Notes:Concert evening of 3Dmin Symposium —
“Musical Instruments in the 21st Century:
Identities, Configurations, Practices”
with Alberto de Campo
Alexander Peterhänsel
Amelie Hinrichsen
Atau Tanaka
Dafna Naphtali
Dominik Hildebrand Marques Lopes
Hannes Hoelzl
Hans Tammen
hans w. koch
Yan Jun
Katharina Hauke
Marije Baalman
Till Bovermann
Abstract: As an electronic musician I am largely occupied with capturing and manipulation of sound in real time—specifically the sound of instruments being played by other musicians.
Also being a singer, I’ve found that both of my instruments are often perceived as “invisible”.
This article discusses various strategies I developed, over a number of years, in order to “play” sound manipulations in musically reactive ways, to create a live sound-processing “instrument”.
Problems were encountered in explaining what I do to other musicians, audience, and audio engineers about what I do, technically and musically. These difficulties caused me to develop specific ways to address the aesthetic issues of live sound-processing, and to better incorporate my body into performance, both of which ultimately helped alleviate the invisibility problem and make better music.
Audio Chandelier: polyélaios is a new multi-channel interactive sound installation by Dafna Naphtali, featuring a kinetic audio speaker sculpture created in collaboration with her sister, metalsmith/designer Ayala Naphtali. The installation, to be installed at Governors Island May 1-July 30th, presented by Harvestworks Digital Media Arts, is postponed due to COVID-19, now projected to open August 1, 2020.
Individual “grains” of sound will be dispersed via the speaker sculpture in an immersive sonic experience– undulating audio “pixels” illuminate and refract moments in time, eliciting reminiscent soundscapes of environmental / electronic fields of crickets, unruly flowing brooks, rain-rhythms, bird song and unruly percussion. A multitude of isolated sounds form a new sonic whole, ranging from turbulence to stillness and Xenakis inspired hyper-electronics refraction of sound.
Dafna Naphtali’s Audio Chandelier multi-channel sound projects since 2010, have included both live performances and fixed media installations. This new interactive installation, created during a 2019 artist residency at Harvestworks Digital Media Arts, is also a first-time collaboration with the metalsmith/designer Ayala Naphtali to create the sculpture.
Ayala Naphtali will contribute expertise from her design practice over the past 35+ years works in ways with color and subtle kinetic and mechanical movement that fits the scale and delicacy of the visual needed for my Audio Chandelier. The design vision for the speaker layout and kinetic sculpture are inspired by Ayala’s silversmith and metal work designs.(ayalajewelry.com)
Dafna and Ayala Naphtali, in this Audio Chandelier: polyélaios , bring together all their influences and background as native New Yorkers and sisters: Dafna, informed by her practice as an electronic musician with a life-long habit of listening to birds rural and urban soundscapes, going back to their family’s extreme backpacking trips, Ayala in her long interest in natural materials and physicality of her objects, starting as a teen taking jewelry classes at the Metropolitan Museum. Their shared history, as native New York sisters also comes in: weekly childhood visits and classes at MoMA (early memories of Calder, Cubism, modern jazz dance classes and early exposure to computer music by their modern dancer mother and engineer/computer programmer, father.
For more background on earlier Audio Chandelier work by Dafna Naphtali, see AudioChandelier.com
DAFNA NAPHTALIis a sound-artist, vocalist, electronic musician and guitarist. A performer and composer of experimental, contemporary classical and improvised music since the mid-90’s, she creates custom Max/MSP programming for sound-processing of voice and other instruments, music for robots, “Audio Chandelier” multi-channel sound projects and “Walkie Talkie Dreams” audio augmented reality soundwalks in NY and Germany. “luminary” (Time Out) “extraordinary experimental vocalist” (Bruce Gallanter, Downtown Music Gallery. “Brilliant and dangerous” All Music Guide. dafna.info
Ayala Naphtali strives for balance and proportion, and feels as if each piece must find its axis on the wearer. The work is designed to be elegant, with minimal and bold forms Ayala’s work is an exploration of form and materials, each equally important. She feels firmly rooted in the historical tradition of her craft. Ayala is committed to the use of materials, for their color texture and versatility. Often the material is the inspiration for the piece of jewelry being designed. Coconut shell, dyed and carved, is used to achieve rich color and texture. Forging, fabricating and casting are used to create pieces with dimension and volume.”
Ayala began making jewelry in her early teens. She studied Gold and Silversmithing at FIT and SUNY NEW PALTZ where she received her BFA in 1985. Ayala’s work has been exhibited both nationally and internationally in galleries and museums. She has won awards at Exhibitions nationally. Her work has been collected privately, and by major museums including the Cooper Hewitt and Kunsindustriumuseum in Norway, and The White House permanent collection. Ayala currently exhibits in major nationally juries craft shows such as American Craft Exposition in Baltimore, SOFA show in Chicago and other local venues. Selected publications include American Craft Magazine, ELLE, The Fashions of The Times, The New York Times, Mademoiselle, Women’s Wear Daily, Glamour, and New Women Magazine. Ayala has been a juror for The American Craft Council Craft Shows.
Pulsing Dot, is the debut release by the duo of Gordon Beeferman (piano) and Dafna Naphtali (voice, electronics) on Clang label (Denmark) September 2017, with cover art by Julia Stoops.
In settings and improvisations for piano and voice, with kinetic sound processing, fractal rhythms, and generating polyphonic / kaleidophonic disturbances, Gordon Beeferman fleshes out protean fragments into strikingly visceral structures and landscapes that take the piano to its limit, and Dafna Naphtali augments her high energy live processing of Beeferman’s piano with extended vocal techniques/sounds/multi-modal singing and her custom take on hand and voice-activated electronics. Pulsing Dot press release.
“An extraordinary and stunning release…extended and multidimensional..almost of orchestral and theatrical proportions to use an inadequate comparison. The music really breathes and is full of energy, not losing itself in meaningless experimentalism and stays focused and very together.” (Vital Weekly)
Gordon Beeferman & Dafna Naphtali – SOUP & SOUND 09-09-17
“live interaction between the collaborators makes for some truly groundbreaking improvisation” (Peter Thelen, Exposé
“The well-thought-out evolution…slowly unfolds into something more like a sonic daylight.” (Chain D.L.K.)
“Naphtali & Beeferman have hit the nail on the head with this release.. a feedback loop of seamless interaction” (Sigil of Brass)
“quirky & playful”, “unpredictable, yet constantly active track that balances scuttling tension with slurred alien tribal-ness.” (Musique Machine)
watch the video: Dafna Naphtali / Gordon Beeferman live at The Firehouse, Brooklyn, NY, January 2015 https://vimeo.com/149483714
@ SOUP & SOUND 09-09-17 (Scott Friedlander)
Gordon Beeferman & Dafna Naphtali – SOUP & SOUND 09-09-1
Notes: Audio Chandelier multi-channel sound performance and talk — more info: https://dafna.info/multi-channel-sound/
CT Swam is Presentations: Experiments: Studies: Concerts: Workshops: and: Exchange:
For two weeks the Fridman Gallery will be turned into a Temporary multi-channel sound studio. Events will unfold rather spontaneously (last year led to 15 performances over the course of 6 public evenings), so please follow the activities on the FB page:: https://www.facebook.com/events/1069232346503809/
Clip Mouth Unit– Jen Baker (trombone/voice) and Dafna Naphtali (voice/live-sound-processing/electronics)– has created a unique set of open form compositions for their multi-faceted performance concept — merging electro-acoustics, multi-phonics, and extended techniques, integrated directly with scalar and rhythmic concepts.
Dafna Naphtali / Jen Baker at NYC Electroacoustic Improv Summit 2016
The duo has been performing and creating together since 2011, including presentations at ISIM (Int’l Society of Improvising Musicians Conference), Bucknell College, and NYC Electroacoustic Improvisation Summit, and preparing a unique set of open form compositions for their multi-faceted performance concept merging electro-acoustics, multi-phonics, extended techniques, integrated directly with scalar and rhythmic concepts.
“Clip Mouth Unit, a duo project of Dafna Naphtali and Jen Baker performed with a high-energy mix of Baker’s trombone interjections and Naphtali’s intense yet urbane vocal stylings, combined with varied and unpredictable computer- generated textures and live processing of the acoustic sound, all presented with a comic’s madcap sense of timing. Despite a wide range of surprising musical swerves, the performance never lost focus.”
BIOs of Jen / Dafna: Jen Baker, trombonist/composer, has collaborated with artists all over the world in site-specific mixed media performance, concert halls, solo and chamber commissions. As an improviser she is featured on the soundtrack to Werner Herzog’s Oscar-nominated Encounters at the End of the World. She has performed internationally in festivals and has toured with Arijit Singh, Karole Armitage, and Mansour, and new music ensembles S.E.M., TILT brass, and the mobile ensemble Asphalt Orchestra (founding member). Her well received new book, Hooked on Multiphonics, is treatise on extended techniques for trombone for composers and trombonists to aid in understanding and executing the deep complexities of multiphonics.
Clip Mouth Unit scores are in the form of a deck of cards/PostIts each with a different behavior or electroacoustic process outlining relationship between instruments and processing ======>
score for June 2015 gig at TransPecos
Below are the last moments of our performance at TransPecos — (the video is dark,but the sound is good.) See below for more videos and the rest of the concert.
PastConcerts/Activities:
— Live on WKCR radio NY, with Nicola Hein (guitar) and Ramin Amir Arjomand (piano) (April 2018)
— Penn State University School of Music (Feb 2018)
— Bucknell College (Sept 2017),
— New York University Society for Women in Technology (SWiTCH) concerts (’17, ’15) see videos
— TransPecos – June 2015
— Panoply– duo performance 2013
— Firehouse Space– trio with Ras Moshe (saxophone)
— ISIM 2014 (Int’l Society of Improvising Musicians) presentation/performance
— presentation on Clip Mouth Unit on WTF is Experimental Music Series, Panoply Lab
— recording @ Harvestworks (unreleased) — duos plus one: with Ras Moshe, with Andrew Drury, with Sarah Bernstein.