|Erick Glick Rieman-------------Amphibious Gestures---------------------Pain for the Party-----------------------Ribspace|
Sunday, October 16, 2011
Noon. Doors at 11:30 a.m.
$5 - $10 sliding scale or FREE with membership
Join us for an afternoon of savage and transcendent performance unlike any other. Vegan pancakes included.
JOHN BISCHOFF (b. 1949, San Francisco) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his ground-breaking work in computer network bands. Bischoff's music is built from intrinsic features of the electronic medium: high definition noise components, tonal edges, imperfections, transitions, digital shading, and non-linear motion. Through empirical play and investigation he builds pieces that can be described as sonic sculptures, shaped in real-time and present for the duration of a performance. Recently, he has fashioned pieces that combine electronically-triggered bells with synthetic computer sounds. In such works bells are distributed around the performance space in a pattern distinct from the speaker locations. His idea is to disperse the sense of "source" in electronic music—to release the music from being trapped in the speaker enclosure—while highlighting the beauty of speaker-transmitted sound at the same time.
Bischoff studied composition with Robert Moran, James Tenney, and Robert Ashley. He has been active in the experimental music scene in the San Francisco Bay Area for over 25 year as a composer, performer, teacher, and grassroots activist. His performances around the US include NEW MUSIC AMERICA festivals in 1981 (SF) and 1989 (NYC), Experimental Intermedia (NYC), Roulette Intermedium (NYC), and the Beyond Music Festival (LA). He has performed in Europe at the Festival d'Automne in Paris, Akademie der Künst in Berlin, Fylkingen in Stockholm, and TUBE in Munich. He was a founding member of the League of Automatic Music Composers (1978), considered to be the world's first Computer Network Band, and he co-authored an article on the League's music that appears in "Foundations of Computer Music" (MIT Press 1985). He is also a founding member of the network band The Hub with whom he has performed and recorded from 1985 to the present. In 1999 he received a $25,000 award from the Foundation for Contemporary Performance Arts (NYC) in recognition of his music. Recordings of his work are available on Lovely Music, 23Five, Tzadik, New World, and Artifact Recordings. A solo album, Aperture, was released on 23FIVE INC in 2003. More recent releases include a CD of the League's music on New World in 2007, and a 3-CD set of The Hub on Tzadik in 2008. He is currently an Associate Professor of Music at Mills College, in Oakland, California.
Eric Glick Rieman (pronounced Rayman) is an improviser, composer, and multi-instrumentalist performer who lives in Berkeley, California. Trained as a classical pianist and self taught in Jazz and Rock, he has a wide interest in musical styles, and performs regularly in contemporary classical, improvisational, sound art, avant-Jazz, and ambient music genres.
His current projects include solo performances on his extended and prepared Rhodes electric piano and as a pianist. Collaborative projects include DalabaFrithGlickRiemanKihlstedt, an improvising ensemble with Lesli Dalaba, Fred Frith and Carla Kihlstedt (soon to be released on Accretions); Bilge/ Radiolaria, a 10 piece new music ensemble (composed of tuba, trumpet, bassoon, viola, percussion, guitar, flute, computer, saxophones, and piano) playing structured improvisations and compositions of its members; Thieves of Silence: an ambient duo with Jeff Karsin; and The Mills Contemporary Performance Ensemble, a chamber orchestra that plays improvisations and new music.
Eric has played with many other fine musicians including David Slusser, Ikue Mori, Len Paterson, Lee Alexander, Randy Nordschow, Douglas Ewart, Cecil Taylor, and John Ingle, and was formerly the keyboardist for the alternative band Laughingstock. He completed an MFA in Electronic Music at Mills College in Oakland, CA, in 2001.
A direct descendent of live sound performances with skozey fetisch (since 1993), Amphibious Gestures is an experimental electrono forum for extreme panning above and below the waterline. Minimalist oscillation compositions executed through ambidextrous finger work. Focusing mainly on the concept of living organisms that can survive on both land and sea, creating war tactics and utilizing sound as weapons. An ever evolving project that is open to all forms of ambushes and collaborations. live performances often include reptilian uniforms, humanistic masks, and color morphing lights.