Experimental Time: Listening, Simultaniety, Dis-Unison
Various -- see details below
Time: May 15th, 3:30 pm End: May 16th, 12:00 pm
Interest Categories: Music, Faculty of , Information, Faculty of, Humanities, Drama, Theatre, Performance Studies (FAS), Digital Art/Humanities, Critical Theory, Arts, Culture and Media (UTSC), Art (FAS), Architecture, Landscape, Design, 2000-
JHI-Marquee event with the Faculty of Music
What is the relationship of time to sociality? How can sound convey the sense of being in a place; how can rhythm construct forms of simultaneity, unison, or conflict –– “dis-unison”? How do space and time challenge listening: together, in a live, performative situation, or in a broadcast, simultaneous but separate?
MONDAY 15 MAY: The JHI and the Faculty of Music bring together Cornell musicologist Benjamin Piekut, specialist in post-1960s experimentalism, with New York sound-installation artist and turntablist Marina Rosenfeld, to explore the temporal relations of listening and behaviour in social and creative realms. Coffee-break lectures by Piekut and Rosenfeld will be followed by a reception, a collective listening session to Rosenfeld’s newest electronic work, and a scholar-artist Q&A.
3:30-6:00 pm, Barker Fairley Room (130), Faculty of Music, University of Toronto
Coffee & Colloquy
Piekut lecture, “Six for New Time”
Rosenfeld artist talk, “Simultaneity, Dis-Unison, Form: Some Elements of a Practice”
TUESDAY 16 MAY: the JHI hosts an informal scholarly-creative session for students to meet with Piekut and Rosenfeld. Space is limited: students who wish to attend should RSVP to indicate their interest.
10:00 am-12:00 pm, 10th floor, Jackman Humanities Building, 170 St. George Street
Student Brunch: Time, Thought & Practice –– a discussion session with Piekut and Rosenfeld
An associate professor of music at Cornell University, Benjamin Piekut studies diverse experimental musics after1960. His first book, Experimentalism Otherwise (2011), investigated various interlocking avant-garde networks in New York City during the 1960s, and his new book, The World Is a Problem (forthcoming), focuses on the British rock group Henry Cow and the emergence of a vernacular avant-garde in the musical field. He is the editor of Tomorrow Is the Question: New Directions in Experimental Music Studies (2014) and the co-editor, with George E. Lewis, of the two-volume Oxford Handbook of Critical Improvisation Studies (2016).
Marina Rosenfeld has produced a dense body of sound works, installations, and music since the late 90s. Working at the limits of music composition and performance, but also corralling drawing, video and notation, Rosenfeld's pieces have foregrounded the complex of material, ecological and other conditions that define the situation where music is enacted and transmitted. Since her early project, the Sheer Frost Orchestra, her all-female electric guitar ensemble, her works for live performers, including teenagers, classical, military and experimental musicians, address structures of transmission and cooperation. Rosenfeld's work has been widely presented, including recent projects for documenta 14 radio, Portikus (Frankfurt), Bard Center for Curatorial Studies, the Guggenheim Museum (NY) and the Biennale de Montreal.