Since 1999, the ESS Artist Residency Program has facilitated the creation of 51 new works involving the exploration of sound. Audio art, experimental music, installation, cinema, performing arts, and radio art have all been represented in the roster of former ARP recipients.
The 2013-14 Artist Residency Program was made possible once again by a generous grant from the National Endowment for the Arts. Each recipient received 40 hours of studio time with an engineer to complete their project; ESS presented the work of these artists in a showcase installed in Audible Gallery in July-August, 2014.
GWYNETH ANDERSON: A Microscopic View of Invisible Things
Anderson will use her residency to create audio for a gallery installation based on a live performance piece she presented in Pilsen's Harrison Park in 2011. Using microcopes and projectors, she will present looped animations representing "common indoor experiences—sound of conversation, pride, and anticipation among them. … I would play the selected animations on monitors connected to microscopes directly outside of small, contained empty spaces, with different sounds playing in each space to prompt the spectator’s non-visual experience. To capture the sound of each experience, she intends "to use instrumentation—horn, percussion, bellows, and synthesizer, and recordings of objects—specifically graphite, glass, water, fabric, and metal."
RYAN INGEBRITSEN: 3 Singer Opera
"3 Singer Opera is a multimedia opera collaboration between myself, object and movement artist and director Erica Mott, video artist and designer John Boesche, dramaturg Ginger Farley, and opera instructor and coach Fides Krucker. The work will be an exploration in sound, movement and visual imagery of the labor movement, sprung from the industrial revolution before the turn of the century in America and Europe in conversation with our current state of global labor structures. In particular we are exploring the female body in intersection with machinery and how this relationship has developed and shifted in labor over the past century. Focusing on sonic landscapes and movement associated with mechanized labor, 3 Singers will explore the dilemmas of textile workers from various time periods by taking three female vocalists on a journey that melds symbols, sights and sounds from a century of mechanized production. … We are working with three performers who are all trained in vocal musical and movement practices. As we train the performers, an intricate meta-instrument is being devised using software based technologies and hardware interfaces to wire sewing machines to act as control devices and musical instruments. Additionally, we are employing X-box Kinect controllers to capture the full 3 dimensional movement of the performers and harness it to create and control sound and video. … During these explorations, we will work to develop an individual relationship for each performers body and voice to the sewing machine… I will use ESS facilities to provide an isolated place for this exploration to take place as well as to capture the sound of their specific gestures on the sewing machines as well as vocal gestures that I will then use to create the sonic landscape of the interactive piece."
PAUL SCHUETTE (OH): Explorations of a 4-Channel Violin Pickup
Electronic musician, composer, and Cincinnati resident Paul Schuette and his collaborator—violinist Erica Dicker—will explore different recording and performance applications of an original 4-channel pickup he has developed for the violin. He intends to use his studio time to record "dry tracks" that will then be folded back into their compositional and performance process. Schuette is also developing a graphic score intended for Dicker and renowned percussionist and prepared pianist Allen Otte, a long-time friend and collaborator of John Cage who has recently been exploring prepared yang-chin, a Chinese dulcimer. Dicker will perform using the 4-channel pickup, and Schuette will run both instrumentalists through his own live processing.
ALEXANDER STEWART: Audio Post-production for Fort Morgan
"Fort Morgan is a 20-minute short film inspired by an early-19th-century brick fort on the Alabama coast. The main arc of the piece follows a character who works to construct a brick fort. The character inhabits the fort, then flees it as its crystalline design becomes overgrown and encrusted. The film is about the desire for protection and stability, in personal, cultural and intellectual terms, and the potential for protective structures to become psychologically burdensome and emotionally restricting. … The score for Fort Morgan is designed around two types of sound elements: synced Foley sounds, and abstract tonal compositions. The idea for the score is to move the viewer’s attention between focusing on visceral concrete physical details in a recognizable realist space, and spacing out into expansive passages of abstract associations." Stewart intends to use his studio time to collaborate with our engineers and George Monteleone—the composer of the score—to create a final sound mix, using the composed musical elements and collected Foley sounds as a starting point.