Discover Top Posts Tagged with #ed bear

Lea Bertucci & Ed Bear live @ the Silent Barn (06/05/16) [Ende Tymes Festival of Noise and Experimental Liberation] video by: Robert Mizaki

#Lea Bertucci #ed bear #The Silent Barn #silent barn #thesilentbarn #silentbarn #ende tymes

Set 3 of Performance images from August 9, 2014 (by NYC DOT)

#Presencing Piece #Chris McIntyre #TILT Brass #David Shively #Ed Bear #Tristan Shepherd #NYC DOT

Set 2 of Performance images from August 9, 2014

#Presencing Piece #Chris McIntyre #TILT Brass #David Shively #Ed Bear #Tristan Shepherd #Fed Plaza #Richard Serra

Set 1 of Performance images from August 9, 2014

#Presencing Piece #TILT Brass #David Shively #Chris McIntyre #Ed Bear #Tristan Shepherd #Fed Plaza

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

Biography: Ed Bear, Technology Director & Creative Collaborator

Ed Bear & Lea Bertucci as Twistycat

Ed Bear [b. 1983] is an American performing artist and engineer. His work with robotics, sound, video, transmission and collective improvisation investigates the questionable calibration of perception. As an educator and designer committed to an open source world, he researches and practices material reuse and as a civil responsibility.

He has toured extensively in North America and Europe as a performer and teacher, working with organizations such as The Mattress Factory, The Montreal Pop Festival, Oberlin Conservatory of Music, and Renssalaer Polytechnic Institute. In 2009 and 2010 he received NSF and other funds to study e-waste streams as educational resources, software defined radio and novel energy harvesting using ionic polymer metal composites. He is a 2012 LMCC SwingSpace artist-in-residence, 2010 free103point9 AIRtime fellow and received the 2008 Roulette Emerging Composer Commission. His music is available on Peira, Azul Discographica, Roar Tapes, and several other record labels.

Since receiving his B.S. In Electrical Engineering from the Polytechnic Institute of NYU, Ed Bear has provided freelance design, manufacturing and engineering services to start-ups, acclaimed artists and musicians, film and theater productions, and leading education institutions. As a research specialist at the Lighting Research Center at Rensselaer Polytechnic Institute, he investigated technology-neutral, commercially viable solutions to dimming and control of emerging solid state lighting systems for multiple markets with funding from the Environmental Protection Agency and the Alliance for Solid-State Illumination Systems and Technologies industry partners. Ed currently working with littleBits, Inc.to help revolution modular electronics. www.twistycat.org

#Ed Bear #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.