Fognode – performing live in NYC @ CPR April 17, 2010 @ 7:30p
Fognode – performing live @ CPR April 17, 2010 @ 7:30p, originally uploaded by brian siskind.
FOGNODE – “BEAT HOLLOW”
beat hollow [colloq.]; distance; leave in the -lurch, transcend, surmount; soar (rise)
Brian Siskind a.k.a. Fognode presents a sonic program made of ambient drones, field recordings, and shamanic beat-driven compositions to form an amalgam of sound that amounts to a singular experience toward transcendence. From documented ritual of Bhutan monks in Brooklyn, to the birds in the ruins of Pompeii, and an alternating portrait of rural and urban life from across the US and Europe, the resulting images are a portrait of not only Siskind’s perspective, but the collective auditory experience. Rooted in the dub music ethos, and smeared into the abstract akin to Rothko’s color fields, ambient drones and forward movement bring the listener into the peak experience of ecstatic music and rhythm, based in composition, but more so simply experienced by the composer and listener alike. Beat Hollow is a melange of sound that brings about a cerebrally induced experience, but amidst a canvas made of all things familiar, even minutiae, yet unheard.
TICKETS $20 – STUDENT DISCOUNT AVAILABLE
Brian Eno calls Siskind’s work “original” “It has to me, a seductive quality” “I want to listen to what’s going to happen”
HERE IS THE PROGRAM FOR THE ENTIRE WEEK
Technoshamanism April 12-17, 2010 Curated by Karl Cronin
New Voices in Live Performance
Center for Performance Research
Brooklyn, NY
A week dedicated to extended mind and altered states in contemporary performance.
Events OverviewApril 12-17 (All week)
Cyborg Nation (encounters, performance, installation)
April 14 (Wed)The Art of Transformation (symposium) – Free
April 15 (Thurs)Trancedance workshop, led by Jennifer Hicks, $20
April 16 (Fri) Ode to the Winter Sea (performance), $20
April 17 (Sat)Beat Hollow (transcendent sound performance), $20
$50 Festival pass available
Curatorial Statement – Karl Cronin
Performing artists have long used “technologies” to induce creative states, ex- pand their capabilities, and alter their audience’s perception of reality.This week of discussion, performance, and participatory events will use a broaddefinition of technology to bring to the surface an underlying aesthetic discussionabout incorporating technology into performance.Technoshamanism is a term used for applying modern technology to traditionalshamanic practices. Contemporary performance is not shamanic practice, yet thetwo share some important features. Technoshamanism is a messy term, yet for some reason I’ve enjoyed using it as a placeholder for the messy terrain sur- rounding transformation and art, states of being/consciousness in performance,social sculpture projects that involve the shaping of perception, and a deeper analysis of performance “technologies” and how they can be used effectively inthe alchemy of live performance. The concept of technoshamanism will serve as a jumping off point for discussions between the artists presentingwork throughout the week.
