I’m pleased to announce my piece 7850 kHz will be included in the upcoming special edition of 60×60 focused on Radio Art. The program, presented by Vox Novus and Wave Farm, draws from 60 works (created with, for, about radio and transmission) with durations of 60 seconds. 60×60 Wave Farm Mix will be featured as an FM broadcast on Wave Farm’s WGXC 90.7-FM; distributed as a Wave Farm Dispatch Series download; and featured in a series of live listening events. Tune in March 7, 2015 from 8-10pm EST [-5GMT]. OFFICIAL ANNOUNCEMENT.
whiteout transmission series
whiteout is a new series of live FM transmission performances exploring and questioning the aesthetic of noise on the radio. These new textural works are created live in the moment through the use of multiple analog electronic instruments and a 7-watt FM transmitter. Each work is recorded directly off the radio as it was potentially heard by the listener. The whiteout works are generally performed in undisclosed locations although a few public performances have recently been held. So far the whiteout itinerary includes Pittsburgh, Cleveland, Boston, New York, Philadelphia, Chicago, Houston, Austin and Los Angeles with the possibility of additional cities being added. A collected set of all the performances in the whiteout series will be released as a deluxe limited edition, collectable box set available sometime in early 2013. More info will be available soon.
Project Statement:
I was about twelve when I first became aware of how beautiful radio noise could be. I recall laying in bed and listening to my portable shortwave radio, slowly turning the dial, but allowing for long pauses on the dead spaces, as I moved from one distant broadcast to another. At times, I think I was more interested in the sounds produced by the odd interference and signal modulation than the broadcasts themselves. I would often drift to sleep listening to the ghost like voices buried beneath layers of slow and undulating static. At that age, I didn’t think much about what attracted me to the noise. I just enjoyed its sometimes violent yet mysterious and relaxing qualities. Looking back on those late night listening sessions in the early 80’s, I’ve come to realize the impact they had on my own development as a sound artist and electronic musician. The seeds for my awareness of the radio as an expressive medium were probably planted during this years. Of course, I was totally unaware that artists like Neuhaus, Stockhausen, Vostell, Cage and others had already begun exploring the possibilities of the radio as an art form decades earlier.
With this in mind, two years ago I began to include live scanner feeds in my concerts and performances. Unlike shortwave radio, scanners pull from air traffic, police, ham and other types of local broadcasts within just a few miles of the listener. The idea of incorporating live, local transmissions into the performance as a sonic fingerprint of the local geography was appealing to me. I saw it as an aural snapshot of that very moment or even an invisible, stringed instrument of sorts.
Recently, I was in my car listening to the SPK debut album Information Overload Unit from 1981. About halfway through the albums opening track Emanation Machine R. Gie 1916, I became aware of how much it sounded like some of the textures and modulating frequencies I would listen on the shortwave for hours as a kid. I began to wonder if a musical performance of pure analog electronic “noise” was broadcast on the radio, how would a listener moving through the dial know what they were hearing was an actual broadcast? And if they did, how where they able to discern synthetic, controlled noise from pure generative noise? It is my hope that the whiteout series of performances brings the very essence of noise, music and even our own environmental sonic awareness into question.
Updated november 14, 2012:
Above are images from whiteout.3 – Pittsburgh, PA. Live June 17, 2012 on 102.9FM
Below are two complete performances.
photos: beth brown
whiteout.5 – Acra, New York- 96’03” performed live at the Wave Farm October 27, 2012 on 90.7 FM
whiteout_five_acra.mp3
whiteout.1 – Washington DC – 21’26” performed live June 2, 2012 on 105.3FM
whiteOut_one_dc.mp3
Upcoming events and performances.
– SATURDAY AFTERNOON SHOW: WHITEOUT
I was at The Wave Farm Saturday October 27, 2012 to perform and discuss my current Whiteout transmission art series. The broadcast is archived here: http://tinyurl.com/aaeeczv
– PNEM FESTIVAL
I’m pleased to announce that I’m one of three artists representing the U.S. at this years Platform New Experimental Music Sound Art Festival. The two-day event will be held on November 17-18, 2012. The festival is located in the south of The Netherlands, close to the borders of Belgium (Eindhoven) and Germany (Nijmegen).
– AN EVENING OF AMBIENT ELECTRONIC MUSIC
The beautiful 2640 Space [St. John’s] will provide a perfect backdrop for an evening of experimental and electronic ambient soundscapes. Solo performances by Jason.Sloan, Liz Meredith, Carver Audain and Erik Spangler. $5 donation. Doors at 7:00pm. Show begins promptly at 7:30pm. More information and directions.
Transmission Intervention Amsterdam: Day Three
Last month while during a 10 day residency at STEIM [STudio for Electro Instrumental Music] I created a body of improvised sound works of varying duration. These concerts were performed live during the day and night on the FM band throughout the city. Because the documentation was recorded directly from the receiver, any static or interference captured, although not necessarily planned, was intentional and became part of the final documented work. More clips will be posted in the near future. Below is a a full concert as heard live on 97.1MHz FM the evening of March 14, 2012.
Broadcast live on 97.1MHz FM Amsterdam.
I. Rembrandtplein
II. Utrechtsestraat Shining
III. Black Light (for Peter Christopherson)
Signal To Noise: January 27 – March 1, 2012
About signal.toNoise:
I first became interested in minimalism as an undergraduate while studying painting. I recall reading Sol LeWitt’s “Sentences on Conceptual Art” and being taken by his statement: “Successful art changes our understanding of the conventions by altering our perceptions.” This radically changed how I viewed many minimalist works moving forward. Monochromatic pieces like Rauschenberg’s white canvases, which influenced John Cage’s 4’33”, took on a whole new meaning for me. It became apparent that environment, lighting, sound and smell, etc. could alter the viewers perception of an artwork. Over the years, the essence of these ideas have always resonated with me. Whether in my performance work, videos, net.works, sound or music, the idea of challenging perception has always been key.
Recently, I’ve been thinking a lot about the general understanding of noise. Most people would consider it a distrubance to an otherwise desired experience. Static during a weak radio or television transmission or a child crying during a church sermon could be seen as anomalies that “ruin” the expected outcome of an otherwise desired event. Over the years we’ve attempted to purify these experiences with technologies that attempt to filter the noise from our lives. Dolby Laboratories, during the heyday of cassettes tapes, developed a noise reduction system that was built into most stereo compontents. This filter emphasized the audible frequency range and diminished tape hiss, an artifact of the recording process similar to white noise. Wet cleaning vinyl records became a popular method for audiophiles to reduce the crackle and pops from LP playback. And more recently, digital or internet radio has all but eliminated weak signal noise or static common with old antenna tuners.
In a system similar to composting, the works in the Signal To Noise series recycle a particular medium’s inherent, undesirable sonic traits (cassettes hiss, radio static, digital music compression etc.) and presents them for consideration as the final work of art.
Clicks and Cuts:
20 minutes of equalized record clicks and pops pressed back onto 10″ clear vinyl records.
Edition of 5 albums.
IEC Type II:
C-90 Type II. cassette tape.
45 minutes of equalized tape hiss per side.
Edition of 9 cassettes.
128kbps:
40 minutes of isolated mp3 compression.
Edition of 4 iPods containing the mp3 file.
Presented on Apple mini’s for the exhibition.
whiteOut:
FM broadcast.
Live FM tuner static being rebroadcast in full stereo on 93.5 MHz FM over an approximate
distance of 4-5 miles.
The_Signal.mp3
– jason.sloan discussing the signalTo.noise series on Baltimore’s NPR affiliate WYPR. Original air date 1/27/12 -1/28/12
– Review of Signal To Noise at Disquiet
The signal.toNoise exhibition will be on view Friday, Jan. 27 through Sunday, March 11 at the Maryland Institute College of Art. Pinkard Gallery (1401 W. Mount Royal Ave.). A reception will be held on Friday, Jan. 27, 5-7 p.m.