Monday, July 19, 2010

Studio Soto Concert Thurs (7/22)

THURSDAY JULY 22nd 7:30 pm
Art@12, on 12 Farnsworth St., Boston

On Thursday, July 22nd at 7:30 pm, Studio Soto presents the dynamic London sound artist Kaffe Matthews in a special Boston appearance. Joining her on the bill will be Boston's Derek Hoffend. Both artists share an interest in creating autonomous sound environments and special frequencies through sonic furniture, though this performance presents their concert works' modalities.

The concert is being held at and is produced in collaboration with the Fort Point Arts Community venue Art@12, on 12 Farnsworth St., Boston. Admission is free with a suggested donation of $10.

Kaffe Matthews - making architectural music to feel through your body as well as your ears.- was born in Essex, England and lives and works in London.

Since 1990 she has been making and performing new electro-acoustic music worldwide with a variety of things and places such as violin, theremin, Scottish weather, desert stretched wires, NASA scientists, melting ice in Quebec and the BBC Scottish symphony orchestra. Currently she is researching 3D composition through Hammerhead sharks in Galapagos and Atlantic salmon in Northumberland rivers. Acknowledged as a pioneer in the field of electronic improvisation and live composition, Kaffe has released 6 solo CD’s on the label Annette Works.

Often collaborating, her present projects are with sonic furniture project ‘music for bodies’ and climate change activist fan band The Gluts with CafĂ© Carbon.

Derek Hoffend is a visual and audio artist who creates sound-sculpture installations and electro-acoustic music. Installations examine intersections between sound, objects, body, and environment, combining electronic, acoustic, recorded, and self-generative audio processes with found and constructed objects and spaces. Live performances traverse immersive, evolving, textural soundscapes, combining composed and improvised digital and analog processes for computer, hand-made circuits, and modified electronic and acoustic instruments. Recent work has explored immersive audio, multi-channel arrangements and sculptural forms (4 to 12 speakers), tactile interfaces, viewer participation, resonant objects and spaces, and architecture and site as instrument.

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