How do you connect to others, if you’re not connected to yourself?
-Input your current mood and Incorporate generates a customized playlist built to change your perspective.
-Audio visualizations encourage you to reach inside yourself and to identify with others.
-Task-based prompts help you to activate your body and mind, and challenge you to step outside your routine. Incorporate into the world.
App content by Eve Essex & Juan Antonio Olivares.
App music by Eve Essex with Nathan Hauenstein & Christian Weiland.
Launch performance February 5-8 2014 at Sculpture Center.
With Natalie Galpern & Darius Greyson, vocals; Eve Essex, saxophone & percussion; Nathan Hauenstein & Brendan Rielley, sythesizer; James Mercer, laptop; Max Zuckerman, guitar.
Images from In Practice: Chance Motives. Courtesy SculptureCenter, 2014. Photo: Megan Mantia.
Hello and welcome to Office Riddim.
This is a three person experience. You are the moderator. Find two willing collaborators. Your primary role is to help these two Users go through all the actions smoothly.
You will be keeping them on schedule, following a 25-minute timeline. Each movement is 5 minutes. Stay on schedule by keeping your eye on the clock, or setting an alarm, or by counting the time outloud—whatever works for you. You will be providing the directions and keeping the pace of the User’s experience.
Please take detailed notes on the User’s performance throughout all meetings. These will help us transform and optimize this experience for others.
With thanks to participants Jake Becker, Nova Benway, Benjamin Faust-Weber, Natalie Galpern, Arthur Gobillot, Ian Horowitz, Zachery Holbrook, Catherine Kron, Nicole Louie, James Mercer, and John Swartz.
A performance conceived for the occasion of Eckhaus Latta’s AW ’13 presentation, this absurdist music theater piece is built on the conceit of a fashion photography shoot. Performers move through a series of three revolving stages, assuming multiple roles as the photographer’s subjects, stagehands on the set, and musical actors— all according to a highly specific, instruction based score.
As a production assistant, your job duties are vital to a smoothly working set. Production Assistants also play an invaluable role in the realization of the directors’ vision. In this fast paced and competitive environment, you should be flexible and prepared to perform many tasks like running errands, scheduling appointments and other clerical functions. Since this is an entry-level position, no prior work experience is required. The job, however, usually comes with a lot of pressure and long work weeks.
To excel as a production assistant, make sure to:
- Be presentable
- Avoid drinking or taking depressants/stimulants while on the job
- Even when you’re not doing anything, pretend you are
- Be resourceful, if you see a place where can you be useful, jump for the opportunity
- This position is unpaid, but the experience is priceless Essex Olivares, 2013
An Essex Olivares production, with Juan Antonio Olivares
5 July 2012 at Shoot the Lobster, NYC
19 October 2012 at Present Company, Brooklyn as part of Render Visible
Video shot by Damian Calvo, edited by Micah Hesse
Drawing from the possibility of translation between image and sound, we created a visual and text-based score inspired by post-production foley techniques. With the consultation of Marko Costanza, a veteran Hollywood foley artist (Brokeback Mountain, Crouching Tiger Hidden Dragon, Ice Age), cinematic sound effects are reinterpreted as a system of musical elements.
Ten performers cycle through a variety of roles ranging from quotidian gestures to highly choreographed musical events. Everyday sounds are meticulously recreated by a small ensemble of instrumentalists; physical actions are dramatically and rhythmically amplified. A series of seemingly senseless events cue reactions within the group, in an evolving and organic accretion of sound.
With thanks to performers Leila Bordreuil, Theo Di Castri, Alex Field, Arthur Gobillot, Ted Gordon, Nicole Louie, Matt Marble, James Mercer, Shannon, John Swartz, and Max Zuckerman.
Photographs by Bradley Buehring, Samantha Gore and Justin Martin.
With musicologist David Gutkin
17 October 2012 at the PEW Center for Arts and Heritage / Philadelphia Music Project
19 November 2011 at Performa ’11 / The Public School NY
This lecture-workshop explores varying definitions and uses of notation in time-based art. Divided into two sections, an historical introduction to forms of musical notation is followed by a read-through of a few of the scores discussed accompanied by an open conversation with participants. No performance experience or musical training is necessary to participate.
The Performa session (Nov 2011) focused on Robert Ashley, contemporary American composer of “mixed-media operas,” and the ONCE group (1964-1969), and included a reading of Ashley’s piece “She Was a Visitor” (1967).
The PEW session (Oct 2012) placed emphasis on twentieth-century graphic, game, text-based and Fluxus scores, and included readings of Ashley’s “She Was a Visitor” and excerpts from Cornelius Cardew’s “Treatise”.
Associate Producer, subtitle projections created with Anna Craycroft
25 March 2012, Le Poisson Rouge
24 March 2012, EMP Pop Conference
15-17 December 2011, ISSUE Project Room / Ballroom Marfa
Vidas Perfectas is a Spanish-language version of Robert Ashley’s ground-breaking “television opera” Perfect Lives (1983).
Directed by Alex Waterman. Starring Ned Sublette with Elio Villafranca as “Buddy, The World’s Greatest Piano Player,” music produced by Peter Gordon, and Elisa Santiago and Abraham Gomez Delgado (later Raul De Nieves) as the chorus. Sets by Sarah Crowner.
24 January 2011, Boston Center for the Arts
July-August 2009, Berwick Research Institute, Boston MA
22 November 2008, Brown University, Providence RI
Epitomizing the transient political idealism of the late 1960s, the Scratch Orchestra sought to rethink music in socially activist terms. Welcoming any player, regardless of experience, the group used collaborative and improvisation-based procedures in an attempt to bridge the gap between professional and amateur, art and everyday life. It was at once a performing music ensemble, musical training-program, and political think-tank. And fitting to its democratic aims, the orchestra was founded in a written declaration– the “Draft Constitution.”
Rather than attempting a reconstruction of events, the Scratch Orchestra Reenactment uses the Draft Constitution as its script. By following the instructions and practices laid out in their manifesto, the Reenactment theatrically revisits this group by taking on its premise: to pool our resources and assemble for action.
The group met weekly in Boston during August and September 2009, sponsored by a grant from the Berwick Research Institute– over 65 people performed in the ensemble. It has reformed sporadically on a number of other occasions.
2011, deck of cards and book created for use in the Scratch Orchestra Reenactment
Cards are open to use as seen fit.
Perform in 3 sections, one minute each:
-Each player takes three cards from the pile— one card is used for each section.
-Perform the text on your card during the time allotted.
-Cards without instructions are open to interpretation.
-Turn the cards over and use the numbers/suits as a score. Or, choose either side of the card as you please.