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Presencing Piece No.1 (Fed Plaza) - Tech Rehearsal on the harbor at Brooklyn Army Terminal, Sunset Park, Brooklyn 140808

#Presencing Piece #Chris McIntyre #TILT Brass #David Shively #Ed Bear #Tristan Shepherd #Brooklyn Army Terminal

Live recording of premiere at Roulette, June 27th, 2013 During TILT 10 Festival 10th Anniversary concert TILT Brass Sextet with UllU Gareth Flowers, Tim Leopold, Chris DiMeglio – trumpet Jen Baker, Will Lang, Chris McIntyre – trombone David Shively - feedback percussion

#Chris McIntyre #David Shively #TILT Brass #Roulette #ecstatic noise #UllU #Gareth Flowers #Tim Leopold #Chris DiMeglio #Will Lang #Jen Baker

Biography: David Shively, Feedback Percussion & Creative Collaborator

David Shively performs concert and installation works in media ranging from percussion to Hungarian cimbalom to analog electronics and feedback systems. Solo appearances throughout North America and Europe include Dia:Beacon, EMPAC, Miller Theatre, Performa 09, SONiC Festival, the American Academy in Rome, Other Minds 13, Staatsoper Stuttgart, Wittner Tage für neue Kammermusik, and Münchener Biennale. Currently based in Brooklyn, NY, he has been co-artistic director of the experimental music ensemble Either/Or since 2004, curating its programming and festivals in New York City, Boston, and Philadelphia.

One of the few classical and new music cimbalom players working in the United States, Shively plays instruments ranging from Hungarian concert cimbalom to Romanian tambal mic. The New York Times has praised the “gorgeous nuance” of his performances on these rare instruments. His repertoire includes more than a dozen newly commissioned solo and chamber works in addition to a wide range of earlier music, whether the standards of the orchestral repertoire or 16th century Hungarian keyboard intabulations. Further projects explore various folk and popular musics of Central and Eastern Europe. Performances in New York City and elsewhere with ICE, Mark Morris Dance Group, Zeena Parkins, Tony Arnold, Ensemble SON, Fox/Searchlight Pictures, Howard Shore, and various orchestras and ensembles.

Other ongoing projects include the noise/drone band UllU and a wide range of work as an improviser. Commissions from Dia: Beacon, EMPAC, and Donna Uchizono Dance Company. Recordings for Starkland, New World, Tzadik, Mode, Quecksilber, and other labels in addition to works for film, sound installation, and radio broadcast. www.resonantobjects.com

#David Shively #PP1 Creative Team

Artistic & Technology Information (Proposal) - Presencing Piece No. 1 (Fed Plaza)

There are two primary artistic goals for Presencing Piece No.1 (Fed Plaza). First, to amplify physical and intangible properties of the Jacob K. Javits Federal Building Plaza site. Second, to transform the audience’s sense of dimensionality within the site using spatialized and immersive sound (acoustic and amplified), broadcast media such as infrared transmission and wireless internet, public interaction including the use of infrared sensors, and ritualized performance actions. Utilizing multiple sound projection possibilities affords powerful tools to achieve these goal, allowing the work to exist as a constantly evolving event of sonic scaling. With a dynamic range that encompasses a large brass ensemble and multi-channel PA system on down to streaming sound files for listening via earbuds, Presencing Piece… intends to bring the whole plaza site into a rarely considered focus based on its sonic capacity and by highlighting its hidden memories.

The aural content of Presencing Piece No.1 (Fed Plaza) will be heard from a number of sources. The 12 musicians of TILT Brass are unitized into two ensembles: a trombone septet and a trumpet quintet. McIntyre has a history of making site specific work for 7 trombones, especially with important Downtown choreographer Yoshiko Chuma for whom he formed the 7X7 Trombone Band. In this piece, the trombones act as the sonic and visual “embodiment” of Serra’s dismantled work, reimaging Tilted Arc as a bed of very low yet always rising glissandi. The role of the trumpets is mostly atmospheric, limning the site with reflected punctuations that mutate within the technology on-hand and then returning schizophonically from speakers across the plaza and via on-line streams. Microphones near each trumpeter are used to capture their sound. The live sound is then digitally processed, relocated (or dislocated) elsewhere within the discreet multi-channel PA system that will be arrayed in the space. Those same digital processes will be used to generate additional content. Many sounds entering the system will return in some altered form at different times during the event.

David Shively’s multiple drum feedback system is a special element to this project. It will act as a sort of phantom multi-channel system. A set number of drums will be arrayed around a centralized zone within the site. Each drum is outfitted with a transducer attached the its skin which is connected to long spans of the most basic speaker cable available leading to small speaker amplifiers. Various types of analog signal are sent into the drum via the transducer producing controlled feedback. Because feedback is sonically omnidirectional, the vast array of otherworldly sounds available to the artist often seem to emanate from everywhere rather than a specific location. This property will be utilized to great effect throughout the performance of the piece.

At various times throughout the performance, audience movement will control which sounds occur and when. Infrared audio transmitters and receivers, custom designed by our Technical Director Ed Bear, will be used to trigger a multitude of sound files as the transmissions are physically interrupted by the public creating a glorious cacophony of text and music samples. Some examples of the content for these interactive moments include historical texts describing the draining of the once nearby Collect Pond (the process for which created what we know as “Canal Street”), geological information about the bedrock found below the site, testimony from the Tilted Arc trial, biographical text about the Lenape Native American tribe who inhabited Lower Manhattan, design copy by MVVA, the landscape architecture firm that designed the current plaza, and more. All of this material is intended to make immediate the intertextual connections that the Javits Federal Building Plaza elicits. We expect the listener to experience what the literary theorist Siane Ngai refers to as “stuplimity,” a neologism combining stupefy and sublime. "In experiencing the sublime one confronts the infinite and elemental; in stuplimity, one confronts the machine or system, the taxonomy or vast combinatory, of which one is a part." To acknowledge the 25th anniversary of the removal of our predecessor in artistically negotiating the modern manifestation of this site, special attention will be given to Serra’s Tilted Arc during these moments highlighting the “stuplime.” Presencing Piece No.1 (Fed Plaza) is dedicated to composer James Tenney and the musicians of TILT Brass whose name was derived from Serra’s work.