Sun 2.Dec – Drew McDowall + Florence To – Time Machines Live AV, Electric Indigo, Infrasound, Michael Gendreau, Chronostasis, Brooke Keller

Closing the festival is a vigorous low end fury elation of deep diving bass & image submersions, including Bay Area stalwarts Infrasound and Michael Gendreau, female:pressure founder Electric Indigo performing 5 1 1 5 9 3, and French duo Franck Vigroux and Antoine Schmitt screening their live Cinema engagement of Chronostasis capped by the legendary Drew McDowall with Florence To presenting Time Machines Live A/V final live North American version for the foreseeable future.

Drew McDowall (bio)+ Florence To – Time Machines Live AV – “4 Tones to facilitate travel through time.” – Temporal slips in time and space, allowing both the artist and audience to figuratively ‘dissolve time’

In the intromission theories it was supposed that objects emitted minute images or replicas of themselves, called “eidola” or else it was supposed that the surface of objects detached itself like the skins of molting snakes or insects into films called “simulacra” (also meaning in the sense of artificial life forms), which entered into the eye. Bearing the imprint of the original objects like an impression in wax, the eidola or simulacra evoked the perception of these objects. The simulacra were very different from the light rays or photons that physicists know today, because they had the property that they were capable of informing the mind about the nature of the objects they came from. No one had the idea that an “image” might be formed by reuniting the rays emanating in all directions from every point of an object. And if they had had such an idea, they would have rejected it immediately, since if the image was two-dimensional, how could it give the information about volume that vision provided.

Translating the idea of minute images by creating audio reactive textures (working with the low frequencies) to slowly reveal or flash what may be an image underneath the granular textures. Using granular noise and defined lines that slowly build up, into an architecture pattern – from noise extruding
gradually in the beginning building up into a pattern, paying attention to scale to work with darkness and also compliment the light design.

Electric Indigo (bio), DJ, composer, musician, has performed in 38 countries across Europe, Asia, and the Americas. She represents an intelligent and distinguished interpretation of techno and electronic music. Her DJ-sets are characterized by a wide variety with a clarity of vision and a depth that comes from a deep understanding of the music and the art of DJing. As a composer and musician, she creates music for concert spaces, clubs, sound installations and occasionally for stage plays and short films. In her compositions and live performances, she emphasizes the spatial-temporal placement of subtly elaborated sounds and structures, often generated from speech recordings. Electric Indigo shuttles between Vienna and Berlin.

Chronostasis (bio) is a new collabortaion between Franck Vigroux (live electronics, composition) and Antoine Schmitt (generative video). It is the follow up to their worldwide-acclaimed duo Tempest.

Chronostasis state is a cerebral illusion involving the neurons dealing with the immediate prediction of the future and to the listening of music, during which time seems to stop. But time is elastic and a stretched elastic always returns to its initial length. The audiovisual performance Chronostasis takes this logic to its limits by dilating to the extreme a catastrophic moment, through the stretching and inversions of time over the whole duration of the performance. The present moment freezes and diffracts endlessly, past and future cease to exist. Chronostasis has been developed with the support of Ircam and LeCube.

Infrasound (bio) is Randy Yau and Scott Arford. Hear with your body.  This is not about music.  This is not about performance or the performer.  Thie goal is sound and the expicit translation of sound into physical force.  The goal is internal and external realization.  It is about provoking new modes of perceiving and experiencing one’s own body – triggering variable and autonomous psycho-physiological response.  It is about the total acoustic sense of space – observing sound to measure the capacity of architecture.  It is about the phenomenon of resonance or sympathetic vibration – all things in one continuum.

Michael Gendreau (bio) has composed and performed solo as well as in several group configurations since 1979. He records infrasonic vibrations of a performance space, then in the concert, he uses the structure’s resonances as an additional instrument in his site-specific compositions.