<nettime-ann> ISSUE Project Room Presents a Month-Long Institute of DARM

FOR IMMEDIATE RELEASE

June 2009 at ISSUE Project Room

ISSUE Project Room Presents a Month-Long Institute of DARMSTADT
Tony Oursler's "Synesthesia", Elliott Sharp, Susie Ibarra, Joan La Barbara, Alan Licht, Ne(x)tworks and Music of the Merce Cunningham Dance Co.

IPR'S FIRST ANNUAL SOUNDWALK-A-THON IS JUNE 7!

May 28, 2009 - Brooklyn, NY - Darmstadt "Classics of the Avant-Garde" music series is proud to announce its first ever Institute, a month-long festival at ISSUE Project Room dedicated to exploring the connection between live performance and pedagogical practice. This month of interdisciplinary programming includes concerts, lectures, workshops, film screenings, and talkbacks which celebrate and critically examine the continuum of the experimental tradition in music and related media. It is the hope of Darmstadt's curators that its Institute will deepen the understanding and appreciation of experimental work, both within the New York music community and the general public.

Most performances are $15 ($12 in advance, ISSUE members, $10) and begin at 8 pm unless otherwise noted. Please visit the web site for more information at www.issueprojectroom.org.

Monday, June 1 (FREE EVENT)
Opening Event: Tony Oursler's Synesthesia (DARMSTADT Institute edit)

Tony Oursler's Synesthesia video project is an oral history of New York's downtown music, performance and art scenes. For the DARMSTADT music series, Oursler's editor creates a special version, focusing on experimental composers. Interviewees include John Cale, Thurston Moore, Genesis P-Orridge, Kim Gordon, Glenn Branca, Laurie Anderson, Tony Conrad, David Byrne, Paul Miller, and Arto Lindsay. These works were originally included as one element of Oursler and Mike Kelley's multimedia installation The Poetics Project. These conversations reveal fascinating insights and anecdotes from some of the most influential figures in the experimental rock and art underground of the 1970s and '80s, from pre-punk innovators to post-punk icons, from industrial and avant-garde music to noise bands and "no wave."

There is no admission charge for this program. It is free and open to the public.

This program funded by the Experimental Television Center, supported by the New York State Council on the Arts

Tuesday, June 2
Deflag Haemorrhage/Haien Kontra

Ferocity and immobility, instruments abused and unused, musicians zombiefied in their 'stage persona' and in general the sense of psychosis, of necessary superfluousness that gushes from every gesture, from each decision taken by this anglo-basco duo make their live event an experience that is all but impossible to relate to, at least until they've stripped you of the costuming of dominant culture. DEFLAG HAEMORRHAGE/ HAIEN KONTRA formed in 2001 in Hackney, East London and have collaborated with Eddie Prevost (AMM) and Philip Best (Consumer Electronics, ex-Whitehouse). They have performed at Netmage (Bologna), Abject Music (Berlin), MEM (Bilbao) and TheErrorIsMedia (London). They recently depleted a residency at Worm (Rotterdam).

Wednesday, June 3
David Grubbs with Michael Evans and Patrick McCarthy and in conversation with Branden W. Joseph

David Grubbs will present two pieces: "Hybrid Song Box" and "Onrushing Cloud." "Hybrid Song Box" is Grubbs's soundtrack music for Angela Bulloch's sculptural installation "Hybrid Song Box.4," which was included in the Guggenheim Museum's recent exhibition Theanyspacewhatever. For tonight's performance, Grubbs will be joined by Michael Evans (drums, electronics) and Patrick McCarthy (electric guitar), who performed "Hybrid Song Box" during the Guggenheim's 24-hour event that marked the close of Theanyspacewhatever. "Hybrid Song Box" is a 30-minute piece that alternates between a section that in successive iterations is increasingly scuffed or degraded and a section that throbs, purrs, and gives off a slow stroboscopic effect. This latter section is the soundtrack at its most Bulloch-like. "Onrushing Cloud" developed from his recent performance and recording with Andrea Belfi and Stefano Pilia.

This concert is sponsored in part by funds received from Meet the Composer Creative Connections.

Friday, June 5
TRANSIT performs Composer Portraits: Matthew Welch and Daniel Wohl

Ulrikke for cello and percussion (2008)--Matthew Welch
Big Hands (2009)--Daniel Wohl
The Secret Labyrinth of Ts'ui Pen (2008)--Matthew Welch
Suite Primaire (2008)-Daniel Wohl
Symphony of Drones #2 (2002)-Matthew Welch
Plus ou Moins (2007) or Bass Clarinet, Cello, Piano, percussion and electronics

TRANSIT
David Friend, Piano
Sarah Phillips, Clarinet
Andie Springer, Violin
Evelyn Farny, Cello
Joe Bergen, Percussion
Daniel Wohl, Composition

Sunday, June 7
1 pm
ISSUE Project Room Soundwalk-a-thon!

Soundwalks Led and Designed by Anthony Coleman, Betsey Biggs, Kenny Wollesen, and Jonathan Kane, Among Others

On this afternoon, a group of visionary artists will lead sonic excursions throughout New York as part of a rare live sonic arts experiment -- the ISSUE Project Room Soundwalk-a-thon -- a fundraiser and collective public inquiry into the connection between urban space and our collective sonic imaginations.

Led and designed by some of New York's most exciting sound artists and musicians, these walks will take groups of 10-20 people at a time on an intimate journey of sonic discovery to experience our community in a way they may never have done before -- through sound. Walks range from meditative deep listening, to sing-a-longs, to noise-making walks incorporating instruments, iPods, boomboxes, cell phones, or silence in order to amplify the nuances of our ever-changing soundscape.

Sunday, June 7 at 7pm and 9pm
Ne(x)tworks

Fredric Rzewski's Les Moutons de Panurge (7pm)
A rare complete reading of this seminal work from 1969 that audaciously combines pure Minimalist additive/subtractive technique with bold inderterminacy.

Music for and by Ne(x)tworks (9pm)
Michael Schumacher - isorhythmic variations
Anthony Coleman - Seven at the Golden Shovel
Joan La Barbara - Scatter
Kenji Bunch - selections from Woman in the Dunes
Miguel Frasconi - new work

Ne(x)tworks is a collaborative ensemble of musicians creating and interpreting work that features a dynamic relationship between composition and improvisation. In performance and recordings, the group locates pathways into various types of notation systems and interfaces, striving for a meaningful dialogue with the past, present, and future of creative music. Formed in 2002 in New York City, Ne(x)tworks advances the tradition of the 'performing composer' ensemble by frequently presenting full programs of compositions created by its members. The group's repertoire also extends beyond its ranks to encompass the open scores of New York School composers, work by the their European counterparts, further experiments by the composer performers of the AACM and SoHo Scene of the 1970's, the so-called Downtown composers of the 80's, and commissioned works by like-minded contemporary colleagues.
This concert made possible through funding provided by the New York City Department of Cultural Affairs.

Monday, June 8
James Blackshaw and Koen Holtcamp

"The hypnotic arpeggios at the heart of James Blackshaw's acoustic guitar playing reflect strong influences from outside the precincts of folk music: minimalist composers like Steve Reich and Terry Riley, and some of their precursors, like Erik Satie. Mr. Blackshaw, a British autodidact still in his mid-20s, fingerpicks his 12-string Guild with an immersive focus befitting such heady allusions...Conveys a stark and ancient feeling, like something handed down through the ages...." - The New York Times

"There's an indecent ease to James Blackshaw's guitar playing. His fingerpicking mantras are as melodic as a music box, gliding through dizzying tempos like clockwork... Such is the silky control he exerts over his instrument, Blackshaw often sounds more like a court harpist than a backwoods strummer." - The Wire

Tuesday, June 9
Søren Kjærgaard, Andrew Cyrille & Ben Street, "optics"

There is a somnambulant quality to Optics, a kind of waking-life feeling. Søren Kjærgaard, a 29-year-old Danish pianist, recruited bassist Ben Street and the phenomenal drummer Andrew Cyrille for this trio. Cyrille, known for his work with the likes of Cecil Taylor and Oliver Lake, is the senior member, and much of what happens revolves around him. The 14-minute title track that opens the CD demands patience from its musicians. Kjærgaard plots out deep, serious chords, employing dramatic pauses as the rumble of mallets on skins establishes the tone. Street picks deliberately on the upper neck of his bass as Kjærgaard then lays down an ascending series of minor chords. A quiet snare roll, a repeated three-key phrase played lightly--this is minimalist bliss. On "Cyrille Surreal," icy, detached chords play against a reluctant swing rhythm, but things evolve, as they always do, and rowdiness finally replaces inertia. - Jazz Times

Wednesday, June 10
IMAGINARY PLASTIC: projections and music (live and not) created by Bradley Eros

For this evening, the artist Bradley Eros creates a synergistic combination of original filmworks inspired by and including repertoire by Messiaen and Stockhausen, and audiovisual performances of works by Cage and Stockhausen, including Eros's original method of 'musique plastique,' burning projected gels and film with contact microphones. Collaborations with Nastya Osipova and Twisty Cat (Lea Bertucci and Ed Bear) round out the evening.

Thursday, June 11 at 6:30pm & 8:00pm
Stephan Moore and John King present Music of the Merce Cunningham Dance Company

6:30 pre-concert talk regarding Music and Dance, the work of John
Cage, David Tudor and the current musical practice of the MCDC

8:00 concert featuring John Cage's "Fontana Mix," currently the score for MCDC's dance "XOVER, and "Blues99," composed by John King, for two performers (commissioned by MCDC for the dance "CRWDSPCR").

Stephan Moore is a composer, performer, audio artist, and sound designer in New York City. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Many of his performances and installation artworks make use of large, multi-channel arrays of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught college-level courses in composition, sound art and electronic music at several schools. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company, and one of its core musicians.

John King, composer and guitarist, has had his music presented in many major festivals, including the tba/Time-Based Arts Festival (Portland, OR); Fronteras Festival (London); Next Wave Festival (NY); Schleswig Holstein Musik Festival (Hamburg); Intermedium 1 Festival (Berlin); Creative Time's "Music in the Anchorage" (NY); Warsaw Autumn and Bang On A Can (NY). Mr. King's experimental opera, "La Belle Captive", based on texts by Alain Robbe-Grillet, was premiered in Buenos Aires at the Centro Experimental de Teatro Colon in April 2003, receiving further performances in London and NYC.

This concert is supported by funds from Meet the Composer Creative Connections.

Friday, June 12
The Conference of the Guitars created by Elliott Sharp and Dan Joseph

This performance will feature works for multiple electric guitars by Marco Cappelli, Lisa Coons, Dan Joseph, Paula Matthusen, Elliott Sharp and James Tenney performed by Elliott Sharp, Dan Joseph, and Marco Cappelli, with Dither: Josh Lopes; James Moore; David Linaburg; and Taylor Levine.

Septet for Six Electric Guitars and Bass - James Tenney
Particle Accelerator - Dan Joseph
SyndaKit - Elliott Sharp
tba - Marco Cappelli
but because without this - Paula Matthusen
X-Sections (excerpt)- Lisa Coons

Saturday, June 13 at 3pm
Voice Workshop with Joan La Barbara

Darmstadt and ISSUE Project Room are proud to present an afternoon with legendary singer and composer Joan La Barbara as she demonstrates her "signature" extended vocal techniques and approach to singing, including the vocal warm-up she uses, stretches focusing on the shoulders and neck, essential information about healthy production of tone, resonance focusing, reinforced harmonics or overtone singing, and other techniques (inhaled singing, glottal clicks, vocal fry, ululation) and some discussion of repertoire both historical and current. This workshop is open to singers of all levels, composers, dancers, and artists interested in Ms. La Barbara's approach.

Joan La Barbara's career as a composer/performer/soundartist explores the human voice as a multi-faceted instrument expanding traditional boundaries in developing a unique vocabulary of experimental and extended vocal techniques: multiphonics, circular singing, ululation and glottal clicks that have become her "signature sounds". Creating works for multiple voices, chamber ensembles, music theater, orchestra and interactive technology, her awards in the U.S. and Europe include the 2008 Letter of Distinction from the American Music Center; 2004 Guggenheim Fellowship in Music Composition; DAAD Artist-in-Residency in Berlin and 7 National Endowment for the Arts fellowships.

***Those wishing to enroll should email nick@harknessav.org***

This program is sponsored by funding from Meet the Composer Creative Connections and the New York City Department of Cultural Affairs

Saturday, June 13
Bing and Ruth and Elodie Lauten: Piano Music Revisited

Formed in 2006 by Brooklyn based composer and pianist David Moore, ambient chamber band Bing and Ruth utilizes a large number of traditional acoustic instruments to craft expansive soundscapes and quiet microtonal textures. With clarinets, voices, cellos, bass, percussion, and piano, the group calls upon a family of experienced musicians and improvisers who ably interpret Moore's slow-developing, visceral compositions.

>From Piano Works to Concerto for Piano and Orchestral Memory to the moody Tango (dedicated to French painter Robert Malaval), all the way to Variations on the Orange Cycle (listed among the one hundred best works of the 20th century by Chamber Music America) and the rediscovered Sonate Modale, Elodie Lauten will perform some of her own favorite piano pieces.

Composer Elodie Lauten's music has been presented by the Lincoln Center Festival, the New York City Opera, WNYC, The Kitchen, the Performing Garage, the Dance Theater Workshop, La Mama, the Soho Baroque Opera, Downtown Music Productions, AFMM, Interpretations, the SEM Ensemble, The Whitney Museum, and at the Paris Museum of Modern Art. The current discography includes 27 titles to-date, released on Lovely Music, O.O. Discs, Point/Polygram, New Tone (Italy), 4-Tay, Tellus, Nonsequitur, Capstone, Frog Peak, Pitch, Studio 21 and Unseen Worlds.

Monday, June 15
Francesco Dillon & Emanuele Torquati

Featuring New Music for cello and piano, Francesco Dillon and Emanuele Torquati present "Simple Space", named for the evening's hallmark work composed by Miroslav Srnka. The evening also includes works from composers Giacinto Scelsi, Michel Van der Aa, Salvatore Sciarrino, Jonathan Harvey and Valentin Silvestrov.

Torino-born cellist, Francesco Dillon graduated with degrees from the Conservatorio "L.Cherubini" in Firenze under the inspirational guidance of Andrea Nannoni. Other influential teachers where David Geringas, Mario Brunello, and Amedeo Baldovino and for the composition studies, Salvatore Sciarrino. Aside from solo work (with Orchestra Nazionale Della RAI, Orchestra Sinfonica Siciliana, Orchestra Haydn, among the others) he's also a cellist for the Quartetto Prometeo. His deep interest in contemporary music led him to collaborate closely and regularly with some of the most important composers of today such as Gavin Bryars, Philip Glass, Vinko Globokar, Jonathan Harvey, Toshio Hosokawa, Giya Kancheli, David Lang, Henri Pousseur, Kaja Saariaho, and with renowned electronic musicians such as Matmos, Pansonic, Scanner, and Midaircondo.

Tuesday, June 16
Climax Golden Twins with Sublime Frequencies Film Screening

MY FRIEND RAIN - Sublime Frequencies (2007)
Filmed on various trips through Southeast Asia by Robert Millis and Alan Bishop from 2002 to 2007, My Friend Rain is an impressionistic collage of musical segments and tropical ambiance set against the decay and rebirth through the endless Asian monsoon cycle. Locations include: Myanmar (Burma), Angkor Wat in Cambodia, Thailand, Laos, and Indonesia. (36 minutes)

INDIA AT 78rpm - Excerpt from a work in progress (2009)
An excerpt from a project about 78rpm records and the intersection of folk and classical musical traditions in India. Mostly filmed in 2008 in the Southern Indian state of Tamil Nadu, including processions, street musicians and an interview with a slightly nutty Indian 78 collector. (19 minutes)

PHI TA KHON: GHOSTS OF ISAN - Sublime Frequencies (2006)
Phi Ta Khon: Ghosts of Isan documents a traditional Buddhist "ghost festival" held yearly in Thailand's Isan province that features beautiful handmade masks, outrageous wooden phalluses, ceremony, ritual, dancing, and endless live Thai mo lam music. The film has almost no narration (some titles set the scene and provide a little background), the idea being to create a sense of trance and to throw the viewer into the middle of the celebrations to just enjoy the colors and sounds. (47 minutes)

Climax Golden Twins is a Seattle, WA-based experimental collage outfit originally consisting of Rob Millis and Jeffery Taylor, then picking up Scott Colburn in 1996. The group's earliest material was recorded in 1993 but wasn't released until their 1996 album Imperial Household Orchestra. In 1994 they started Fire Breathing Turtle to distribute their work along with audio exotica, especially their ongoing "Victrola Favorites," complations of rare 78s from around the world. With numerous tapes, CDRs, mini-CDs, singles, side and solo projects, audiophile records and other aural collectables, being a CGT fan is no simple, or inexpensive, task.

Wednesday, June 17
IPR Artist-In-Residence, Ha-Yang Kim

Cellist, composer and improviser Ha-Yang Kim has developed a unique language of extended string techniques and has created her own music based on this work, as well as collaborating on new pieces from other composers. Past performances include as soloist at Carnegie Hall, touring and playing at festivals in the US, Europe, Cuba and Bali, Indonesia, performing at the Bang on a Can Marathon with both her duo and the All-Stars, composing for and performing at the Kwacheon International Theatre Festival in Seoul, Korea, a solo recital at the Hochschule für Musik in Würzburg, Germany, and broadcast recordings for the Bavarian Radio Network.

ISSUE Project Room's Artist In Residence Program is made possible through generous support from the Jerome Foundation.

Thursday, June 18
TILT Brass presents New York Noise

Nick Didkovsky - Stink Up! (2003) [World Premiere]
Lois V. Vierk - Jagged Mesa (1990)
Rhys Chatham - Waterloo No.2 (1985)
Elliott Sharp - Coriolis Effect (1997/2003)

Trumpet - CJ Camerieri, Shane Endsley, Russ Johnson; French Horn - John Clark, Ann Ellsworth; Trombone - Joe Fiedler, Chris McIntyre; Bass Trombone - Jacob Garchik, Dave Nelson; Tuba - Ron Caswell; Percussion - Kevin Norton

Friday, June 19
Either/Or plays Morton Feldman's Why Patterns? + David Budin plays Karlheinz Stockhausen's Klavierstuck IX

Either/Or returns to Issue Project Room with another "early music" concert, presenting Morton Feldman's Why Patterns? (1977). E/O directors Richard Carrick and David Shively are joined by flutist Jane Rigler for the performance.

Saturday, June 20
Ensemble Pamplemousse

Founded in 2002 as a vehicle for musical exploration, Pamplemousse presents concerts of extraordinary focus and clarity. Comprised of virtuosic musicians trained in classical, electronic, and improvisational realms, the group consistently delivers fresh, exhilarating new concepts in sound. The members' eagerness for aural discovery has allowed for ample experimentation processes, where boundaries are non-existent, and from which a strong dialogue has emerged. Among the group's vernacular resides formerly unfathomable sound landscapes formed by the acute relationships the performers have forged with each other, and with the composers who are an intrinsic part of the ensemble. The product, uncompromising and resolutely beautiful, is created by incredibly innovative, yet-to-be-named approaches to performance and composition.

Sunday, June 21
Flexible Music + Imaginary Band

With an instrumentation that blurs the line between jazz, rock and classical music, Flexible Music was inspired by Dutch composer Louis Andriessen's Hout for saxophone, guitar, piano and percussion. Since 2003, the group has commissioned over 30 pieces including new works by Nico Muhly, Orianna Webb, Vineet Shende, John Link, Ryan Streber, Mikel Kuehn, Andrew Waggoner, Steve Ricks, Nizan Leibovich, Ethan Wickman, Ross Bauer, Carl Schimmel, Seung-Ah Oh, and Adam B. Silverman.

Some of the ensemble's past concerts and residencies include Brigham Young University, University of Utah, Manhattan School of Music, Cleveland Institute of Music, William Paterson University, and The Stone (NYC). Flexible Music's debut cd, FM, was released by New Focus Recordings in March 2009.

Imaginary Band is helmed by Gordon Beeferman, a composer, pianist and improviser based in New York City. His works -- orchestral, solo, chamber, and opera -- have been performed by the Minnesota Orchestra, Albany Symphony, California EAR Unit, Quartet New Generation recorder collective, American Brass Quintet, eighth blackbird, pianist Winston Choi, soprano Lisa Bielawa, and others. His chamber opera The Rat Land, performed by the New York City Opera on its VOX: Showcasing American Composers series, was praised by the New York Times as "complex and daringly modern." His new project, Imaginary Band, features Kirk Knuffke on trumpet, Ken Thomson and Matt Bauder on saxophones, Josh Sinton on clarinet, Brad Kemp on bass and Michael Evans on drums.

Tuesday, June 23
IPR and The Wire Magazine Celebrate Exact Change's 20th Anniversary!

Featuring Joan La Barbara, Loren Connors, Alan Licht, Till by Turning, Alex Waterman, Barbara Epler, James Hoff, Kenneth Goldsmith, Damon Krukowski and Naomi Yang responding to and reading the work of Joseph Cornell, Franz Kafka, Morton Feldman, Stefan Thermerson, Leonora Carrington, Unica Zurn and John Cage.

Exact Change publishes books of experimental literature with an emphasis on Surrealism, Dada, Pataphysics, and other nineteenth and twentieth century avant-garde art movements.

The press was founded in 1989 by Damon Krukowski and Naomi Yang, known outside publishing as musicians from the bands Damon & Naomi, and Galaxie 500.

Many Exact Change titles were originally published by larger houses, especially in the 1960s, but had more recently been left out of print; some were previously published in the U.K. but not in North America; others are new publications initiated by Exact Change. But in all cases these are books that we believe should be kept available always. We think of our list as a looking-glass version of the Penguin Classics or the Library of America, drawn from works that are equally important but have in general been neglected in the U.S.

Wednesday, June 24
Lesley Flanigan + Connie Beckley

Speaker Synth is a kinetic, sculptural instrument built by Lesley Flanigan to play the sounds of speaker feedback. Her performances with these instruments are a process of sculpting noise to make music as she samples sounds from her voice and feedback to create a pallet of melodies and rhythms. The interplay of feedback and voice takes metaphors of noise as material, instrumentation as form, and amplification as communication to build a performance of new electronic music originating entirely from human voice and speaker feedback.

Connie Beckley has presented her work in both commercial and public cultural institutions throughout Europe and North America, including the New Music America Festivals, the Venice Biennale, the Paris Biennale, and the Museum of Modern Art. Reviews and articles appear in publications including The New York Times, Art in America, Arts, Artforum, Tel Quel, Flash Art, and Art Press. Her musical composition from The Aquarium, initially released by Steirischer Herbst Festival, Graz, Austria, has been re-released in New York by Composers Recordings, Inc.

Thursday, June 25
Mivos String Quartet plays works by Tony Conrad and Luke Dubois

Two new works for strings by composer-artists Tony Conrad and Luke Dubois followed by a conversation with the artists.

This program sponsored by funds from Meet the Composer Creative Connections

"SUSIE IBARRA WEEKEND"
DARMSTADT and ISSUE Project Room are proud to present a weekend with percussionist and composer Susie Ibarra. On Friday night, a concert with her new all-star quartet then her young children's percussion workshop, Mundos Niños, the next afternoon.

Friday, June 26
Susie Ibarra Quartet

Violin - Jennifer Choi
Piano - Kathleen Supové
Harp - Bridget Kibbey
Drums and Percussion - Susie Ibarra.

Performing music for quartet, these pieces are inspired by Filipino Indigenous folklore.

"Composer and Percussionist Susie Ibarra is known for her individual artistry on percussion and genre-defying music. In the past decade, her willingness to step out from behind the kit and embrace non jazz forms- opera, poetry experimental sound, dance-has taken her from that initial buzz from below Houston Street to international reknown as a composer, performer and proponent of folkloric music." - New York Times

Saturday, June 27
1 pm
Mundos Niños Children's Percussion Workshop with Susie Ibarra & Roberto Rodriguez

MUNDOS NIÑOS, Children's World, is music for young children and children at heart, that teaches singing and counting rhythm in English and Spanish through world music. Percussionists and composers Roberto Rodriguez and Susie Ibarra blend influences of Latin, Asian, American and African music in their songs for children. Enrollment is encouraged to all young children with parental supervision.

This program is sponsored by funding from Meet the Composer Creative Connections and the New York City Department of Cultural Affairs

8 pm
David Linton and Tom Hamilton with Jacqueline Martelle (flute)
Works by Robert Ashley, Alvin Lucier, Al Margolis, and Tom Hamilton

Tom Hamilton has composed and performed electronic music for over 30 years, originating in the late-60s era of analog synthesis. His ongoing series of concerts, installations and recordings contrast structure with improvisation and textural electronics with acoustic instruments. Rather than addressing traditional modes of _expression_, presentation and observation, Hamilton often explores the interaction of many simultaneous layers of activity, prompting the use of "present-time listening" on the part of both performer and listener.

Hamilton is a 2005 Fellow of the Civitella Ranieri Foundation, participating in a residency at the foundation's center in Umbria. His CD London Fix received an honorary mention in the 2004 Prix Ars Electronica.

Originally a percussionist David Linton has created sound for many collaborative dance, theater, & performance settings since his arrival in downtown NY in the early 1980's. By the later 80's - after a good deal of percussion work along side other musicians - he was equally known for his live wired solo electro-acoustic drumkit performances as well a s his soundscore productions. His 1986 solo LP 'Orchesography' (on Glen Branca's Neutral Label) was an influential collusion of 'early' sampling tek with street beats and theatrical post modernism.

By the early 90's he had retired from 'live' performing in the 'improvised' electro-acoustic vein to concentrate on the vocabulary of entirely electronic music and the resultant paradigm shift in performance priorities that this new 'compressed' format suggested. Throughout the 90's Linton became a dedicated advocate for the expansion and appreciation of realtime performance in electronic media through the design and/or production of event/environments such as 'SoundLab' (1996) and eventually 'UnityGain' (1997-present).

Sunday, June 28
DARMSTADT Record Fair with Pterodactyl

1 pm
DARMSTADT ends its inaugural Institute with an afternoon-long record/media fair and sunset concert with the band Pterodactyl. Collectors and vendors of experimental and avant-garde media are encouraged to buy, sell, and trade. Please contact Zach Layton at zachlayton@gmail.com for details.

7 pm
Pterodactyl
The nucleus of the band Pterodactyl are Joe Kremer (guitar, voice) and Matt Marlin (drums), with a number of Brooklyn's more artified players joining in, including Zach Lehrhoff (Ex Models). This is their sendoff show as they begin a tour to promote their new record, Worldwild (Brah).

ALL EVENTS $15 (advance - $12, members - $10)
"INSTITUTE PASS" $50 for five admissions (non-transferable)
Tickets available at ISSUE Project Room, Other Music, and at www.issueprojectroom.org

ISSUE PROJECT ROOM
@The (OA) Can Factory
232 Third Street
Brooklyn, NY 11215

# # #

Media Contact:
Sarah Garvey                Nick Hallett, Darmstadt
sarahgarvey@issueprojectroom.org       nick@harknessav.org
315.521.7018

ABOUT ISSUE PROJECT ROOM
Founded in 2003 by visionary artist Suzanne Fiol in response to the critical deficit of art centres in our culture, ISSUE Project Room, a registered 501(c)(3) nonprofit arts presenter, has emerged as a vital meeting place for the most disparate forms of creativity whose sole criteria embodies the integrity and spirit of artistic _expression_ and exploration. Through an evolving collaboration with curators, artists and educators, ISSUE Project Room seeks to foster a wide-range of artistic projects that challenge and expand conventional practices in art. Since its inception, ISSUE Project Room has produced more than 750 critically acclaimed visual arts, sound/video installation, new and improvised music, and literary programs to an audience of 50,000 youth and adults.    For more information on ISSUE and its programs, please visit www.issueprojectroom.org.

ISSUE gratefully acknowledges current and past support from:

The Annenberg Foundation
Brooklyn Arts Council
Experimental Television Center
Foundation for Contemporary Arts
The Golden Rule Foundation
Independence Community Foundation
Jerome Foundation
Mary Flagler Cary Charitable Trust
Meet the Composer's MetLife Creative Connections
mediaThe foundation
NY Department of Cultural Affairs
O.P. & W.E. Edwards Foundation
The Puffin Foundation