Notes:Live/Film/Sound/Tracks is the 10th annual Film-Makers’ Cooperative Benefit Concert – a singular celebration of avant-garde music and expanded cinema, featuring never-before-seen collaborations and performances by an incredible lineup of visionary artists:
Alan Licht / Lee Ranaldo / Wollesonic / Bill Morrison / Lea Bertucci / Victoria Keddie with MV Carbon / Dafna Naphtali / Optipus with the Underworld Oscillator Corporation / DJ Roe Enny
$30 for a unique evening of four hours of expanded cinema and live music.
Notes:Opening the show will be “Clip Mouth Unit” — Dafna Naphtali (voice/electronics) duo with Jen Baker (trombone/voice) joined by Sarah Bernstein (violin/voice)
https://dafna.info/jen-baker-dafna-naphtali-clip-mouth-unit/
Then Lindsay Vickery with Sarah Bernstein – violin/voice, Jen Baker – trombone, Junko Fujiwara – cello, Dafna Naphtali – voice and Zach Rowden – double bass.
Australian bass clarinettist, composer and improviser Lindsay Vickery presents new works responding to the Occupy Movement, Whistleblowers, and the reportage of Chris Hedges, Glenn Greenwald and others, Along with improvisations by Some of NYC’s finest.. The works explore the forms of projected animated notation with acoustic instruments and electronics.
Notes:Duo music & video by electronic musician / vocalist Dafna Naphtali and media artist Benton C Bainbridge. Since their first performance in 2001 (and again in 2006 at Bent Festival) Naphtali and Bainbridge find ways to viscerally connect sight and sound, mixing new and (used/unused/discarded/revived technology to stimulate heart and mind.
CHATTER BLIP is a duo project of Chuck Bettis (electronics/throat) and Dafna Naphtali (electronics/processing/voice) — an interstellar multi-character audio operetta involving a multitude of human, alien, and machine voices, in a mash-up of primal and classic sci-fi and electro-acoustics….. with performances since 2006.
RELEASED March 2020– Microcosmopolitan — on Contour Editions, iTunes and Bandcampfeatures seven brand new tracks, and two reaction poems inspired by the tracks from Shelley Hirsch. Bettis and Naphtali also created a series of audio reactive / generative music videos for the tracks on Microcosmopolitan, featuring footage from their lockdown time in NYC collaborating together remotely. Created for presentation on Harvestworks Twitch TV 9/22/20
Audio/Video of other past performances:
–WhiteNoise IV – July 9, 2021 (First show since the pandemic!) (part of Brooklyn Sounds: An Out of the Box Project from WhiteBox_) Curated by Juan Puntes with Katherine Liberovskaya
Chatter Blip’s debut CD was “Chatter Blip” ((Acheulian Handaxe 2013)
Bios: Chuck Bettis, (electronics + throat) was raised in the fertile HarDCore soil, nourished within Baltimore’s enigmatic avant garde gatherings, and blossoming in NY’s Downtown Musical tribe. His unique blend of electronics and throat has led him into various collaborations with great musicians from around the globe. He has performed live with John Zorn, Fred Frith, Jamie Saft, and Afrirampo to name a few. Some of the musicians Bettis has recorded and played live with are as follows; Ikue Mori, Nautical Almanac, Audrey Chen, Yellow Swans, Toshio Kajiwara, Mick Barr, etc, plus a long history of punk bands he was in (most notably the experimental punk band Meta-matics as well as the enigmatic All Scars). Currently he is working on many of his experimental projects such as Snake Union with Dave Grant, Die Trommel Fatale with Brandon Seabrook/Marika Hughes/Eivind Opsvik/Henry Fraser/Dave Truet/Sam Ospovat, Mossenek with Mick Barr & Colin Marston, Chatter Blip with Dafna Naphtali, and Pretty Clicks with Berangere Maximin, in addition to improvising, recording, or composing with an array of musicians from around the world. http://chuckbettis.com/
Dafna Naphtali (voice – electronics – live-sound-processing) composes and performs experimental, interactive electro-acoustic music using her custom Max/MSP programming for live sound processing of voice and other instruments, and works for multi-channel audio and musical robots. She draws on her musical background in jazz, classical, rock and near-eastern music, and interprets Cage, Stockhausen and contemporary composers, in projects with well-regarded musicians around the world, and grants/fellowships/residencies. CD “What is it Like to be a Bat?” digital punk trio w/Kitty Brazelton (Tzadik), and several CDs forthcoming in 2017.
Tuesday, March 1 (8 pm)
Dafna Naphtali, singer/composer/electronics/programming with music robots (Bricolo system and Xylophone bot by Nick Yulman)
Tangents at the 2016 Avant Music Festival closes with Dafna Naphtali’s Robotica inspired by the work of Al-Jazari, the 13th century Mesopotamian inventor and author of the “Book of Knowledge of Ingenious Mechanical Devices.” Songs/texts as meditations on mechanical motion– Flow, Spin, Lift and Pulse, are interspersed with cutup texts created by a Google poetry robot, Morse Code messages driving rhythms, live processed sound. Drawings from Al-Jazari’s book are projected in the background as Naphtali uses a Wii controller to direct the robots, rhythms, and processing of her voice in real time, via algorithms and computer programs she wrote.
Work-in-progress since 2008, this new iteration of Robotica is extended to an evening-length solo show and includes other of Naphtali’s solo pieces Dripsodiac, Mechanical Eye, new songs/texts written especially for the performance, and a world premiere of a new multi-channel “Audio Chandelier” mini-installation on tiny speakers. Naphtali’s themes include “technological angst, memories (past and future), machine codes, surveillance and the breakdown of communication.”
Notes: solo: Tangents Series from Avant Media: An evening length solo performance, songs from Robotica with mechanical musical instruments, solo works for voice and electronics
Unfortunately, Peter Geisselbrecht was not able to make it to New York this time, and so this show had to be changed to a different program with Hans Tammen, Dafna Naphtali, Chuck Bettis, Yoni Kretzmer, and others see http://bit.ly/1ipjnjD.
