Joined: Mar 25, 2003
Audio files: 14
|Posted: Mon Apr 26, 2004 4:34 am Post subject:
Xperiment>L - women in electronic music
A monthly series about women in electronic music
By means of live performances, film/video screenings, discussions & workshops
Xperiment>L # 1
When: Wednesday 19th May, 2004
Where: Arminius/ Museumparkkerk, Museumpark 3, Rotterdam, NL
Start: 20:30 hours
Entrance: 6 Euro
Music program: mobs/NL – live electronics
Emi Maeda/J – harp and electronics
M.Singe/US – turntables (to be confirmed)
Film program: Joan Jonas - 'Vertical Role' - 1972 - 20'00''
Inger Lise Hansen - 'Adrift' - 2003 - 10'00''
Abigail Child - 'Mutiny' - 1982 - 11'00''
billy roisz - 'blinq' - 2002 - 7'00''
Concept/Idea: Daniela Swarowsky
Curatorial team: Mariëtte Groot & Daniela Swarowsky > music programming
Annemiek Engbers and Sylvia Szely > film/ video programming
A DAMeS production in cooperation with Arminius. Productional support by Stichting WORM.
Xperiment>L is financially supported by the Rotterdamse Kunststichting, VSB Fund, Prins Bernhard Cultural Fund
and the Erasmusstichting.
On May 19th, Xperiment>L will see its first edition in Rotterdam: a monthly series (June, July, October, November,
December – exact dates to be announced) of electronic music performances and film/video screenings. Some
Xperiment>L editions will also feature discussions, lecture presentations and/or workshops.
Why bother with another electronic music- and film series? Because in this case the performers on stage are all women! And
this happens to be still exceptional, especially in the electronic music field. Xperiment>L will show that there are plenty female
composers, producers and/or performers working in electronic music on a high artistic level. The question why women are still
by far a minority in the electronic music world (compared to e.g. visual media) will act as a red thread leading throughout the
Goal is to establish an ongoing platform for international as well as national female media artists to present and discuss their
work. In creating a space for ‘women doing their thing’, sharing their knowledge in e.g. workshops or lectures, we hope to
encourage girls to make their own sounds (please note that all public presentations will be sure as well accessible for men).
Finally, we strive at once to highlight and to negate the issue of gender. Given the caliber of artists involved we are convinced
that Xperiment>L will be not just a showcase of talented women, but something far more provocative: a series of singular
performances and films by some of the finest artists we know.
The first evening features three sound artists, who are all pioneering in their field: The Japanese Emi Maeda is the world’s
singular and only noise harpist. She transcends the historically charged image of the harp as being a ‘female’ and angelic
instrument into realms of electronic noise. Mobs, who builds her own electronic instruments, partly driven by solar energy, is
currently a researcher at the Technical University/Berlin, specialized in the application of wave field synthesis for electronic
music composition. NY based M. Singe aka Beth Coleman has been one of the founders of SoundLab Cultural Alchemy, an
electronic-media group and one of its resident musicians performing on turntables and lately also on laptops. Besides that she
is also a new media theoretician/writer.
Xperiment>L contains a diverse film, video and vj program complementing the musical program. The selected films and
videos illustrate, criticise and comment on the issues that are tackled by Xperiment>L.
The first evening’s program tries to open the theme, to sketch the issue, in a twofold way. On the one hand it has a strong
historical attitude, showing older work of pioneering video-artists (Jonas, Child). These videos question the medium, the
construction of space and time and - having a feminist background - they cannot avoid dealing with the female body and (its)
representation. On the other hand we chose two videos of contemporary multi-media artists, who – by being able to build upon
a tradition – have abstracted from the performativity and – even more important – the physicality of the (female) body. They
chose to rather work on the physicality of the medium itself (Roisz) or e.g. nature (Hansen).
INTERESTED IN AN INTERVIEW? CONTACT US!
If you would like more information or if for arranging an interview, feel free to contact Daniela Swarowsky at
06-18659947 or via e-mail: firstname.lastname@example.org. Website of Arminius: www.arminius.nu
MUSIC PROGRAM/ ARTIST BIOS
A.k.a.: Marije Baalman. Born in the Dutch province of Friesland, she studied Applied Physics at the TU Delft and graduated on
the topic of Perceptual Acoustics. In 2001/2002 she also followed the Sonology Course at the Royal Conservatory in The Hague.
Currently she is doing research in the Electronic Studio of the Technical University of Berlin into the application of Wave Field
Synthesis (an emerging method to virtually place sounds in space) for the composition and live performance of electronic
mobs is a one-person band, making music either on piano or electronically. She likes to combine programmed sounds with on-
the-spot improvisation. In her concert performances she utilizes acoustic as well as electronic instruments, partly self-built, like
synthesizers, samplers from easily available electronics and sensors. Up until now she built some samplers, solar powered and
light sensitive synths, and has tweaked some electronics. Another topic of interest is the creation of new musical interfaces and
soldering her own sound making electronic circuits together.
Publications: Toepassing van golfveldsynthese in de compositie van electronische muziek, NAG Journaal,
Application of Wave Field Synthesis in the Composition of Electronic Music, ICMC 2003, Singapore,
STRIMIDILATOR, a string controlled MIDI-instrument, NIME 2003, Montreal
Apart from presentations in Korzo (The Hague) and Steim (Amsterdam), she was invited by prestigious electronica festivals like
Electrofringe in Newcastle, Australia and Transmediale in Berlin.
A Tokyo-born harpist living in Helsinki, Emi Maeda has studied harp in Tokyo and London. She has finished post-graduate
studies in contemporary music composed for harp at the Sibelius Academy. Moving already from classical- towards
contemporary music, she found the contemporary repertoire for her instrument too limited and wanted to stretch the borders of
her instrument further. Electronic sound manipulation techniques are just as easily applied to the harp, once initial prejudices
are overcome. In some capacity or other, the harp is involved in most of Maeda's computer-processed sound material, and the
compositions themselves are always based on the harpist's angle. With her improvisational solo concerts she has also
investigated the possibilities opening up for the harp and some other related instruments such as the kantele, its traditional
For Emi Maeda, the most important aspect of music is the communication between the musician and the audience. When the
harp is merely filling its traditional decorative role, it cannot communicate; its signification for us has been exhausted, we no
longer have access to the pastoral. The noise composed by Maeda, though, is not nihilistic aggression, but an open invitation to
Other people Emi Maeda plays with are: (in a duo) Maja Ratkje, de Norwegian composer, musician and vocalist known from
groups like Spunk and Fe-Mail, with CD releases on the highly esteemed label Rune Grammofon. Maeda also collaborates with
the American minimal-drone composer Phill Niblock.
A.k.a.: Beth Coleman. Lives in NY, is an artist working primarily in sound and text. She is co-editor of SoundLab Cultural
Alchemy. Coleman’s work has been exhibited among others at P.S.1 Museum of Contemporary Art, Whitney Museum of
American Art, Umea/Sweden, Vancouver Art Gallery, Castello di Rivoli/Torino, Massachusetts Institute of Technology. Her text
work has been published in catalogues for artists Ellen Gallagher, Chris Ofili, and Nari Ward. She has lectured on new media
and her own work at the San Francisco Art Institute, Harvard University, and MIT, among other venues. Coleman is a 2003-4
Rockefeller New Media Fellow and is currently curating a collection entitled Diference Engines (MIT Press).
FILM PROGRAM/ ARTIST BIOS
Joan Jonas Vertical Role USA 1972, 20:00
In this well-known early tape, Jonas manipulates the grammar of the camera to create the sense of a grossly
disturbed physical space. The space functions as a metaphor for the unstable identity of the costumed and masked
female figure roaming the screen, negotiating the rolling barrier of the screen's bottom edge.
"[Making] use of a jarring rhythmic technique to develop a sense of fragmentation, Vertical Roll uses a common
television set malfunction of the same name to establish a constantly shifting stage for the actionsthat relate both to
the nature of the image and to the artist's projected psychological state."
—David Ross, Joan Jonas: Scripts and Descriptions
Joan Jonas studied sculpture and art history at Columbia University and Mount Holyoke College, and dance with Tricia Brown
at the Boston Museum school. Widely know for her work in performance in the mid-60s, Jonas first incorporated a live video
camera and monitor into a 1972 performance, Organic Honey's Visual Telepathy. In the same year, she began producing single-
channel tapes, among them Vertical Roll (1972), which are recognized as landmark investigations into the structural and
performative nature of the medium.
Jonas's tapes draw on the essential connection between performance art and the video monitor, as time-based media especially
suited to materializing the artist's psyche. Exploring the dislocation of physical space and mythical female archetypes, Jonas's
work occupies an important position in the development of both early formalist and early feminist video.
Inger Lise Hansen Adrift UK/ Norway 2003, 10:00
Adrift is shot on the arctic island of Spitzbergen and in Norway. It combines time-lapse photography with stop-motion
animation of the landscape. Through camera-angles and framing the film gradually dislocates the viewer from a
stable base where one looses the sense of scale and grounding. Adrift takes perception itself as the subject of its
Inger Lise Hansen was educated at North East London Polytechnic, St. Martin‚s College of Art, London and received a Masters
of Fine Art Film from San Francisco Art Institute. She has made a number of experimental animation films with support from
Arts Council England, Film London and the Norwegian Film Institute, and has won several international prizes such as Gold Prize
for animation at the Bilbao Festival of Documentary and Short Films, Chris Frayne Award for Best Animation at Ann Arbor
International Film Festival. Her earlier films have been shown at Tate Modern, London, Institute of Contemporary Art, London,
Centre Georges Pompidou, Paris, Museum of Modern Art, Stockholm and Hiroshima Animation Festival.
Abigail Child Mutiny USA 1982, 11:00
Mutiny employs a panoply of expression, gesture, and repeated movement. Its central images are of women: at
home, on the street, at the workplace, at school, talking, singing, jumping on trampolines, playing the violin. The
syntax of the film reflects the possibilities and limitations of speech, while "politically, physically, and realistically"
flirting with the language of opposition.
Abigail Child’s work investigates pop cultural constructions of gender identity, sexuality, and voyeurism, while employing
soundtracks layered with canned music, suggestive noises, and dialogue. Child’s ISTHISWHATYOUWEREBORNFOR? contains
some of her best work, using appropriated and archival footage, edited with humor and masterful skill. Through rapid collages
of image fragments from industrial, rare, and early films and newsreels, Child constructs experimental narratives while drawing
attention to conventional devices such as costumes, looks, poses, and gestures used to build narrative continuity and
Billy Roisz blinq A 2002, 7:00
blinq questions such audio-visual relationships in a radical way. Billy Roisz had ten musicians from Austria, Germany
and Japan produce short electronic sound files. These fragments, some lasting only a few seconds, were then
transformed into visual patterns by means of feedback loops, which function as electro-acoustic impulses and then
further manipulated. The resulting images were then taken out of synch with their original soundtracks. By doing that
blinq initiates a successful experiment with the perception of preconceived images and lingering sounds. (Gerald
Billy Roisz born 1967. Lives and works in Vienna. Has a passion for comix, animation films, experimental films, sound,
performance. Involved in copy art, illustration, photography, performance, video & sound. Member of efzeg [sound &
livevisuals] and silly [musicduo with silvia fässler]. performances with (R), takeshi fumimoto, didi bruckmayer & ennoson,
sachiko m., dieb13, christof kurzmann, martin siewert, toshimaru nakamura, boris hauf, michaela grill, helge hinteregger, radu
malfatti, werner dafeldecker, oliver stotz, ako ... video int. film/musik-festivals: send+receive03/ca, electrograph03/gr,
avantoscope02/03/fi, iff rotterdam02/03/nl, chicagoundergroundfilmfestival/usa, sonar/es, ...
A Charity Pantomime in aid of Paranoid Schizophrenics descended into chaos yesterday when someone shouted, "He's behind you!"