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Radio Shack: Performance with Cal Fish and others

January 26, 2019 @ 7:00 pm - 10:00 pm UTC-5

a cabin in the woods, emanating electronic music…
a new sound installation by daniel fishkin
Flux Gallerythis location is wheelchair accessible
Saturday, January 26th
in the Flux Gallery


This concert is played alongside the Installation Radio Shack, a new sound installation by Daniel Fiskin
January 25th – 27th 
gallery hours: January 25th – 27th, 1pm – 6pm


Daniel Fishkin’s ears are ringing. Composer, sound artist, and instrument builder. Completely ambivalent about music. Daniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra, developed sound installations in abandoned concert halls, and played innumerable basement punk shows. Daniel’s lifework investigating the aesthetics of hearing damage has received international press (Nature Journal, 2014); as an ally in the search for a cure, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Recent activities include Composing the Tinnitus Suites: 2016, a concert series about hearing damage, taking place in Philadelphia, PA, supported by a Project Grant from The Pew Center for Arts & Heritage. Daniel received his MA in Music Composition from Wesleyan University, has taught analog synthesis at Bard College. After a stint working toward his PhD at University of California, San Diego, Daniel returned to the East Coast, and now lives in Queens, NY.


Anastasia Clarke is a composer, performer, and sound engineer focusing on live embodied electronic music performance. Anastasia’s solo and collaborative projects serve as sites for research and meaning-making. Anastasia’s sound works have been premiered at MoMA PS1, The Film Society of Lincoln Center, HERE Arts, Triskelion, and Incubator Arts Project. Anastasia studied Electronic Music and Recording Media at Mills College.

Cal Fish (collaborators TBA) Living in different parts of New York my whole life, I have been working to assert art as a necessarily productive social container and sound as a medium for communication with latent potential. Media ecology and acoustic ecology have been at the center of my text studies while I have practiced with interactive sound sculpture, social scores, and group movement. I have been involved in DIY art/music organizing around the U.S. and internationally for about six years. In current projects I have been focusing on making a specific place/community’s relationships between public space, ecology, and empathy audible through dynamic collaboration.

Mallie Sanford acknowledges and examines their body dysphoria, hoarding tendencies, andtoxic behaviors displayed in personal relationships through the use of fabric, video, performance and sound. The work represents the intense emotion emitted when making the work, and the attempt to make the body and mind function as a genderless form.

Kwami Winfield
The trumpet indexes many things: the call of battle, the cry of freedom, the cool. By sight, sound, and (recently) by name, it carries markedly varied significance. The trumpet is an amplifier. Human energy vibrates a column of air inside of the instrument and resonates in particular pitches. An amplifier takes an input signal and outputs a much louder signal with some degree of distortion or saturation, the trumpet produces a harmonic distortion of the input signal. The trumpet is a machine with discreet and insular mechanics that are hidden to the eye but are vital to the sound product. My engagement with music and sound is not focused on the sound product, but the process and prosody of musical play.


January 26, 2019
7:00 pm - 10:00 pm UTC-5
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