About the Contributors

Knut Aufermann studied chemistry in Germany before he moved to London in 1998. He works and teaches as an audio engineer and performs regularly on customised electronics in various groups and solo. Influenced by his personal practice he has researched the notion of feedback in music for the last two years. This interest will be the theme for his experiments for “Cling Radio” (Saturdays 7pm-1 am) on Resonance I04.4FM (www.resonancefm.com). Contact email: auferman@yahoo.com

New York born and raised, Nicolas Collins studied composition with Alvin Lucier at Wesleyan University, worked for several years with David Tudor, and has collaborated with numerous musicians and ensembles in many places. From 1992-95 he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and in 1996-97 a DAAD composer-in-residence in Berlin. Since 1997 he has been editor-in-chief of the Leonardo Music Journal, and in 1999, he joined the faculty of the School of the Art Institute of Chicago. His most recent recordings are available on PlateLunch and Periplum.

Phil Durrant is a composer/musician (powerbook, live-electronics, acoustic violin). As a composer he has worked with many choreographers including Gill Clarke, Susanne Thomas, Maxine Doyle, Ana Sanchez-Colberg and Sophia Lycouris. As a musician he has an international reputation on the electronica and improvisation scenes. Current projects include the live processing duo with John Butcher, Ticklish (an electronica/live video group), Mimeo (a 12-piece electronic ensemble with Europe’s leading electronic musicians), Quatuor Accorde (an improvising string quartet), and a ‘reductionist’ trio with Burkhard Beins and Ignaz Schick, amongst others. Besides his established collaborations, Durrant is developing solo electronica material for a forthcoming release, and continues to be invited to perform in special projects. He has recorded at least 10 CDs and records showcasing his many varied activities. His website is currently under development, but contact him by email: pdsowari@freqshift.demon.co.uk or visit http://www.shef.ac.uk/misc/rec/ps/efi/musidan/mdurrant.html

Rob Flint is an artist who performs with moving images, often in collaboration with musicians. As well as being a member of the quartet Ticklish, performing with them in various European festivals, he has worked with Sean O’Hagan and The High Llamas, for whom he produced a video, and made live projections. Last summer he worked on the touring show Shin Kyodo, with Paul Hood, Phil Durrant, Toshimaru Nakamura, and butoh dancer Ken Mai. Recently he co-curated motor:show at ‘proof’ in Bermondsey, showing work by Hayley Newman, Brian Catling, Brown Sierra, Tina Frank, and others. His essay on the artist Gustav Metzger is available in the MoMA Oxford ‘Retrospectives’ series, and he collaborated with that museum on the MoMAelectronica event last year, at which Ticklish performed alongside Fennesz, Noto, Hayley Newman and Scanner. Ticklish are Rob Flint, Phil Durrant, Kev Hopper, Richard Sanderson. Their eponymous album is available on Grob.

Alvin Lucier was born in 1931 in Nashua, New Hampshire. Since 1970 he has taught at Wesleyan University where he is John Spencer Camp Professor of Music. Lucier has pioneered in many areas of music composition and performance, including the notation of performers’ physical gestures, the use of brain waves in live performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. His recent works include a series of sound installation and works for solo instruments, chamber ensembles, and orchestra in which, by means of close tunings with pure tones, sound waves are caused to spin through space.

Alvin Lucier performs, lectures and exhibits his sound installations extensively in the United States, Europe and Asia, He has visited Japan twice: in 1988 he performed at the Abiko Festival, Tokyo, and installed Music on a Long Thin Wire in Kyoto; in 1992 he toured with pianist Aki Takahashi, performing in Kawasaki, Yamaguchi and Yokohama. In 1990-91 he was a guest of the DAAD Künstler Program in Berlin. In January 1992, he performed in Delhi, Madras, and Bombay, and during the summer of that year was guest composer at the Time of Music Festival in Vitaasari, Finland. He regularly contributes articles to books and periodicals. His own book, Chambers, written in collaboration with Douglas Simon, was published by the Wesleyan University Press. In addition, several of his works are available on Cramps (Italy), Disques Montaigne, Source, Mainstream, CBS Odyssey, Nonesuch, and Lovely Music Records.

In October, 1994, Wesleyan University honored Alvin Lucier with a five-day festival, Alvin Lucier: Collaborations, for which he composed twelve new works, including Theme, based on a poem by John Ashbery and Skin, Meat, Bone, a collaborative theatre work with Robert Wilson. In April, 1997, Lucier presented a concert of his works on the Making Music Series at Carnegie Hall and in October of the same year his most recent sound installation, Empty Vessels, was exhibited at the Donaueschingen Music Festival in Germany. Recently, Diamonds for three orchestras was performed under the direction of Petr Kotik at the Prague Spring Festival, 1999, and Warsaw Autumn, 2000. In August, 2001, Alvin Lucier was Guest Composer at the New Music Days in Ostrava, Czech Republic. Refiections/Reflexionen, a bi-lingual edition of Lucier’s scores, interviews and writings is available from MusikTexte, Köln.

David Lee Myers lives in New York City. His most recent solo CD, Ourobouros, is available on his own Pulsewidth label (www.pulsewidth.com). Myers’s third collaboration with Hamburg composer Asmus Tietchens, Flussdichte, has just been released on the Disco Bruit label.

Michael Prime worked for many years as an ecologist conserving wildlife habitats in South London. Inspired by his experiences of nature in an urban environment he has developed a variety of novel organic and environmental sound sources for use in his music. These include the amplified electrical activity of plants, fungi, and humans, as well as a machine which uses the controlled production of tiny bubbles as a sound source. Short-wave radio, bat detectors and other means of amplifying the hidden sounds of the environment are used in both his studio compositions and his live performances. A founder member of the electroacoustic improvisation group Morphogenesis (formed 1985), Prime has also recorded and performed with artists such as Organum, Jim O’Rourke, Eddie Prevost, Max Eastley, David Toop, Geert Feytons, and Emma O’Bong. In 1999, Prime and O’Bong began presenting multimedia works, incorporating video and other visual elements. Since 2001, he has been creating a series of plant bioactivity installations, in which the amplified biorhythms of plants are heard to change slowly under the influence of artificial or natural weather systems. E-mail: mikep@myco.demon.co.uk

The audio works by ECM:323, and ECM:323 /Tunk Systems on the accompanying CD are presented as a literal representation of a spontaneous, self-generating feedback event, and should in no way be construed as a composition. Apart from a modest amount of EQ and filtering, the works are designed to illustrate raw and unprocessed events analogous to those found throughout the natural world. Any fluctuations in signal and channel balance are entirely beyond our control, and all of the sound was generated from two conflicting effects units. Contact ECM:323@aol.com for supplementary material. Our early audio works are documented on the CD ROM —’0Hz’, available for £9.99 + p&p from ‘0 Hz’ CD Rom Journal of Advanced Audio Arts, c/o Don’t Look Now, Threshold Studios, 69b Kettering Road, Northampton NN I 4AW, England.

Toshimaru Nakamura

Toshimaru Nakamura

Toshimaru Nakamura put aside his guitar around 1998 and started to produce the music on “no-input mixing board.” Since 1998 he has been hosting a monthly music gathering, first at Bar Aoyama, latterly at Off Site, with guitarists Taku Sugimoto and Tetuzi Akiyama. It has been growing as an important meeting point in the Tokyo improvised music scene. He has also been working with dancer Kim Ito as a composer/sound designer for his theatre works since 1996. Recent releases include:

“no-input mixing board 2” (a bruit secret 02).

“select dialect” repeat (cut 005).

“do” with Sachiko M (erstwhile 013).

“Weather Sky” with Keith Rowe (erstwhile 018).

“ATON” with Andrea Neumann (Rossbin Production, rsOOl).

“Siphono” with Bruno Meillier (SMI, NM2I0).

Contact setreset@attglobal.net
Visit www.japanimprov.com/tnakamura/

Xentos, aka Pentos Fray Bentos, writes: “I am best described by a recurring dream I have endured since childhood. Through a shoddy dawn I follow a thread that leads me ever deeper into the maze of sound. My mission – to seek out and slay the dreadful sonic beast that lurks at its heart. At every twist and juncture I pass musical genres (some well known, many yet to be discovered) – the sweaty dance fraternity panting like ill-used heffers after a barbaric milk, the rock gods; – a glistening gathering of pointless prunes; the pop brigade – all youth and trousers; even a pack of canny improvisers slumped unconscious over a free bar.

“At last, I enter a dark chamber at the centre of the maze. A trap. Hideous forms surround me. There is not just one sonic beast but a burgeoning army. A terrible scream rips from my throat. At once, all around, the shattering of a million panes of glass as though an almighty fist had torn though the clouds and pummeled a skyscraper.

“Eventually – silence. When I gather the courage to look up. I see that I was standing in a hall of mirrors.”