New York School. Her performance of Earle Brown’s work Fourmoreat Make Music New York in 2016 was reviewed by Anthony Tommashini in New York Times [New York Times Review]. He wrote “Earle Brown’s complex, pointillist ‘Fourmore’, a solo work incisively played by Ms. Honda”. She currently focusing on her project, Sound Traffic Series where new composers from unique background bring their personal sounds. Meanwhile, she plans to grow her solo performances in coming years.
DAFNA NAPHTALI is a singer/electronic-musician, who composes/performs experimental, interactive electro-acoustic music using her custom Max/MSP programming for live sound processing of voice and other instruments, and works for multi-channel audio and musical robots. She draws on an eclectic musical background in jazz, classical, rock and near-eastern music, and interprets Cage, Stockhausen and contemporary composers, in projects with well regarded musicians around the world. Fellowships and awards include: New York Foundation for the Arts (’13, ’01), NYSCA (’99, ’18), Brooklyn Arts Council (’18), Franklin Furnace, American Composers Forum (’99 ’10), Foundation for Contemporary Arts, American Music Center, Brecht Forum, and Signal Culture in Owego, NY. Recordings and collaborations include work with “What is it Like to be a Bat?” digital punk trio w/Kitty Brazelton (Tzadik ’03), “Pulsing Dot” duo with Gordon Beeferman (piano/voice/live-processing, Clang ’18), Chatter Blip with Chuck Bettis (Acheulian Handaxe ’13). She’s written book chapter, “What if your Instrument is Invisible?” in Musical Instruments of the 21st Century (Springer/2016). Her album-in-progress “Machines & Memory” (projected late 2018) includes commissioned pieces since 2010 “Panda Half-Life” (vocal sextet- electronics), “Marching Men” (voice/chamber group/electronics) and Robotica (voice/music robots).
ANDREW NEUMANN is an interdisciplinary artist working in a variety of media, including electronic music, sculpture, film and video installation. He is the recipient of a Guggenheim Fellowship, a LEF Foundation grant among other awards. He has performed at Experimental Intermedia Foundation, Issue Project Room, Roulette, Spectrum, SUMP and other New York venues. He has had solo shows at the DeCordova Museum, bitforms Gallery, New York, The Center for Photography at Woodstock and the Boston Cyberarts Festival. His music is available on Sublingual Records. His videos have been shown on PBS, Microscope Gallery, The Worldwide Video Festival, Artist Space. He has had residencies at STEIM, MacDowell, YADDO, Djerassi, The Ucross Foundation, and the Experimental Television Center. This Spring, he will be an artist in residence at A-I-R, Krems, Austria.
LILY JUE SHENG makes moving image-based work with film, video, multi-projection performance & installation, and 2D mixed media. She graduated from the School of the Museum of Fine Arts in Boston, MA, and is currently based in Brooklyn, NY. She exhibits in a wide range of contexts such as museums, galleries, universities, film festivals, cinematheques, performance venues, large-scale building projections, electronic billboards, and other unique spaces. Her work has screened at the Whitney Museum of American Art, Parrish Art Museum, Mono No Aware, Microscope Gallery, Eyebeam, Pioneer Works, and the Knockdown Center in New York; the Museum of Fine Arts in Boston; the Musée d’art contemporain de Montréal in Montreal; the 1933 Slaughterhouse and West Bund Art & Design Fair in Shanghai; and 3331 Arts Chiyoda in Tokyo, among others.
Official Website:
Video Archive of previous sessions:

9.Dec.2017 – “ab uno pluribus” (Phase II) December 2017 Session

WHEN: Saturday, December 9th, 8:00PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003 / Enter through 31 Washington Place on weekends) /// $10 at the door; open to the public.


Join us on this Saturday, 12/9 for the last session of the year where we will present electro-acoustic live music in 8.1 surround sound by:

MERCHE BLASCO [EMF activity + e-guitar + e-toothbrush]
KEN MONTGOMERY [violin + electronics]
NERVE [electronics]
MICHAEL J. SCHUMACHER [sexy laptop]: new 8 channel composition

with live visuals by BLEUE LIVERPOOL,

In its monthly sessions Ab Uno Pluribus presents new exploratory experiences in the audio-visual realm. The versatile energies of select live musicians and video artists are synthesized into explosive though unrehearsed solo and group performances. You will never hear or see the same thing twice.

Doors 7:30pm, show 8:00pm, $10, BRING YOUR OWN YOGA MAT!

Curated by Wolfgang von Stuermer (aka WvS) / Produced by Sofy Yuditskaya, Merche Blasco, Miah Artola & WvS



ANDREA BEEMAN, THE ENCHANTRESS OF BIOLUMINOSITY, is a performing artist, choreographer, yoga instructor & dance teacher whose versatile performance palette ranges from the traditional dances of the Middle East & India to technologically savvy multimedia performance art. She has performed in venues ranging from concert halls to burlesque reviews in NYC & abroad & just concluded an 8 year run with the post-punk/new wave electronic dance band Crash Course in Science.

MERCHE BLASCO is an sound artist and composer based in New York. Her work involves building instruments with weird names, engineering participatory performances and doing electroacoustic improvisations with custom instruments and household appliances. She has presented her performances and installations at Sonar Festival (Spain), NYCEMF, La MaMa, the High Line, NIME conferences, Sonic Art Circuits (Washington), Mapping Festival (Geneva), Queens Museum of Art (NYC), Harvestworks (NYC) and the Museum of Contemporary Art in Santiago, Chile, among others. Her work has been featured in The New York Times, The Wall Street Journal, and Wire magazine.

BLEUE LIVERPOOL born & raised Brooklyn, NY, is a multimedia artist and filmmaker of Caribbean descent. She utilizes an array of visual fragments and superimpositions of light to convey attention and questions towards themes of ritual, provocation, displacement, migration, resistance, and personal philosophy within the Queer and Diaspora identity. She has conducted experiments at The Rubin Museum of Art, The Artist Space, RECESS NYC, and most recently in a group show at The New Museum. Liverpool was awarded the Mary Ellen Mark Scholarship and will be taking residency at the International Center of Photography this coming Fall 2017.

KEN MONTGOMERY is a New York-based artist whose involvement in the cassette-culture and mail-art movements of the late seventies and early eighties led to the creation of Generator, the first sound art gallery in New York City:  Located in the East Village in 1989 and 1991 in Chelsea, Generator’s octophonic sound system, wide scope and novel approach toward noise and sound art made it a vector-point for some of the most interesting and important artists from around the world. Generator was re-created at AVA gallery in 2013, the Print Shop at MoMA PS1 in 2014 and in October 2017 at Sediment Arts, Richmond Virginia.

After working in Berlin with Conrad Schnitzler in 1985 Montgomery began performing Schnitzler’s Cassette Concerts and his own multi-speaker concerts, often in total darkness to create a pure listening experience. Montgomery also creates visual art and has a steady practice of international correspondence art via postcards. As the Minister of Lamination (a.k.a. Egnekn) he is the world’s foremost practitioner of sonic Lamination Rituals. Montgomery has collaborated with a wide variety of artists including Conrad Schnitzler, Al Margolis, Andrea Beeman, David Lee Myers (Arcane Device), Zoe Beloff, Michael Zodorozny (Crash Course in Science), and Istvan Kantor (Monty Cantsin). Montgomery’s music has been released on the finest labels in the world – Noise Below (Greece), Chocolate Monk and Touch (UK), VOD Records (Germany), Esplendor Geometrico, (Spain), Staalplaat and De Fabriek (The Netherlands), Firework Editions (Sweden), XI Records, Banned Productions, GD Stereo, Pogus and Tellus (USA),  XV Parowek (Poland), and Monovision (Russia).

Past projects collaborating with Andrea Beeman, the Enchantress of Bioluminosity:Excerpt from Moon Ragas from Andrea Beeman, performed at The Stone in New York City February 19, 2012. With Adam Krauss and Marielle Allschwang
8 Track Magic: A Light Odyssey performed by Gen Ken Montgomery & Andrea Beeman, the Enchantress of Bioluminosity, at Hanson Records, Oberlin, Ohio, December 2013.

Closing Night at the AVA Generator:
The Enchantress of Bioluminosity performs to live music & slides by Gen Ken Montgomery & Michael Zodorozny at the closing of the AVA Generator show.

NERVE (Steve Hui) is a Hong Kong-based multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. His main interests are crossing boundaries, experimenting tradition and remixing art forms. His works have been appeared at Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. As a composer Steve has received commissions from City Contemporary Dance Company, Hong Kong Sinfonietta and Zuni Icosahedron. As a performer he has played at CTM Vorspiel, Kill the Silence, Lausanne Underground Film & Music Festival and Outlook Festival Hong Kong. He is a graduate of the Hong Kong Academy for Performing Arts and is a 2017 Asian Cultural Council fellow in New York.

MICHAEL J. SCHUMACHER has worked with spatialized sound, computers and electronics since the 1980s, creating multi-channel, generative “Room Pieces” presented in galleries, museums, concert halls, public and private spaces. XI records has published a dvd set of five sound installations as computer applications, playable on up to eight speakers, which may be installed on a computer to create sound environments in the home. His building-wide installation at EMPAC, in Troy New York, ran 24/7 for one year.

Schumacher’s interest in the relationship of musical form and architecture led to the founding of Diapason Sound Art, a gallery devoted to the presentation of multi-channel installations, long-duration performances and intermedia artworks. The gallery’s two high quality sound systems and its attention to the details of heightening aural perception made it an optimal space for creating and experiencing minimalist and process-based work. In its 15 years of existence, made possible by the generosity of Mr. and Mrs. Kirk Radke, Diapason presented over 300 artists, at a time when sound art was emerging as a distinct practice in the United States.

Schumacher studied music composition with Stanley Applebaum, Bernhard Heiden, John Eaton and Vincent Persichetti and piano with Seymour Bernstein, John Ogdon and Shigeo Neriki, and has degrees from Indiana University and Juilliard. He has collaborated with choreographers, poets, musicians and filmmakers. He’s an adjunct professor at NYU and has guest-lectured at Bard and RPI as well as having recently been the Varèse professor at Berlin’s TU.


Official Website:

Video Archive of previous sessions:


9.Nov.2017 – Marina Rosenfeld: Diagram of a Practice

WHEN: Thursday, November 9th, 10:00am ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


Marina Rosenfeld has been a leading voice in the hybridization of music composition with contemporary and experimental art practices. Her works have MarinaRosenfeld_FreeExercise_PhotoByGuyLHeureux_23+b&w+2addressed the conditions under which music is staged, reproduced, apprehended and distributed, through performance, installation, experimental forms of notation and a two-decades-long body of work challenging conventions of compositional practice and form. For her NYU presentation she will discuss two multi-part recent works, Free Exercise (2014-16) and Deathstar (2017), both works that have traveled from exhibition space to concert space and back again. Free Exercise developed in relation to a commission from a military ensemble and proposes a hybrid military-civilian body engaged in exercises promoting unisons and what the artist has called “dis-unisons”; Deathstar is the title of a recent solo exhibition, as well as a work for piano and orchestra (Deathstar Orchestration), and refers to an historical multimicrophone array associated, during the late nineties, with “perceptual soundfield reconstruction,” that is, a recording technique that aimed to reproduce a vivid, dimensional and experiential account of one acoustic space within another. For the artist, the “deathstar,” the abandoned device’s informal nickname, pointed to an intriguing alternative technological future, where a potentially non-linear, de-centered subjectivity, tied to difference and the particularities of bodies, might have supplanted the coming emphasis on portability and standardization that fed into the rise of the cell phone…

Marina Rosenfeld, Deathstar Orchestration (2017), installation view, Donaueschingen festival, Donaueschingen, Germany, October 22, 2017. Credit: Benjamin Piekut

Marina Rosenfeld, Deathstar Orchestration (2017), installation view, Donaueschingen festival, Donaueschingen, Germany, October 22, 2017. Credit: Benjamin Piekut


Marina Rosenfeld, 2017. Credit: Eileen Quinlan

Marina Rosenfeld, 2017. Credit: Eileen Quinlan

Marina Rosenfeld was born in New York in 1968 and has been based there since 1999. A composer and artist working across disciplines, she has had solo presentations in recent years by institutions including the Museum of Modern Art and the Park Avenue Armory in New York; the Whitney, Montreal, Liverpool and PERFORMA biennials; and the Holland, Wien Modern, Borealis and Ultima festivals, among many others. Projects in 2017 included commissioned works for documenta 14  and Donaueschingen Musiktage, and solo exhibitions at Portikus and the Bard Center for Curatorial Studies. She is co-chair of Music/Sound at Bard College’s MFA program. 

7.Nov.2017 – Bryan Jacobs: Music and mechanization

WHEN: Tuesday, November 7th, 10:00am ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


jacobs2Bryan will present some of his recent compositions and sound sculptures that utilize homemade mechanical instruments. He will discuss the unique attributes these instruments possess and how he has used them to engage concepts of virtuosity, collaboration, and classical performance.


Composer, performer, and sound artist, Bryan Jacobs’ work focuses on interactions between live performers, mechanical instruments and computers. His pieces are often theatrical in nature, pitting flute-front3blabber-mouthed fanciful showoffs against timid reluctants. The sounds are playfully organized and many times mimic patterns found in human dialogue. Hand-build electromechanical instruments controlled by microcontrollers bridge acoustic and electroacoutic sound worlds. These instruments live dual lives as time-based concert works and non-time-based gallery works. Jacobs, a Guggenheim Fellow, has been lucky enough to have his music and sound art presented at a number of festivals around the world. Bryan is the co-founder of Qubit and a member of Ensemble Pamplemousse.


6.Nov.2017 – Marianthi Papalexandri-Alexandri: Rethinking Composing

WHEN: Monday, November 6th, 12:30pm ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


Marianthi_Tupes2Papalexandri has created a series of works centered upon mechanical constructions that allow her to acoustically activate musical instruments, objects, architectural elements, and space presented in the context of composition, performance, sound installation, and sculpture. Her solo for sound sculptural instrument Untitled II is taken as a point of departure to address —through a lecture, and open discussion — how materials become part of and shape artistic practices, and how this makes us rethink the very notion of the musical instrument. 


Marianthi Papalexandri-Alexandri (b. 1974) is a Greek-born composer and sound artist based in Ithaca, NY and Zurich, Switzerland. Papalexandri graduated as a composer from Goldsmith’s College in London, continuing her studies at the Universität für Musik und darstellende Kunst in Vienna and completing a doctorate in composition at the University of California, San Diego. In August 2016 Papalexandri joined the Cornell University Department of Music as Assistant Professor of Composition.

speaking_of_memabransPapalexandri’s works interweave the borderlines of sound art, composition, visual objects and performance and explore the factors that link these art forms. Papalexandri’s work have been exhibited internationally, including the Asmolean Museum, Oxford; Martin-Gropius-Bau, Berlin; Museum of Musical Instruments Berlin; Tokyo Art Fair; Japan Art Media; ISEA Hong Kong; Art Taipei; Center d’Art Monica, Barcelona; San Francisco Art Institute; Biennale Disegno Rimini, Italy; Transmediale, Berlin, Museum Art Plus and Venice Biennale of Architecture. Papalexandri’s kinetic sound sculpture Speaking of Membranes, created in collaboration with Swiss artist Pe Lang is part of the Saastamoinen permanent collection of EMMA, Espoo Museum of Modern Art, Finland.

Papalexandri has been honored by numerous awards and residencies including the Berlin Senate Sound Art Award, Humboldt-University of Berlin International Fellowship, the Ernst Von Siemens Foundation Commission, the Dan David Prize for Contemporary Music and the International IMPULS Composition Award. She has been a sound artist in residence at the Akademie Schloss Solitude, Stuttgart, the Electronic Music Studios, Stockholm, the International House of Artists Villa Corcodia Bamberg, Germany and the St. John’s College, University of Oxford.

3_Untitled_II_tubesPapalexandri’s music has been commissioned and premiered all over the world by ensembles, such as Neue Vocalsolisten, Klangforum Wien, Ensemble SurPlus, Ensemble Mosaik, Yarn / Wire, Ensemble Dal Niente, Ensemble Scenatet, the San Francisco Contemporary Music Players, the Wet Ink Ensemble, Quartet New Generation, Orkest de Volharding, the London Improvisers Orchestra, the Hellenic Ensemble of Contemporary Music, Ensemble dissonArt, Hidden Mother, Ensemble This/Ensemble That, amongst others, and featured in festivals such as MaerzMusik Festival, Berlin; the ISCM World Music Days, Stuttgart; Ultrashall, Berlin; ZKM, Karlsruhe; impuls, Graz; De Bijloke, Yerba Buena Center for the Arts, San Francisco; Dialogue Festival, Salzburg; Carlsbad Music Festival, Los Angeles; ECLAT Festival, Stuttgart; SPOR Festival, Aarhus; Audiograft Festival, Oxford; Concertgebouw Brugge; Athens Concert Hall; Tzlil Meudcan Festival, Tel Avil; Darmstadt; Gaudeamus Festival, Amsterdam; Issue Project Room, New York; Wien Modern, MATA New York and Donaueschingen Musiktage 2017.

The recipient of the Humboldt-University of Berlin: Cluster of Excellence International Fellowship (2015), Papalexandri has been honored by numerous awards, residencies and grants, including the Ernst Von Siemens Foundation Commission (2016), the Berlin Senate Sound Art Grant (2016), the Swedish Arts Council Composition Grant (2016 & 2015), the Berlin Senate Composition Grant (2011), the International IMPULS Composition Award (2009), a residency at the Electronic Music Studios, Sweden (2008), the Dan David Prize for Contemporary Music (2007), the Darmstadt Stipendienpreis (2006), the Erickson Composition Fellowship (2004), the Kurt Weill Composition Fellowship, the Gluck Art Fellowship (2004) and a residency at the Akademie Schloss Solitude, Stuttgart (2011-2012). In 2017 Papalexandri was a sound artist in residence at the International House of Artists Villa Corcodia Bamberg Germany and at St John’s College, University of Oxford.

Current commissions include a sound installations and compositions for ensemble Klangforum Wien, Chamber Curious Players, Quiet Music Ensemble and cellist Séverine Ballon as well as a solo CD album to be released in 2018 by Japanese record label Matter.

30.Oct.2017 – Westerkamp and Hron; Concert and Q&A

WHEN: Monday, October 30th, 7:30pm ////  WHERE: Immersion Room @ Avery Fisher Center for Music & Media, NYU Bobst Library, 7th Floor, 70 Washington Sq. South, NY 10012
/// This event is free, RSVP needed.
Please RSVP here.
This concert features Beads of Time Sounding, a piece created by Terri Hron and Hildegard Westerkamp. It is a meditation on soundscape and music in general, but as represented specifically through the soundscapes and musical instrument sounds reminiscent of and harkening back to memories of home and childhood pasts. The concert also includes other electroacoustic works by Westerkamp and Hron.
Composer Hildegard Westerkamp focuses on listening, environmental sound and acoustic ecology. She worked with R. Murray Schafer at the World Soundscape Project, is a founding and board member of the World Forum for Acoustic Ecology and was long-time editor of its journal Soundscape. She has conducted soundscape workshops, given concerts and lectures, and has coordinated and led Soundwalks locally and internationally. Excerpts of her compositions appear in Gus van Sants’ films Elephant and Last Days and most recenly she collaborated on the soundtrack of Nettie Wild’s film Koneline.  Her latest composition – Beads of Time Sounding –  was a collaboration with composer and recorder player Terri Hron, who performed it in Vancouver in September 2016. She has just completed her newest composition Klavierklang for pianist Rachel Iwaasa for its world premiere at the ISCM festival in Vancouver, November 2017. Hildegard’s compositions were presented in a whole evening ‘Concert for Earth Day’ at Goldsmiths University in London on Saturday, 22 April 2017.  The CBC recently featured Hildegard’s work in its one-hour IDEAS radio programme: For more information see:
Terri Hron performs and creates music and multimedia works for wide range of settings. Bird on a Wire is her solo performance project, where she uses collaboration to adopt new skills and technology, from live electronics in absorb the current (2008) and immersive environments in flocking patterns (2011) to embodied practices in NESTING (2017). She regularly works with other composers, performers and artists from other disciplines. Terri studied musicology and art history at the University of Alberta, recorder performance and contemporary music at the Conservatorium van Amsterdam, and electroacoustic composition at the Université de Montréal. She investigates collaborative practices and expanded perception in electroacoustic music. Her work is supported by the Canada Council for the Arts, the Fonds de Recherche Société et Culture du Québec and the Conseil des Arts et des Lettres du Québec, among others.

21.Oct.2017 – “ab uno pluribus” (Phase II) October 2017 Session

WHEN: Saturday, October 21st, 8:00PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003 / Enter through 31 Washington Place on weekends) /// $10 at the door; open to the public.


Phase II of this monthly, now four year old experimental, audio-visual event series begins this Saturday with electro-acoustic compositions and live-improvised music by:

AKIO MOKUNO [laptop + MIDI controllers]
HANNAH SELIN [viola, voice + MAX/MSP processing]
RUSS ALDERSON [analog synths + nature samples]
WvS [digital synths + bass guitar MIDI controller]

with live visuals by PASAKORN NONTANANANDH (aka AKALIKO).

In its monthly sessions Ab Uno Pluribus presents new exploratory experiences in the audio-visual realm. The versatile energies of select live musicians and video artists are synthesized into explosive though unrehearsed solo and group performances. You will never hear or see the same thing twice.

Doors 7:30pm, show 8:00pm, $10, BRING YOUR OWN YOGA MAT!

Curated by Wolfgang von Stuermer (aka WvS) / Produced by Sofy Yuditskaya, Miah Artola & WvS



RUSS ALDERSON is an experimental musician and bass player from Brooklyn, NY. Russ entered into the Brooklyn noise scene in 2010 with his solo project, Xanthocephalus and in 2016 established Halcyon Motor Skills. Alderson enjoys the blend of sounds from the natural and urban worlds with electronic noise, beats and sequences. Russ has performed his improvised compositions live at multiple venues including Ambient Chaos @ Spectrum, Broad Channel, Prospect Range, Trans Pecos, Silent Barn and The Stone while also appearing in venues in upstate New York and Massachusetts.

Alderson’s music has been released on several independent music labels which include Baked Tapes, Tranquility Tapes, Skell, Ghetto Naturalist Series, Kendra Steiner Editions and Gilded Throne.

Prior to entering into experimental music and continuing today, Russ has played the bass guitar for a variety of musical acts from post punk to pop to cabaret to singer/songwriter accompaniment. Russ’ bass playing maintains a thoughtful, melodic quality showing a deep appreciation for harmony and composition.

AKIO MOKUNO is an electroacoustic music composer, audio engineer, singer-songwriter, noise bassist and multimedia performer. After exploring psychedelic/new wave bands in Nagoya, Akio moved to New York, in 1994, and joined the post-no wave/noise band Electoputas, as a bass and voice performer. Inspired by musique concrète (concrete music) and electronic music, in the late 1990s, Akio started improvising a sampler (Yamaha SU10 + Akai S2000) using an optical MIDI controller. He has performed with a number of renowned free jazz/experimental musicians and visual artists, including Damo Suzuki, Sabir Marteen, Tatsuya Yoshida (Ruins), Frank Marino, 99 Hooker (Rev.99), Ron Anderson, Chris Forsyth, Kenta Nagai, Hitomi Honda, Maria Chavez, Angie Eng, Noriko Nakano and Benton-C Bainbridge.

Akio earned a BFA (Sonic Arts) from the City College of New York, an MFA (Performance and Interactive Media Arts) and a MM (Music Composition) from Brooklyn College, CUNY. He studied under Paul Kozel, John Jannone, David Grubbs, Douglas Geers, Vito Acconci, and Morton Subotnick. He was the commissioned artist for the 13th Biennial Arts and Technology Symposium at Connecticut College (2012). His composition, Mullaly Park 9/10, was selected for the New York City Electroacoustic Music Festival (2014) and received the Max Mathews Award for Excellence in Sonic Arts from the Conservatory of Music in Brooklyn College as well.

PASAKORN NONTANANANDH aka AKALIKO ia an Experimental Visual Artist, motion graphic designer and Visual Jockey (VJ) based in New York. He works both in digital media and handcraft techniques. He produces his own unique style of artwork, by adapting his profession commercial computer skills with the analogue experimental processes and seeks new possibilities and combined them together, which can be developed and transformed into many medias e.g. moving image, installation, photography and live visual performance. His early art co-exhibition, which he developed his hand drawing artwork into moving-image sequence and projected them on the sculpture of another artist, or, the previous experimental short film project he animated his drawing on the computer and project them on himself and recorded these processes onto the camera.

Composer, violist and vocalist HANNAH SELIN juxtaposes acoustic instruments with electronic sounds, field recordings and recorded interviews to imagine new and unlikely sound-spaces. Her work ranges from solo instrumental and chamber music with and without electronics, to songs, music for dance, orchestral music and sound installations. She performs frequently throughout New York City with ensembles including Ensemble Mise-En, the AEON Ensemble and the Delphi Chamber Orchestra as well as her own group, GADADU, at venues including Carnegie Hall, Roulette and Le Poisson Rouge.

After receiving the 2015 Miriam Gideon Award for excellence in the study of musical composition, Hannah was selected as Composer-In-Residence with the Brooklyn College Orchestra in the spring of 2016. She was a finalist in the 2016 Verdant Vibes Call for Scores, and has been commissioned by saxophonist Carlos Gontijo and violists Karen Ritscher and Kallie Ciechomski. With GADADU, Hannah has participated in residencies at Avaloch Farm Music Institute and at the Aaron Copland School of Music at Queens College. Hannah has studied composition with Wang Jie, Per Bloland and Missy Mazzoli, viola with Karen Ritscher, Robert Vernon and C.J. Chang, and voice with Fay Victor. She was selected as a 2018 resident at the Djerassi Resident Artists Program.

The audio work of New York City based sound organizer WvS is comprised of highly abstract and dense sound-layers, noise-oriented organic sonic textures and ambient soundscapes.

WvS studied computer music, classical composition and music theory in Europe with Wolfgang Rihm, Mathias Spahlinger and in the US with John Cage. He attended the ‘Darmstadt Ferienkurse fuer Neue Musik’ and many European Computer Music conferences, lectured at IDEA, was Artist in Residence at Harvestworks/PASS (NYC), exhibited in Spain at the Barcelona Museum of Modern Art, performed in New York City with sound-installations, solo and in collaboration with Dok Gregory, Peter Principle, Jeremy Slater as “Plan 23”, as well as with Richard Garet, Kyung-Mi Lee, Sarah Bernstein, Eric Barry Drasin, Lady Firefly and others at Spectrum, Roulette, Sonic Front, Figment Festival, Governors Island Art Fair, Diapason, SHARE, BPM, Grace Exhibition Space, GrayZone Kingston, Goodbye Blue Monday, Flux Factory, Warper Party, the Knitting Factory, MonkeyTown ({R}AKE + FLOW), Generator Sound Gallery amongst other places, and managed Knitting Factory Records for many years.

Having previously composed music for orchestras, chamber ensembles & solo instruments and conceptualized + realized computer controlled interactive performances, WvS currently focuses on performances and sound-installations of entirely computer-generated sound structures without the use of electro-acoustic samples or ‘field recordings’.

10.Oct.2017 – Justin Peake on Figure toolkit

WHEN: Tuesday, October 10th 11:30AM ////  WHERE: NYU Music Dept. Rm 365 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


photo by Kevin Bay

photo by Kevin Bay

Peake will present on FIGURE, a toolkit for musicians and artists to compose dynamic musical works. It replaces paper sheet music with networked tablet screens,allowing a new richness in the display and execution of musical notation. Using a combination of live web elements and dynamic graphics, new possibilities arise in terms of how music is represented and cued.


Justin Peake is a multidisciplinary artist who works near the intersection of digital media, music composition, and interactive performance. His current work involves developing tools for variably structured improvisation in performance and education. In 2016 he was awarded a research fellowship at NYU’s Interactive Telecommunications Program (ITP) where he explored political aesthetics, democratic performance, ecological media, and new music composition. Beside performing solo and with ensembles, his larger works drive toward equitable, collaborative, and trustworthy models of shared leadership through community driven composition and performance.

3.Oct.2017 – Elliot Sharp on current Compositional Strategies

WHEN: Tuesday, October 3rd, 10AM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


Elliot Sharp will present descriptions of strategies that, though diverse, are all linked at the core in a vision just defined as the translation of the creative impulse to its appropriate manifesharpstation. The spectrum of these various outputs includes contemporary opera, compositions as self-organizing systems using algorithmic approaches and based on natural forms and processes; new methods for graphic notation; expanded use of traditional notation for orchestral and chamber works; continuation of the development of personal vocabulary and syntax in improvisational performance; and finally, studies and applications of concepts in socio-acoustics.


Sharp is an American multi-instrumentalist, composer, and performer.

A central figure in the avant-garde and experimental music scene in New York City for over 30 years, Elliott Sharp has released over eighty-five recordings ranging from orchestral music to blues, jazz, noise, no wave rock, and techno music. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction.

His collaborators have included Radio-Sinfonie Frankfurt; pop singer Debbie Harry; Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Kronos String Quartet; Ensemble Resonanz; cello innovator Frances Marie Uitti; blues legends Hubert Sumlin and Pops Staples; pipa virtuoso Min-Xiao Feng; jazz greats Jack deJohnette, Oliver Lake, and Sonny Sharrock; multimedia artists Christian Marclay and Pierre Huyghe; and Bachir Attar, leader of the Master Musicians Of Jajouka.

Sharp is a 2014 Guggenheim Fellow, and a 2014 Fellow at Parson’s Center for Transformative Media. He received the 2015 Berlin Prize in Musical Composition from the American Academy in Berlin. He has composed scores for feature films and documentaries; created sound-design for interstitials on The Sundance Channel, MTV and Bravo networks; and has presented numerous sound installations in art galleries and museums. He is the subject of a new documentary “Doing The Don’t” by filmmaker Bert Shapiro.

More, including discography, at wikipedia.

Listen to a recent interview on NPR’s “All Things Considered”.