Artist Biographies and Program Notes

° Rebecca Allen
° Mark Applebaum
° Grady Appleton
° Ron Averill
° Cem Duruoz
° Tom Flaherty
° Mike Frengel
° Thomas Gerwin
° Robert Gibson
° Stephen Goldstein
° Annie Gosfield
° Jose Halac
° Paul Higham
° Nicky Hind
° Dr. Dorothy Hindman
° John Hitchcock
° Roger Kleier
° Ken Knowlton
° Stefan Kren
° Patrick Lichty
° Muriel Magenta
° Keeril Makan
° Kevin Malone
° James Mobberley
° Barbara Nessim
° Joseph Butch Rovan
° Paul Rudy
° Dan Sandin
° Rob Smith
° Perry Townsend
° Carei Thomas
° Joan Truckenbrod
° Paul Vanouse
° Mark Webber



Rebecca Allen
The Bush Soul

"The Bush Soul" is an artwork that explores the role of avatars in a world of artificial life. In a virtual world, the avatar becomes our other body. But what part of "us " is in our avatar? "The Bush Soul" experiments with forms of communication that rely on symbolic gestures and movements with a focus on the "life" of the virtual environment.



Mark Applebaum
Dead White Males ReMix

"Dead White Males ReMix" used ProTools software as its compositional platform. In 1993, the American Composers Forum commissioned the orchestral work "Dead White Males." In this "ReMix" Applebaum collected digital samples from the recorded premiere, and through the rather prosaic operations of juxtaposition, superimposition, time compression and expansion, pitchshifting, and reversal of the sounds, he arrived at this piece--one which has little, if anything, to do with the discursive vector of the original orchestral work.

Mark Applebaum received his Ph.D. from USCD where he worked with Brian Ferneyhough. His music has been performed throughout the U.S., Europe, and Asia with notable premieres at the Darmstadt sessions. He has received commissions from Betty Freeman, the Merce Cunningham Dance Company, the Paul Dresher Ensemble, and Zeitgeist, among others. He currently teaches at Mississippi State University.



Ron Averill
tasting the crocodile's breath

Tasting the Crocodile's Breath refers to a Chinese proverb: "You must have crossed the river before you may tell the crocodile he has bad breath." In this piece, Averill stretches the versatility of the piano by combining it with tape - alternating between rapid, manic passages and lyrical, romantic ones. The result is sonically surreal environment where live music and tape at times become indistinguishable. The form repeatedly takes unscheduled turns, leading the listener down a beguiling trail.

Tasting the Crocodile's Breath was created at the University of Washington's School of Music Computer Center (SMCC) using SGI and Macintosh G3 computers, a Kurzweil K2000 synthesizer, AudioSculpt, SVP and csound. Mixing was done with the RT real time software mixer.

A resident of Seattle, Washington, Ron Averill studied composition with Richard Karpen and received his DMA in Composition from the University of Washington. His works have been performed throughout the world, including performances at the Bourges Electroacoustic Festival, ICMC, DISCOVERIES 1996-97, and the JIM '96 Computer Music Conference. Averill's awards include Honorable Mentions in the Grands Prix Internationaux Bourges/97 for nature morte: ensnare entangle emerge for computer-realized sounds, in the Grands Prix Internationaux Bourges/94 for painting legs on the snake for computer-realized sounds, and in the 1994 Prix Ars Electronica for gdod kreasi baru for trombone and computer-realized sounds.



Cem Duruoz

Ripples was inspired by and is an attempt to realize in music, a transcendent experience that its composer, Nicky Hind, had one night while floating on his back in a swimming pool. In Ripples, the patterns and their transformations are in "harmony" with the stereo echo effect through which they pass - in fact there are four settings (one for each of the main sections), and thus four different "harmonies" that result.

"A player of passion and intensity" raved John Holmquist - one of the many accolades Cem Duruoz has received from performer and critic alike. Duruoz won the first prize in the Turkish National Guitar Competition at the age of seventeen and subsequently performed in every major concert hall in Turkey. In 1990, he emigrated to the United States and won the Stanford Soloist award. Since then, he has performed in Japan, New York, Washington DC, Florida, Georgia, and major cities throughout California. He studied guitar with David Tanenbaum at the San Francisco Conservatory and computer music at Stanford University.



Tom Flaherty
Trio for Cello and Digital Processor

Trio for Cello and Digital Processor plays with rhythmic hockets and explores the sonorous possibilities of the cello. The digital processor is not intended to actually alter the cello sound in any significant way; rather, it sends the cello sound to the left and right speakers a half-second and a full second later than the original acoustic sound. The resulting piece is in effect a cello trio, although it would be virtually impossible to accurately coordinate three live players to the degree required in the piece. The piece's harmonic palette is wide; at various points references to music as diverse as Varese's Poeme Electronique and Bach's chorale Es ist genug are incorporated into the texture.

Tom Flaherty has received grants, prizes, awards, and residencies from the National Endowment for the Arts, American Music Center, the Pasadena Arts Council, the Massachusetts Council for the Arts and Humanities, the Delius Society, the University of Southern California, "Meet the Composer," and Yaddo. Published by Margun Music, Inc. and American Composers Editions, his music has been performed throughout Europe and North America, and is recorded on the Klavier, Bridge, SEAMUS, Capstone, and Advance labels. He earned degrees at Brandeis University, S.U.N.Y. Stony Brook, and the University of Southern California. A founding member of the Almont Ensemble, he is currently Associate Professor of Music and Director of the Electronic Studio at Pomona College and is an active cellist in the Los Angeles area.



Mike Frengel
Long Slender Heels

Long Slender Heels was composed in 1999 at the Bregman Electro-Acoustic Music Studio at Dartmouth College. Composer Mike Frengel graduated with a B.A. degree in electro-acoustic music from San Jose State University in 1995, where he studied electronic music composition with Prof. Allen Strange and Prof. Dan Wyman. He spent another two years in the Bay Area working at Apple Computers as well as remaining affiliated with the C.R.E.A.M. Studios at SJSU as a Research Scientist. Frengel received an M.A. in electro-acoustic music from the Bregman Studios at Dartmouth College in 1999, where he studied with Jon Appleton, Charles Dodge, Larry Polansky, and Christian Wolff. He is now at City University in London, where h is working towards a Ph.D. in electro-acoustic music. Mike's compositions have been included in the ICMC '95, CDCM Vol. 26 compact discs, performed live at numerous international music events, and broadcast over American, Canadian, French, and Slovak radio and the World Wide Web.



Thomas Gerwin

Rollenspiel was meant as musical investigation of the abstract form of a circle or sphere. But, using the concrete material of a rolling and falling ball for this, more and more "individuals" and "stories" appeared. That's because sounds are beings. They are born, spend a distinct life span at discrete places and then die. Sometimes they form higher organisms. Because composer Thomas Gerwin did not want to loose the contact to sounding reality within the abstract task of creating this piece, he used for this examination the sounds of a rolling or falling ball in a round wooden bowl. This sound material was the sole basis and inspiration for the different digital and analog methods of evocation, processing and composition which he used in his computer music studio to represent the structural idea.

Thomas Gerwin is a classical educated composer and musicologist. To improve and widen his artistic expression, he worked together with other disciplines like theater, film, and painting and coming into the field of electroacoustic music very early. After teaching experimental music and composition for many years, he constructed the audio library at Center for the Arts and Media (ZKM) in Karlsruhe, Germany 1990-1998. Today he is founder and director of "studio for media art and acoustic design" and "Member of the Board" of World Forum for Acoustic Ecology (WFAE). His works have been performed, broadcasted and exhibited worldwide.



Robert Gibson

The title and sound imagery of my composition Mist are a response to an untitled poem by Mansei. Mansei's verse suggests a dream-like world, and the surprising but convincing connections sometimes present in dreams led me to conceive of the piece in which the performer would improvise in styles related to jazz, responding to the tape as if the events were part of a dream.

Robert Gibson's compositions have been performed throughout the United States, in South America and in Europe and have been recorded on Golden Crest and Spectrum Records. Chamber Music, a Capstone compact disc of chamber works by Gibson appears on Fanfare Magazine's 1996 Want List as one of critic William Zagorski's five notable recordings of the year. Gibson is a professor of composition at the University of Maryland, College Park.



Annie Gosfield

°°Web site

Annie Gosfield was born in 1960 in Philadelphia, and now lives in New York City. Her compositions include acoustic as well as electronic works, and range from solo pieces for detuned piano to chamber orchestra works that incorporate elements of improvisation and detuned strings. Active in the downtown New York music scene, she focuses on both notated music and improvisation, often combining the two. Her work has been performed in the U.S., Europe, Israel, and Australia by ensembles such as The Bank on a Can All Stars, Rova, Agon Orchestra, The Spit Orchestra and The Crosstown Ensemble. She performs throughout Europe and the U.S. playing piano and sampling keyboards with her own ensemble and in solo concerts. Gosfield has worked with Roger Kleier, Marc Ribot, LaDonna Smith, Davey Williams, Elliott Sharp and many others, and has participated in John Zorn's "Radical Jewish Culture" festivals. In the early 1980's she played in the underground venues of Los Angeles with the free improvisation group "The Apes of God."



Jose Halac
The Breaking of the Scream

The Breaking of the Scream was composed based on a poem by Argentine poet Pablo Anadon and a traditional folk song from the Northwest of Argentina. The poem, originally in Spanish, is titled "Seasons of the Tree" and is centered around the idea of the departure of the loved one and the painful remains of the sentiments no longer recognized. The folk song describes the purely carnal and sexual desire of a man who compares himself with a tiger. These two ideas are merged in between screams, chanting, drums, and all the electronic manipulation of these sources. Halac states, "after my very own experience, I can describe this piece as THE ultimate homage to divorce."

Jose Halac is an Argentine-American composer whose music has concentrated in the last years to the merging of western techniques of composition with popular musics, voices and indigenous singing from South America and the rhythms of Northwest Argentina, resulting in a new and avant garde world music. Halac received a 1994 National Endowment for the Arts grant to write a song cycle, a 1998 New York State Council for the Arts grant, seven ASCAP Standard Awards, the 1996 International Music Council-UNESCO Rostrum Award, as well as several Meet the Composer Grants.



Nicky Hind

°°Sound sample

Ripples was inspired by and is an attempt to realize in music, a transcendent experience Hind had one night while floating on his back in a swimming pool. In Ripples, the patterns and their transformations are in "harmony" with the stereo echo effect through which they pass - in fact there are four settings (one for each of the main sections), and thus four different "harmonies" that result.

Currently pursuing doctoral studies at Stanford University, Nicky Hind emerged as a composer with the 1987 release of the recording "Hindsight." Since then he has since received commissions to write music for acoustic and electroacoustic media, and in conjunction with dance, theater, and video. His works have been performed in his home country of Scotland, as well as abroad in Japan, Australia, Argentina, Iceland, and in the United States.



Dr. Dorothy Hindman
fin de cycle

°°Web site

fin de cycle, written for pianist Laura Gordy, refers to the French term, fin de siecle, meaning end of the century, and also suggests the compositional idea of the end of a process. The piece employs a wide range of traditional and contemporary piano techniques and explores the relationship of piano to tape. This relationship, sometimes antagonistic and sometimes complimentary, has parallels to the continuously changing and developing relationship between live concert music and studio-produced music in our time.

Dr. Dorothy Hindman's music has been performed in the U.S. Italy, Russia, and the Czech Republic. She has received numerous awards, is currently a 1998-99 Individual Artist Fellow from the Alabama State Council on the Arts, and is a finalist in the National Symphony Orchestra/Kennedy Center/ASCA Commission Competition. Her teachers include Dennis Kam, Stephen Jaffe, Louis Andriessen, Thomas Oboe Lee, and John Van der Slice.



John Hitchcock
Distortion/Comanche Story

Dance, song, cycles, birth, youth, adulthood, death, nature and the contemplation of one's existence are a part of most people's lives. These are the concepts that Hitchcock deals with. His works depict personal, social and political views. The images he uses are a direct result of stories heard and issues regarding living on native lands in Oklahoma. In his art, Hitchcock incorporates idealized interpretations of the American Indian with objects from the reality of life on native lands and symbols of spiritual significance. The second part of the video is a voice over narration of Hitchcock's grandfather Saukwaukee John Dussome Reid relating an experience of the old days on the southern plains. This was a time before the forced assimilation into European culture. This story was told his grandfather when he was hospitalized back in the 30's with a 103 year old Comanche elder named Thahean.

John Hitchcock received his BFA in 1990 from Cameron University, Lawton, Oklahoma. He earned his MFA in printmaking and photography at Texas Tech University, Lubbock, Texas. His current works, a blend of photography, printmaking, video and installation, depict personal, social and political views that are a direct result of stories heard and issues regarding living on Kiowa/Comanche lands in Oklahoma. In his work he incorporates idealized interpretations of the American Indian with objects of the reality of life on native lands and symbols of spiritual significance. Exhibitions of his art works include group shows at Seacourt Collaborative Press (Bangor, Ireland), Fine Arts Center (Lubbock, Texas), Institute of American Indian Art (Santa Fe, New Mexico), Visual Studies Workshop (Rochester, New York), and American Indian Community House Gallery (New York) and solo shows at the University of Oklahoma (Norman, Oklahoma) and Texas Tech University.



Roger Kleier
Currently residing in New York City, Roger Kleier is a guitarist, composer and improviser who began playing guitar at age thirteen after discovering Captain Beefheart and Hendrix on the radio airwaves of Los Angeles. Born in 1958, he studied composition at North Texas State University and the University of Southern California, and while in school he developed a strong interest in non-idiomatic improvisation. In 1981 Roger co-funded the Los Angeles Improvisers Collective and organized and performed in numerous concert series in the California area.

"Roger Kleier's guitars burn up a huge vocabulary of pungent timbres and compositional attacks. It's all there: from Beefheartian slide & fuzzed psychedelic leads to percussive soundscapes and orchestral feedback."
--Elliott Sharp



Ken Knowlton

The "Teapot" is a retrieved Icon from the first experiments with computer graphics modeling involving a teapot. This mosaic reconstructs the teapot using 491 fragments from an archaeological site somewhere in Utah, believed to represent 99 percent recovery of one teapot".

In the Seashell Mosaics there are enduring remnants of creatures once alive. They are a vehicle for expressing thoughts and moods about people who have lived, struggled and died, and who have left their own imprints, shabby to inspiring, on our own time.

Ken Knowlton is widely known as an innovator and developer of techniques and languages for computer graphics. He has authored several computer languages for the computer depiction of scientific phenomena and for artistic expression.



Muriel Magenta
Token City

°°Web site

In her current work she explores the interface between various electronic media, while continuing her investigation of the installation format as a means of interrelating electronic images with free standing objects. Her larger objective is to create a visual experience in a 3D digital space, and then transform it into a physical environment. Token City was developed as a collaboration between visual artist, Magenta and composer, Michael Udow (University of Michigan.)

Muriel Magenta is a "new genre" artist working in computer imaging, video, and sculpture. Since 1991, Magenta has been a Resident Artist at the Institute for Studies in the Arts, a unit in the College of Fine Arts at Arizona State University, which focuses on creative research in the area of art and technology.



Keeril Makan
Broken Thoughts

Composer Keeril Makan intends for technology to extend the acoustic experience. In Broken Thoughts, all sounds are based on piano sounds. All sounds are created in real time in response to the gestures of the pianist. All the computer-generated sound is localized by placing one speaker under the piano, blending together the sound of the piano and the synthesis. Being unable to continue and develop a train of thought, musical ideas repeat and change, but ultimately their physicality is more compelling than their meaning. As the pianist's gestures become disassociated from the sounds they produce, the music becomes strangely emotive, as memory is foregrounded and the pianist's presence diminishes.

Keeril Makan is currently in the Ph.D. program in Composition at the University of California, Berkeley. In the spring of 1998 he received a grant to work at CNMAT (Center for New Music and Technology), where he realized Broken Thoughts.



Kevin Malone
The Last Memory

°° RealAudio sample

The Last Memory is concerned with all aspects of memory. The composer's feelings about forgetfulness, flawed memories, so-called genetic memory, stored experiences, retention and expectation, short and long term memory, and memory loss were all ideas present during the work's composition. The musical material progresses from that of anger and denial to sections of repetitive fragments of obsession, finally giving way to two types of nostalgic music: misforgotten bits of a polka and ultimately a lullaby.

Kevin Malone studied composition with Morton Feldman, William Bolcom, and Leslie Bassett before moving to England where he lectures in composition at the University of Manchester. Malone's music, which has developed a unique blend of baroque and rock influences, ranges from music for harpsichord and live electronics to orchestral works and multimedia art. His works have been presented at international festivals, broadcast on BBC Radio as well as European and American radio and television, and have been described as "witty with a rare ability to communicate complicated processes with clarity," by major London newspaper, The Independent.



James Mobberley

°°Web site

Icarus Wept was loosely inspired by the legendary flight of Icarus toward the sun and the suddenly realization of the fatal mistake. Three movement titles reflect themes of Icarus of the sky - Getting Waxed, Climbing the Blue Staircase (from a Native American Peyote Song), and Eleven Feet from the Sun. However, Somebody Else's Face and the newly completed first movement, Strap on Your Lobster, have nothing to do with Icarus at all. The tape sounds come from a variety of sources, such as a trumpet, a trumpet stand, swirling coins, laughter/vocal sounds, and several expletives.

James Mobberley became interested in composition through his studies with Thomas Brosh as an undergraduate student. He received his masters in composition at the University of North Carolina at Chapel Hill, where he studied with Roger Hannay and earned his doctorate at the Cleveland Institute of Music, studying with Donald Erb and Eugene O'Brien. He began teaching composition in 1981, and is currently Professor of Music in the Conservatory of Music at the University of Missouri, Kansas City. His fellowships, grants, and awards include a Guggenheim Fellowship, the Rome Prize Fellowship, a Composer's Fellowship from the National Endowment for the Arts, the Lee Ettelson Composers Award, as well as awards from a variety of other sources.



Barbara Nessim

Barbara Nessim is an internationally known artist, illustrator and educator. In July of 1992 she was appointed Chairperson of the Illustration Department at Parson School of Design in New York. She has also taught in the MFA Computer Arts Program at the School of Visual Arts in New York. Sine 1980 she has been doing electronic art created on the computer, and has lectured widely on the subject.



Joseph Butch Rovan
Continuities II

Continuities II represents, together with Continuities I, a musical essay exploring interactive electronics using gestural controllers. The pieces were conceived in response to a short poem, A.R. Ammons' "Continuity." In Continuities II, the clarinet accesses a real-time sound world solely through movement of the clarinet, as the gestures of clarinet performance become a new language of timbral exploration. Gestural data is captured via an infrared controller, and the movements are mapped onto real-time control over the evolution of the electronic score. All electronic events are controlled through movement of the clarinetist.

Joseph Butch Rovan is a composer and performer on the faculty of the School of Music at Florida State University. Prior to joining FSU, he was compositeur en recherche at the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris. He is the recipient of numerous awards; most recently his work Continuities II was awarded honorable mention in the 1998 Bourges International Electroacoustic Music Competition.



Paul Rudy
Degrees of Separation "Grandchild of Tree"

°°Web site

The idea for the cactus and tape work, Degrees of Separation "Grandchild of Tree" came about when Rudy heard a performance of John Cage's Child of Tree. Rudy was immediately taken with the sound of the cactus in particular. Taken from its natural environment and placed in the confined and groomed existence of a pot, amplified with a contact microphone, the cactus took on a completely new and interesting character, however paradoxical. Without the amplification its subtle and poignant resonances go largely unnoticed. The relationship between natural objects and their unnatural extension is the metaphor which inspired Grandchild of Tree.

Paul Rudy studied trumpet and jazz at Bethel College (B.A. 1984), and composition at the University of Colorado, Boulder (M.M. 1992) and the University of Texas at Austin (D.M.A. 1997). He has served on the Aspen Music School faculty since 1995, teaching in the Electronic Music Workshop. In 1996, he launched the Amplified Music Performance Series (AMPS) to present electro-acoustic concerts to the Aspen Music Festival Audience. Currently he is on the faculty of the University of Missouri, Kansas City, Conservatory of Music. Recently has was named Missouri Music Teachers Association "Composer of the Year for 1998/99. He has received fellowships from the Fulbright Foundation, the University of Texas at Austin, and The university of Colorado, Boulder. Other honors include residencies at the Atlantic Center for the Arts and the Aspen Music Festival.



Dan Sandin

Daniel J. Sandin is an internationally recognized pioneer of electronic art and visualization. He is director of EVL and a professor in the School of Art and Design at the University of Illinois at Chicago. As an artist, he has exhibited worldwide, and has received grants in support of his work from the Rockefeller Foundation, the Guggenheim Foundation, the National Science Foundation and the National Endowment for the Arts. His video animation "Spiral PTL" is in the inaugural collection of video art at the Museum of Contemporary Art in New York.



Rob Smith
Essential Torque

Essential Torque is a piece that requires the pianist to be exactly synchronized with the tape part for the majority of the work, and continually gets faster and more intense as it progresses. The sounds found in the tape part have been created from samples of various piano sounds and of a metal ruler being struck against a table top. This work was written for the Montague/Mead Piano Plus, and is frequently featured in their concert programs.

Rob Smith currently resides in Houston, Texas. He has recently been appointed to the position of Assistant Professor at the University of Houston, and will begin teaching there in the fall of 1999. His music is frequently performed throughout the U.S. and abroad. In 1997, as the recipient of a Fulbright Grant, Smith studied with Peter Sculthrope at the University of Sydney in Australia and collaborated with many Australian ensembles and musicians.




Nolemon|Nomelon is a collaboration among a group of artists working in new media, incorporating music, poemmetry and video. Poemmetry is a spatial-kinetic-music-word concept. It uses words, phrases and onomatopoetic expressions in conjunction with larger developed works (visual, sound or word). Poemmetry utilizes poetry and the audience to make the compositional fabric work. This is similar to the way fragments of written musical material hold "brief realities" together, like a kind of skin or connective tissue.

Carei Thomas, a 1999 McKnight Composer Fellow, has been associated for a number of years with the literary, visual arts, dance, music, recovery, neighborhood, and Buddhist communities of the Twin Cities. His compositions are multifaceted, encompassing an historic range of musical styles, always expressing social and personal experiences and observations.

Grady Appleton is first and foremost a musician. He plays both bass and percussion and has performed in a variety of original ensembles, from jazz to punk, moody soundscapes to purging grunge, over the course of fifteen years. He has recently started to combine all of his experience and experimentation into his work with video and film.

Although a research scientist by vocation, Stefan Kren has always appreciated music as an art form. His long term association with musicians in the community, from singer/songwriter Tim Gadban to twelve-string guitar legend Dave Ray, and others led to a series of successful commercial recordings, which were positively endorsed by such publications as Rolling Stone and Art Forum.

For over 30 years, electronic and acoustic percussionist Stephen Goldstein has performed professionally throughout the United States, Canada, and the Caribbean in the musical genres and idioms of experimental, jazz, funk, South Indian classical, commercial, and numerous others. Goldstein has performed or recorded with a wide array of artists.



Perry Townsend
The Jester Sings

The Jester Sings was written in response to the AIDS death of the composer's friend Hal Hudson, an actor whose personality fused the capricious and the lyrical. Thus, the piece is both playful and plaintive, featuring melodic lines set against themselves in canon and exploring the transformation of melody into harmony. At times the flute plays alone, at times an effects unit sustains pitches to imply a secondary line, and at times everything played has echo or multiple echoes, creating a polyphonic sea of flute notes. Put more simply, the piece is a meditation on the echoes Mr. Hudson left behind.

Perry Townsend's music has been hailed by American and European critics as "fascinating" and "a journey through sounds rich in surprises." A founder of The Next Stage Music Ensemble, he studied at the North Carolina School of the Arts and Copland School of Music. He has been awarded by ASCAP, New York State Council on the Arts and North Carolina Arts Council, and commissioned by the Goliard Chorale, Church of St. Mary and the Virgin and Winston-Salem Symphony.



Joan Truckenbrod
Voices of Fire

"My images are the site of paradox. Beauty on the surface is pitted by the turmoil underneath that bubbles up serendipitously through the thin surface of the image. This work originates on the other side of the mask, like looking out through the car windshield on a dark rainy night. The world outside is distorted through the streaks of rain. As a shadowy reflection on that distorted image, I see my own face, and I feel that I am looking at the inside of the mask."

Ritual and ceremony in indigenous cultures inspire Joan Truckenbrod's current artwork. She has exhibited her artwork internationally, including exhibits at the IBM Gallery in New York City, the Smithsonian Institution in Washington, D.C., Museu de Arte Moderna in Rio de Janeiro, Musee d'Art Modern de la ville de Paris, Paris, Les Cite des Arts et des Nouvelles Technologies de Montreal, Galerie Eylau '5 in Berlin and the Villa Chianni in Lugano, Switzerland.



Mark Webber

Sunayani is a sound and video portrait of the peacock using as its source the unique visual and sonic material provided by these birds. The film aims to capture both the essence of their overwhelming display and also reflect the splendor, beauty and mythological status of the birds. The heightened use of sound, color and dynamics in the piece combine to explore the idea of "super-normal stimuli," as is used by the peacock, creating a similarly unusual and transfixing experience. The title, an Indian word meaning "lovely-eyed," is taken from the poem In the Eyes of a Peacock by the Bengali writer Rabindranath Tagore.

Mark Webber has worked as a composer in experimental theater, installation and television for the past twelve years. He studied electro-acoustic composition and techniques at the University of Hertfordshire with Javier Alvarez and Evelyn Ficarra. Recent activities have included music for an "art karaoke" project screened at the Queen Elizabeth Hall, London and an article published in Performance Practice regarding music and site-specific theater.