The Reparametrization Underground plays an afternoon of written and improvised music including works by Ryan Ingebritsen, Katherine Young, and Thelonious Monk. They will be joined by Auris featuring Christopher Preissing, Guillermo Gregorio, and Julia Miller.
Sunday, June 14th
2-5
Reparametrizaton Underground
Auris
$5 admission
The Reparametrizaiton Underground is a group of improvisers who engage in interactive improvisations where one sonic thread is manipulated and created by multiple acoustic and electronic performers. The ensemble seeks to foster organic interaction between the acoustic and the electronic. Instead of being directly manipulated by electronics, the instrumentalists and electronic performer work in tandem, weaving one sonic "thread," in which the action of each individual directly affects the others’ sound, creating a chance for completely original, uniquely democratic activity. Featuring an array of talent across many background and genres of music, this incarnation features electronic artist and founder Ryan Ingebritsen, flutist Shannon Budd, Violinist Erica Dicker, and Tubist/ multi-instrumentalist Dan Peck.
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The Reparametrization did a show last night a the Post Family for a most art scene crowd. It was a magical night, I think, and I look forward to a slightly more music scene centric set at the Green Mill though we do indeed plan on featuring several improvised sets.
ReplyDeleteThe Reparametrization Underground springs from processes of interaction developed in seeming isolation by my electronic group We Can and We Must. It is the first real sojourn into the realm of the acoustic instrument for the process, and it is a long time coming. Two big challenges in working with live interaction in the acoustic realm are trust and feedback.
Trust, because you must trust the performers to provide a sonic basis for your manipulation, and they must trust you to use the power you have responsibly. In fact, both parties have a certain responsibility to the other and a certain power over one another which I think is the very essence of the democratic process.
Feedback, well, because you really have to be intimately familiar as an engineer with the feedback potential of your microphones, your instruments, and the room, and learn to use this potential to your advantage. A phenomenon not possible when all sounds come from the controlled environment of the computer.
This group showed last night the level of trust and awareness of the moment necessary to really form a musical structure in the moment from varying a disparate parametric control of the whole ensemble and of each other in real time. That is only possible through an intrinsic trust of the other musicians involved.
We hope you can all join us tomorrow afternoon.