The Ready Room pops off every weekend with live DJs! Free!
The beauty of field recording, and moreover listening, is that it can happen anywhere. This March, join Lawrence English as he casts his ears across Brooklyn. Join us as we explore various “sound locations”, collect recordings, share techniques/methods and discuss the ways in which field recordings can be used in sound art and music practices.
You don’t need to be a skilled field recorder to attend – this is for everyone, from the curious first-timer to the well-experienced sound designer. This field trip will cover not just technical aspects, but philosophical, aesthetic and conceptual approaches to working with environmental sound.
Participants are required to bring their own recording device – whether it is a digital field recorder, cassette recorder, minidisc, iPhone, iPad, video camera, or other mobile recording device, as well as their own set of headphones. English will work with you to develop your approaches towards capturing compelling recordings using any kind of technology.
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Lawrence English is an acclaimed artist working across disciplines. His field recording work is widely regarded as some of the most essential contemporary practice being published. He has recorded in a diverse range of locations, from the Amazon to Antarctica, the outback to remote islands of Japan. He has been described as a philosopher of listening.
NITEMIND is a group of artists using technology and physical space to create immersive and interactive installations. Our work uses light as a medium, including laser beams, video-mapped LED, and software art in combination with ephemeral sculpture and site-specific installations. Nitemind has been instrumental in the development of exhibitions at the Palais de Tokyo, Metropolitan Museum of Art, MOMA P.S. 1, Johannes Vogt Gallery, Red Bull Music Academy and many others.
LAWRENCE ENGLISH is a composer, media artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. He investigates the politics of perception, through live performance and installation, to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception
Website
Bandcamp
The Guardian feature
DJ RICHARD is a techno DJ/producer originally from Rhode Island, United States, and now based in Berlin, Germany. Since 2012 he has released two 12-inches on White Material, the label/collective he founded with Young Male and Galcher Lustwerk after attending the Rhode Island School of Design. He released his debut full-length album Grind on Dial in late 2015. He has also provided remixes for Radio Slave, Dan Bodan, Renaissance Man and Dial proprietor Lawrence.
Soundcloud
P4K on “Grind”
EARTHEN SEA is New York City based musician Jacob Long. Since 2005, Long has released music on a variety of formats on a number of labels including Kranky, Lovers Rock, Other People, and Imminent Frequencies, among other. The music has been noted for its “swirling low end, pulsing melodies and propulsive barely-there rhythms” and his work has also been described as having a “knack for texture that creates a disorienting, lost-in-your head sensation that allows it to work as both trippy ambience or immersive dance music.
Bandcamp
FACT on “An Act of Love”
SORAMIMI is a composer and producer based in NYC. “Soramimi” is defined as a mishearing or feigned deafness. She regards her music as narrative imagery, with an abstract sound illustrated by cerebral textures and dreamlike compositions. Soramimi brings a distinct fluency and gravity to the table of ambient and experimental techno.
Bandcamp
On Sunday 3/26 at Lawrence English will host a workshop entitled “The Radical Listener: Field recording, agency and the art of relational listening” Follow link for TIX.
BRUNCH BOUNCE returns! Coming to Knockdown Center with ARQ, EAUXZOWN, FIGHT CLVB, HEWY, JAMESY, NEM, PLAYTHEMUSIC, DJ SCHOOLBOY, SLICK NICK, and STKMUP!
Originally created by Irvin Benitez as an alternative to the nightlife scene in Washington Heights, New York and to fill the daytime party void, Brunch Bounce was spawned Memorial Day Weekend 2012. What began as a month to month day party amongst friends, grew from hundreds to thousands of revelers; expanding beyond its place of origin into the rest of the city that never sleeps, with the sole mission of providing pure unadulterated fun. Bouncing around (no pun intended) from borough to borough and packing out some of New York’s most esteemed night clubs and venues.
Built on the ethos of come with a good vibe, a smile and your dancing shoes, Brunch Bounce exists to provide a judgement free zone where you can let all your inhibitions go and just have fun on the dance floor with your friends and Brunch Bounce family while listening to some of the best DJ’s in New York City play out some of the best music. Covering every genre from House, Disco and Techno to Hip Hop, R&B and Reggae and even mixing in some Latin, Funk and More. We cover all the bases from sun up to sun down.
In 2014 Brunch Bounce conceptualized and produced The Greatest Day Ever! Festival; A cross-genre music event that sold out with 7,000 attendees. Over time, this once small social event has now roved to Miami, aboard the Mad Decent Boat Party and Mysteryland USA.
R Gamble (Lost Soul Enterprises / Motor)
Stallone the Reducer(Est 83 / LSE)
Knockdown Center is pleased to present TRAVELER, a mural by Carl E. Hazlewood, as a part of our FiftyTwo Ft series of long-term commissions of wall-based artworks in Knockdown Center’s East Corridor.
The mural’s title, TRAVELER, references the way viewers must physically move in order to grasp such a large work in a circumscribed space: essentially a long corridor at Knockdown’s entrance. The title also alludes to the artist’s shifting position, described by Hazelwood as not only that of an immigrant but also as black, poor, older – a boundary-crosser of sorts within a category of persons increasingly problematized (and sometimes demonized) in recent political machinations. While not explicitly a sociopolitical artist, Hazelwood manipulates abstract form and space in an effort to illuminate his personal vision, offering the possibility of poetic revelation.
Carl E. Hazlewood, born in Guyana, South America, has been an exhibiting artist since childhood. He is also a writer and curator currently living in Brooklyn, NY. He is co-founder of Aljira, A Center for Contemporary Art in Newark, NJ, and taught at New Jersey City University and other institutions. Currently associate editor for Nka: Journal of Contemporary African Art, (Duke University), he’s written for many other periodicals including Flash Art International, ART PAPERS Magazine, and NY Arts Magazine. Since 1984 he has organized numerous curatorial projects for Aljira such as ’Modern Life’ (co-curated with Okwui Enwezor). Hazlewood’s project on behalf of Aljira, ‘Current Identities, Recent Painting in the United States,’ was the US prize-winning representation at the ‘Bienal International de Pintura,’ Cuenca, Ecuador 1994. As an Independent curator he has organized numerous exhibitions including those for The Nathan Cummings Foundation, NY; Studio Museum in Harlem, NY; Hallwalls, NY; Artists Space, NY; P.S.122, NY,. Hazlewood has written catalogues for The Krannert Art Museum, University of Illinois; The Ben Shahn Center, William Paterson University, NJ; The New Jersey State Museum. Trenton NJ, and many others. His writing has also appeared in periodicals including ‘Flash Art International’, Rome; ‘ART PAPERS Magazine’, Atlanta, and ‘NY Arts Magazine’. Latest book essays include the upcoming, ‘Terry Adkins: RECITAL, for the Tang Museum and Gallery, Skidmore University, Saratoga, NY.
