◊ ◊ ◊ ∞ ◊ ◊ ◊
˙◊˙π {} π ∆ ‡ | {} π˙◊˙
◊∞◊˙˚˙◊ ◊ ◊˙˚˙:˙∆˚˙˚∆ :˙˚˙◊ ◊ ◊˙˚˙◊∞◊
˙◊˙L a b o r a t o r i o T a π g e π c i a l ˙◊˙
˙◊˙◊˙d e A r t e P o s n a c ! o π˙◊˙◊˙
◊ ◊ ◊˙˙˙˙˙˙˙˙˙˙˙◊◊˙˙˙˙˙˙˙˙˙˙˙◊ ◊ ◊
A m a n d a G u t i e r r e z
And π Ô π ∆ ‡ | Ô π
T a n g e n t i a l U n s p a c e A r t L a b
◊◊˙˙˙˙˙˙◊ ◊ ◊ ◊ p r e s e n t : ◊ ◊ ◊ ◊˙˙˙˙˙˙◊◊
> > Sonic Spatialization of Whisper Pieces < <
◊˙˙˙◊ ◊ ◊ ◊ Experimental Work of Solo Sound Projects : ◊ ◊ ◊ ◊ ◊ ◊˙˙˙◊
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
∞ + + + + + + + + + + + + + + ++ ++ +++ + + + + + + + + + + + + + + ∞
> > > > > > > > > > > > > > > > > B y : < < < < < < < < < < < < < < < < <
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
∞ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ J e n n G r o s s m a n ~ ~ ~ ~ ~ ~ ~ ~ ~ ∞
∞ + + + + + + + + + + + ++ ++ + + + + + + + + + + + + + + + + ∞
∞ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ A n t h o n y J a n a s ~ ~ ~ ~ ~ ~ ~ ~ ~ ∞
∞ + + + + + + + + + + + ++ ++ + + + + + + + + + + + + + + + + ∞
∞ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ N o r m a n L o n g ~ ~ ~ ~ ~ ~ ~ ~ ~ ∞
∞ + + + + + + + + + + + + + + ++ ++ + + + + + + + + + + + + + ∞
∞ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ S t u a r t J a c k s o n ~ ~ ~ ~ ~ ~ ~ ~ ~ ∞
∞ + + + + + + + + + + + + + + ++ ++ + + + + + + + + + + + + + ∞
> > > > > > > > > V i s u a l C o n s t r u c t i o n by : < < < < < < < <
> > > > > > > > > > A m a n d a G u t i e r r e z < < < < < < < < < < <
∞ + + + + + + + + + + + + + + ++ ++ + + + + + + + + + + + + + ∞
E l e m e n t s O f I m p r o v i s a t i o n W i l l O p e n T h e S p a c e F o r T h e M u l t i p l e A r r a n g e m e n t s , U s i n g S o n i c s p a t i a l i z a t i o n o f w h i s p e r p i e c e s o f e a c h i n s t r u m e n t a n d s e t o f e a r s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s s
◊…◊…◊…◊…◊…◊…◊… <><><><><:><><><><> …◊…◊…◊…◊…◊…◊
◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊ ◊ ◊ ◊ . ◊ ◊ ◊ ◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊
. . . . . . . . . . . . . . . .- F R I D A Y - a u g u s t - 1 0 -. . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . 7 : 0 7 P M - 1 1: 0 1 P M . . . . . . . . . . . . . . .
. . . . . . . . 1 5 4 2 N . M i l w a u k e e A v e 2 n d F l o o r . . . . . . . .
◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊ ◊ ◊ ◊ ◊ ◊ ◊ ◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
>> {} Ô {} ∆ ‡ | Ô {} T a n g e n t i a l U n s p a c e A r t L a b <<
◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊ ◊ ◊ ◊ ◊ ◊ ◊ ◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊
<<<<……………….……<><><><><><><><><>........................>>>>
- - - - - - - - - - - - > 5 Buck$ suggested donation < < - - - - - - - - - -
- - - - - - - - - - - - > > > > > > And / Or < < < < < < - - - - - - - - - -
- - - - - - - - - - - - > > P a y W I T H a P O E M < < - - - - - - - - - -
> > > > > > > > >O r P a y W i t h a B u t t P r i n t< < < < < < < < <
((: ~ E v e r y o n e W e l c o m e N o o n e T u r n e d A w a y ~ :))
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
◊˙ ˙ ˙ ˙ ˙ ˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊ ◊ ◊ ◊ ◊ ◊ ◊ ◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊
- - - - - - - - - - - - >A B O U T t h e A R T I S T S : < - - - - - - - - - -
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
˚˚˙˙∆˚˚˙˙J E N N G R O S S M A N ˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙
She is an experimental musician/sound installation/experiential media artist living and working in NYC. Lingering somewhere between philosophical, psychological, and artistic approaches to exploring sound and light, she is interested in ways that they heighten emotional, social, and sensory awareness, cause materials to transcend themselves and engage us in active modes of perception from the art gallery to the street. Coming from a sculptural, multimedia arts & music background, sound art has been an intuitive discovery for her, propelling her current focus on time-based media: light installations, multichannel sound environments, vocal explorations, acoustic-architectural interventions, and collaborative composing and sound design for film and movement artists.
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
˚˚˙˙∆˚˚˙˙ A N T H O N Y H A N A S ˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙
Born in Evergreen Park, IL in 1784, Anthony Janas. Retired Magician. Boat Captain. Sound Artist with a focus on advanced modular synthesizer techniques and digitally processed field recordings. Member of multimedia group known as Urbe and seminal noise/performance group Panicsville. Contributing artist for the Midwest Society for Acoustic Ecology. Anthony Janas has presented work throughout the United States, Mexico and Western Europe. Anthony Janas work has ranged from sound installations on sailboats to playful performances such as juggling cheeseburgers. Anthony Janas’s work attempts to merge the institutional and pastoral moments of human existence.
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
˚˚˙˙∆˚˚˙˙N O R M A N L O N G˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙
Norman is a local sound artist/designer/composer born and raised on the South Side of Chicago. He has exhibited and performed in galleries in Chicago, Ithaca, NY, London, and the San Francisco Bay Area. His current work focuses on sound art production within the larger context of landscape. His work revolves around the themes of memory, space, silence and the invisible. His goal as an artist/designer is to create spaces reflecting history, culture, and diversity of community and ecology. He now lives in Chicago and continues to compose, design & perform. He has performed at Kavi Gupta Gallery, HungryMan Gallery, the OPP shop, Brown Rice and the Chicago Underground Library. He has composed a sound installation at the Lincoln Park Conservatory as part of the Experimental Sound Studio’s Florasonic Series. He is also a member of the World Listening Project and the Midwest Society for Acoustic Ecology.
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
˚˚˙˙∆˚˚˙˙S T U A R T J A C K S O N ˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙
He is a percussionist and uilleann piper from Virginia, now based in Brooklyn. An active performer of traditional and contemporary music, he eschews the popular trend of frenetically commissioning the creation of new work and instead devotes himself to an in-depth engagement with musical work primarily from the 20th century. The graphic scores of John Cage, Karlheinz Stockhausen, and others are not only perceived as artifacts from recent music history but radical blueprints that provide infinite possibilities for discovering new sound worlds.
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
˙˙∆˚˚˙˙A M A N D A G U T I E R R E Z˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚
Trained initially as a stage designer from The National School of Theater, Gutiérrez uses a range of media such as sound art and performance art to investigate how conditions of everyday life set the stage for experiences that shape our individual and collective identities.
◊◊◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊ ◊ ◊ ◊ ◊ ◊ ◊ ◊˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙◊◊◊
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
◊◊L a b o r a t o r i o T a n g e n c i a l d e A r t e S i n N a c i ó n ◊◊
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
Image by Bob Cobbin concrete poem, Whisper Piece, (1969)
∆˚˚˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙˙∆˚˚˙∆
˙◊˙
◊ ◊ ◊ ∞ ◊ ◊ ◊
◊∞◊˙˚˙◊ ◊ ◊˙˚˙:˙∆˚˙˚∆ :˙˚˙◊ ◊ ◊˙˚˙◊∞◊
ANTERIOR ARCHIVE N E X T
H O M E ︎︎ ︎︎︎
◊∞◊˙˚˙◊ ◊ ◊˙˚˙:˙∆˚˙˚∆ :˙˚˙◊ ◊ ◊˙˚˙◊∞◊
◊ ◊ ◊ ∞ ◊ ◊ ◊
˙◊˙π {} π ∆ ‡ | {} π˙◊˙
>T a π g e π t i a l U π s p a c e A r t L a b<
◊∞◊˙˚˙◊ ◊ ◊˙˚˙:˙∆˚˙˚∆ :˙˚˙◊ ◊ ◊˙˚˙◊∞◊
˙◊ ◊ ◊˙˙˙˙˙˙˙˙˙˙˙◊◊˙˙˙˙˙˙˙˙˙˙˙◊ ◊ ◊˙
◊ ◊ ◊ ∞ ◊ ◊ ◊
˙◊˙