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Title: Edward Schocker – Words, Information, and Music
Description:Edward Schocker – Words, Information, and Music Edward Schocker Words, Information, and Music Home Bio Music Performance Ensembles Events Archived Performances Media/Press About Edward Schocker is a c
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Edward Schocker – Words, Information, and Music Edward Schocker Words, Information, and Music Home Bio Music Performance Ensembles Events Archived Performances Media/Press About Edward Schocker is a composer and performer who creates music with made/found materials and alternate tuning systems. He holds an M.A. in composition from Mills College, where he studied with Pauline Oliveros, Alvin Curran, and independently with Lou Harrison. At Mills, Edward founded The Music For People & Thingamajigs Festival, an annual event in The Bay Area devoted to unusual instruments and tunings. Read More Continuum a durational performance with poet Stephen Ratcliffe Thingamajigs Performance Group is in a multi-year collaboration with poet Stephen Ratcliffe to create large scale multimedia works, each based on 1,000 of Stephen’s poems, which he writes one at a time for 1,000 days. Performing the poems takes approximately 14 hours, and features Stephen reading each poem, which TPG then interprets as the musical score. The next performance of this collaboration, Continuum, will feature Thingamajigs Performance Group with performing artists Rae Diamond (composer and director of the Long Tone Choir) and Shinichi Iova-Koga (artistic director of the movement theater ensembleinkBoat). Rae and Shinichi bring unique perspectives to durational creative practice, creating works built upon the exquisite control of breath and body in motion. The first piece of this collaboration, Human/Nature, premiered at UC Davis in 2008; the second piece, Remarks on Color/Sound, was staged at Headlands Center for the Arts in 2010. The third work, Temporality, premiered in May 2012 and was remounted in the Mills College Art Gallery in February 2013. goal of the piece Continuum narrates the process by which what we observe, and what we make of such observations, enter a relationship by way of language and sound. It is the relation between things seen/observed in the world and how such things might be made (transcribed/transformed) as works of art. Similarly, all works in this trilogy invite a kind of assessment of the technological, the found and the made, the intentional and the unintentional, the human and the natural – by placing these potentials alongside each other and simply exploring them. the strategy: living exhibit Thingamajigs will install Continuum and transform an abandoned military bunker into what we are calling a “living exhibit”. The “living” refers to the performance aspect: Stephen Ratcliffe at his desk, who will be reading each of his 1,000 poems, and the Thingamajigs Performance Group, whose members will be moving within the space and creating a sonic score. The “exhibit” refers to the images (whether visual or other) that are produced from these actions, and the extended duration of time it takes for all these actions to unfold. how audiences interact Audience members are welcome to come and go at will, just as if they were viewing art at a museum or gallery. Like the other duration works in our collaboration with Stephen Ratcliffe,Continuum slowly changes and fluxes within its 14-hour duration, and the audience is invited to sit/walk/sleep within or around the events that are unfolding in the space. In performances of the first two works in the trilogy, the public stayed as little as five minutes, while others stayed as long as five hours. why we do it Thingamajigs is interested in testing the perceptions and labels of musical ‘composition’ and ‘performance’. We are interested in spending years to develop and create work in a collaborative manner, and we are interested in pushing the limits of what we think of as human nature. Our extended works are the outcome of these investigations, and the public event/exchange is our motivation to reach these lengths. We aim to have a high impact on the local community of all ages by offering them a rare extended performance that invites them to investigate time and temporality; offers them a space to sit, move, and reflect; and gives the chance to be part of an exchange that is intended to change each participant who spends time in the space. Drowning Man – Shinichi Iova-Koga and Edward Schocker September 16 and 17 @ 8:00 pm To Purchase Tickets please visit Brownpapertickets.com or CLICK HERE! A new work by Shinichi Iova-Koga and Edward Schocker “We chose water as our subject. We consider the implications, feelings and states connected to water in creating a performance for two bodies: one concerned with sound, the other with motion. Rather than create a narrative, the story emerges through a few choice prompts, allowing the body to speak in the moment.” ABOUT THE ARTISTS Shinichi Iova-Koga is the Artistic Director of the San Francisco-based performance company inkBoat, founded in 1998. About inkBoat: The company performs in theaters and site specific locations. Repertory and research integrate the interplay of multiple artistic disciplines and viewpoints, both experimental and traditional, resulting in original performance compositions. Themes and subjects arise from meticulous examination of everyday life, with primary content arising from the body, resulting in both refined and raw expressions. We derive inspiration from working in wild, natural settings and urban existence. For more information about Shinichi Iova-Koga, please CLICK HERE. Edward Schocker is the Executive Director of Thingamajigs. Thingamajigs is an organization whose mission is to explore sounds in found objects and use alternate tuning systems to create new music. Edward Schocker is also a composer and a performer who creates music with made/found materials and alternate tuning systems. For more information about Edward Schocker, please CLICK HERE. Pictured: Edward Schocker and Suki O’Kane. Photo by Joshua Kohl The Crossing creates a new form of ecstatic group improvisation through investigating various ancient Asian musical genres, such as Japanese Gagaku and Korean shamanist ritual music. Through a period of deep development and performance with an ensemble of like-minded ‘seekers’, the goal is to reach a state of communication with “an other” world. Rooted in Ritual The project is rooted in ritualistic purpose with the intention of the players and listeners to reach an ecstatic state as they seek to bridge the material and spirit worlds. One of the most significant musical characteristics of The Crossing is its element of improvisation. As the accompanying music for the inner songs and dances of the space we occupy, the players rely on masterful improvisation in order to accompany various songs and dances that will be performed spontaneously during the performance. Modern Sensibilities The ensemble and aesthetic for The Crossing are built from locally-sourced ingredients and sensibilities, slowly churned and developed over time in order to create a unique musical sound and performance style contingent upon the highly developed spontaneous creativity of its musicians. Motivatio...

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