Friday, March 09, 2012

Music and Film Tonight and Tomorrow Night


KEROAÄN (from Philadelphia)
and ess enn emm (Reuben Son, Benny Nelson and Patrick Emm)
Friday, March 9, 2012 8pm
10 Channel Center St.
suggested donation $10

Studio Soto and Uppercase present KEROAÄN's debut Boston performance. A powerful mix of digital synthesis and light, this will be a memorable evening of new music.

KEROAÄN is a musical artificial intelligence developed by FRASER/ROSENBERG that performs by implementing XENAKIS’S Dynamic Stochastic Synthesis. This non-standard synthesis is played in real time by the KEROAÄN program. Pushing and pulling between sections of hard noise, singing glissandos, jagged melodic scribble and other sonic curiosities, the program liberates the computer from its position as a mere tool of hyper-productivity and transports the machine into a state of creative and performative being. Operatic in scope, a live diffusion of KEROAÄN features lasers, strobe lighting, and fog synched to both audible and structural qualities of the music as an infinitely morphing chorus of digital voices croon, cry, scream and everything in between.

ess enn emm is the debut performance of a trio consisting of three of Boston's leading electronic musicians: Reuben Son, Benny Nelson, and Patrick Emm.



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In This Dark: films of Luther Price
Saturday, March 10, 2012 8pm
10 Channel Center St., Boston
suggested donation $10


Mobius, in conjunction with Studio Soto, proudly presents a screening of new and rarely-seen super8 and 16mm films by internationally acclaimed, experimental Boston filmmaker, Luther Price. This screening coincides with the inclusion of 26 of his films in this year’s Whitney Biennial. Works in this program were especially selected by Price, and will be projected in their original formats. The filmmaker will be present at the screening. The screening is co-produced in conjunction with Studio Soto and will take place at 10 Channel Center St. in the Fort Point neighborhood of South Boston.

"Price’s film work has an oppressive intensity, envisioning an alienated world of often mindlessly repeated rituals and poses that entrap and suffocate his subjects. He sets up a constant dialogue between his compromised victim-subjects (often himself or his own family) and the equally compromised film stock itself. Images of ruptured flesh and ghostly birthday parties are further ruptured and drained of life by Price’s torturous manipulations of the film, which can include chemical processing, filters, optical printing, re-photography, and even holes punched in the frame. What emerges is Price’s great subject — the breaches, breakdowns, and collapse of body, family, and society, and by extension all of life, in the face of unstoppable philosophical forces. What makes it work is the nonstop flow of extraordinary, unforgettable imagery." ----Gary Morris, from "Home Movies From Hell," Bright Lights Film Journal

"I want to make true films. I don't care if it hurts me... people exploit each other anyway. If you exploit yourself you leave no room to be exploited by someone else... No one can hurt me; no one can say anything about me because I've already said it. I've already given them the dirt. We always have the ability to redeem ourselves... " ---Luther Price

Bio:
Luther Price received a BFA in Sculpture from Massachusetts College of Art and Design, where he studied with Saul Levine. He is an experimental filmmaker whose work has been widely screened in the United States and Europe at such venues as the Museum of Modern Art, the Whitney Museum of American Art, and the San Francisco Cinematheque. He is a professor at the Massachusetts College of Art and Design. His films, shot primarily on Super 8 mm, often include controversial subject matter, found footage, the artist performing in a variety of persona, and physical interventions into the actual material of the film, sometimes incorporating live performance. His films are distributed by Canyon Cinema in San Francisco, The Film-Makers' Cooperative in New York, Light Cone in Paris and others. (source: Wikipedia)

films to be screened:

    * 1)  Red Rooster (1987)  - super8 sound; 4min by Tom Rhoads
    * 2)  Porcelain Ribbon (1990) - super8 silent film 4min
    * 3)  Meat Dry 02" (1999) - super8 sound film.10min
    * 4)  Mr.Wonderful (1987) - super8film sound on film 10min by Tom Rhoads
    * 5)  jelly fish sandwich (1994) - super8 sound film 18min
    * 6). Burgin and Tonic (2012) -  16mm optical sound (inkblot) reel #2 8min.
    * 7)  Fragment (2012) - optical film 16mm 4min.
    * 8)  Nice Baskets (2006) - 16mm optical sound 8min
    * 9)  Tamponia (2007) - 16mm optical sound 7min
    * 10) Rocket (2007) 7min 16mm
    * 11) Deaf For Chicken Lip (2006)- 16mm optical sound 12min

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