April 2015 Session

April 2015 session – 4/25/2015 – 8:00 PM
The Three Jewels, NYC

DAN GITLIN [12 string Chapman Stick + iPad]
MICHAEL DUREK [theremin]
DAVE KOENIG [electronics]
Live visuals by ANNA BARSAN
Curated by WvS / Produced by WvS & Miah Artola

Michael Durek, Dan Gitlin, Dave Koenig + Anna Barsan @ Ab Uno Pluribus – April 2015 Session – 4/25/2015 from WvS on Vimeo.

ANNA BARSAN is a New York City-based artist and media educator working in film, installation and live video performance. She is the co-creator of SIGNIFIED, a documentary series and digital archive of LGBTQ testimony and founding member of Elektric Breakfast, a women’s visual arts collaborative working in video performance and multimedia installation. Barsan’s work explores concepts of identity, social control and artistic intervention.


DAN GITLIN (Heroine, 4th Sign of the Apocalypse) is a Brooklyn based Stickist, guitarist, sound manipulator, and audio enthusiast specializing in finding off-label uses for off-the-shelf devices. Dan has been making noise in various contexts around New York City for over twenty years.


MICHAEL DUREK is a multi-instrumentalist, sound designer and producer. He is “theUse” and also plays with Pas Musique and George Sand. He has recently performed in notable festivals including Upvan Arts, CoCArt Festival, Avant Garde Festival and Kunstzwerg Festival and also at the Queens Museum. He has appeared on approx 25 albums, and writes 10 listens series for The Brooklyn Rail.


DAVE KOENIG‘s music uses live percussion and vocals to trigger and change digital sound events. These events often involve recursive algorithms crafted to generate harmonies and rhythms modeled after either natural sounds or approximations of randomness. These autogenerative formulas are fundamentally altered with each new incoming trigger, resulting in constantly shifting patterns. The timing of the triggers is structureless and often blunt. Such juxtapositions of precision and carelessness can be found in much of Koenig’s work, on macro and micro levels.

Rhythmically, timbrally, harmonically, melodically, and in terms of density, Koenig’s music often makes use of the tension created by simultaneous, conflicting ideas. This can manifest as multiple ongoing meters, competing autonomous key centers, clashing macro song structures, or similar techniques. These methods of eliciting contrast do not serve as artistic endpoints, but rather as basic pieces of vocabulary with which to build. No relationship between conflicting musical ideas remains the same for long, nor does the rate at which said relationship changes. The contrasts between the contrasts are more valuable than the contrasts themselves.

Dave Koenig has spent 15 years composing and performing with the band Cesspool. He has composed for sound installations and films, performed at jazz festivals around the country, and toured in a van.


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