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The Stranger that is Next to Me: a collaboration between Brandon LaBelle and Echoes

Broadcast on stress.fm and 88.3 FM (Campo de Santa Clara) between 7 and 9 March 2014, Lisbon, Portugal.

Errant Bodies, Audio Diffusion, Berlin, Germany, June 12, 2014.

“Noise Action for Radio”, 10:00, edited for radio program Echoes.

A collection of audio works from practitioners around the world concerned with and focused on The Stranger ….

“That is over there, that is right in front, that is moving away, that is fast approaching, at the next table, sitting across, staring into space, with nothing to do, that brushes passed, or that bumps into me, outside, on the beach, that interrupts, and that suddenly lends a hand, as the embodiment of city life, that I cannot overlook, whose fortune is to remain on the periphery, who dislikes being a stranger, riding his bike, that stops to look into the window, on her phone, that is no one and everywhere, that I do not know nor ever will, whose eyes never stop moving, that smiles at us or that seems threatening, that loves to sing in public, without a home, and that I wish to meet, that I overhear, and as a question of community.” -Brandon LaBelle

Click here for full list of contributing artists

 

 

Studio 10
Brooklyn, NY
December 2, 2013

David Schafer performed the third in a trilogy of electronically processed Schoenberg compositions. This performance references Arnold Schoenberg’s “Verklarte Nachte” from 1899. Verklärte Nacht (Transfigured Night), Op. 4, is a string sextet in one movement; a composition inspired by Richard Dehmel’s poem of the same name along with Schoenberg’s strong feelings upon meeting his future wife Mathilde von Zemlinsky (the sister of his teacher Alexander von Zemlinsky). Dehmel’s poem describes a man and a woman walking through a dark forest on a moonlit night, wherein she reveals to her new lover that she bears the child of another man. The stages of the poem are mirrored throughout the composition, beginning with the sadness of the woman’s confession, a neutral interlude wherein he reflects upon the confession, and a finale, in which he forgives her and accepts the child as his own.

DSElive_studio10_table

 

A 12 CD signed edition box set, including double-sided poster, insert, sticker and die cut hand-assembled box. Designed in collaboration with Shiffman&Kohnke, Los Angeles. Edition: 50

This edition is the culmination of a one-year project from November 2011 to October 2012 in which one CD was released each month. The 64 tracks total 10 hours of electronic noise created in studio and at NY and LA venues.

The box set will be available for purchase through DSE studio and Studio10 gallery, Brooklyn.

www.dsenoise.com

DavidSchafer_Artwork-0589

DSEnoise Compilation

C60 Cassette. Ed 30.
Green Records and Tapes

Face Cutter is a compilation cassette featuring 13 tracks from the DSE noise project of studio recordings and live performances.

Green Records and Tapes, Ypsilanti, MI. July 2013.

Mastered at Catasonic, LA.

Bandcamp
dsenoise.com

Photo Credit: Kristina King

 

Face Cutter

 

 

C60 Cassette. Ed 30.
Green Records and Tapes

Dagon is a live studio recording of the noise collaboration between DSE and Witches of Malibu. This cassette contains the extended track Constrictor and the track Naga.

Green Records and Tapes, Ypsilanti, MI. July 2013.

Mastered at Catasonic, LA.

Witches of Malibu is the noise project of Richard Skott Rusch. This project is comprised of violently psychedelic electronics, American industrial power of suggestion, and meditations on relaxation through noise mongering.

Scott Rusch has been associated with the bands Hunting Lodge, Screw Machine, and Farflung.

Dagon Product Shot

What Should A Museum Sound Like?” was performed live as part of the performance series “Live on 5 Songs”, staged on Martin Kersels’s “5 Songs” as part of the 2010 Whitney Biennial. There were two performances held on April 23, 2010 at 1:30pm and 6:30pm.

“What Should a Museum Sound Like?” is a site-specific work that involves a text written in 1963 by Marcel Breuer, the architect for the Whitney Museum. A voice actor was hired to record the text, describing Breuer’s vision for the Whitney. The floor plans and elevation drawings of the Whitney Museum were then translated into a series of composed sounds using MetaSynth, a composition and sound design program that can translate images into sound. The voice and floor plan sounds are presented utilizing the speakers in the Martin Kersels installation, as well as a digitally modeled speaker cabinet in the form of the Whitney Museum’s building. The composition progresses through eight sections continually integrating and breaking down the voice with the sounds generated by the floor plans. Sections five and six incorporate music samples and dance.

photo credits: Paula Court, Rebecca Curry

“What Should a Museum Sound Like?” is a site-specific work that involves a text written in 1963 by Marcel Breuer, the architect for the Whitney Museum of American Art. A voice actor was hired to record the text, describing Breuer’s vision for the Whitney. The floor plans and elevation drawings of the Whitney Museum were then translated into a series of composed sounds using MetaSynth, a composition and sound design program that can translate images into sound. The speaker cabinet was digitally modeled in the form of the Whitney Museum’s building and fabricated utilizing CNC processes.

photo credits: Rebecca Curry

EXHIBITION 4.01162010
Opening: January 16th, 2010 / 6 – 10. Closing: February 7th, 2010 / 8 – 11.

MVSEVM Chicago
1626 N California ave. #2
Chicago, IL 60647.

Karen Archey
Chris Bradley
Brian Dongarra
Dominic Paul Moore
Montgomery Perry Smith
David Schafer

+ listenings from recorded Japanese fluxus
compositions by Toshi Ichiyanagi & Kuniharu Akiyama

curated by Bret Schneider

“FUTURE CONVERSATIONS OF ARCHITECTURE”

My project “Future Conversations of Architecture” involves a narrow wood column from floor to ceiling with 7 speakers mounted on it. Emitted from the speakers are random fragments of conversations sampled and remixed from an LP from the 1950’s regarding the future of modern architecture. Accompanying the column and speakers is a graphic depicting 7 iconic works of architecture that are superimposed.

The DSE (The David Schafer Experience) is a collective made up of David Schafer (sculptor), Jess Ramsay (sound artist) and Rebecca Curry (photographer). It originated in June 2009, during preparation for a sound event at Mildred’s Lane in Scranton, PA.

The first project involves a series of staged photographs where each member wears a lab coat sporting the DSE logo and their last name.

The DSE began as a joke. It still is.