text:
Tag: Note Productions
Posted on October 15, 2020 December 4, 2020
Peculiar Velocities (BAF002) © 2020 Han-earl Park
November 17, 2020: Eris 136199's latest album is out now (compact disc and digital download)! Eris 136199 is the chaotic snap'n'pop of Han-earl Park's cyborg virtuosity, the symphonies of power and weight of Catherine Sikora's tenor madness, and the heavy rock-ASMR experimentalism of Nick Didkovsky glitchy guitar.
Peculiar Velocities is Eris 136199's first studio album, and captures the trio during their 2019 European tour; between the first date at The Vortex (London) and their performance at Jazz em Agosto (Lisbon).
Surprises abound on this disc from the collision of three seemingly incompatible notions of time and rhythm in [the title track] 'Peculiar Velocities'; to 'Sleeping Dragon' which insistently claims to be one thing but reveals itself to be something else; to the aural love letter to No Wave that is 'D-Loop'….
Moments of absolute clarity, where two of us may deliberately hit exactly the same notes, are juxtaposed by equally comfortable bursts of raging chaos and easy silences.
— From the liner notes‡
Formed in New York in 2012, Eris 136199 is the chaotic-slamming one-person rhythm section of Han-earl Park (Sirene 1009), the deep melodic intelligence and big-tenor sound of Catherine Sikora (Clockwork Mercury), and the anthems of glitch, experimentalism and riffage of Nick Didkovsky (Doctor Nerve). Recorded during the trio's 2019 European tour, Peculiar Velocities (BAF002) is Eris 136199's third CD, and first studio album. The album is the follow-up to the eponymous Eris 136199 (BAF001, 2018) described as "like letting an insane brain surgeon in through your ear" (aJazzNoise, Best of 2018), and Anomic Aphasia (SLAMCD 559, 2015) which was described as "a beautiful noise" (KFJC 89.7 FM).
Recorded with a lean, efficient boldness by Sean Woodlock, and mastered by Richard Scott, the album captures music that leaps from wispy, delicate webs to massive weather-beaten mountains. Recorded over just three hours in a single live room, Peculiar Velocities catches Eris 136199 between the first date of the tour at The Vortex (London) and their performance at Jazz em Agosto (Lisbon).
Photo © Jazz em Agosto / Petra Cvelbar
Insectoid ASMR glitches to powerful ballads of weight and light; gentle, languorous shimmers to startling No Wave noise; raspy double-guitar hockets to gutted, dismantled chorales.
Han-earl Park is the instigator and mastermind behind Eris 136199, as well as groups including Sirene 1009 with Dominic Lash, Mark Sanders and rit. (f.k.a. Caroline Pugh), and co-conspirator in projects with Richard Barrett and others. Park is the constructor of the machine improviser io 0.0.1 beta++, and of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Josh Sinton, Louise Dam Eckardt Jensen, Ingrid Laubrock, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder. His ensembles have performed at festivals including Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), CEAIT (Los Angeles) and Sonic Acts (Amsterdam).
Saxophonist, improviser and composer Catherine Sikora, known for her big sound and lyrical melodic work, works as a solo performer and with Eric Mingus, Enrique Haneine, Brian Chase, Han-earl Park, Ethan Winogrand, Christopher Culpo and Ross Hammond. In recent years Sikora has toured in Canada, the United States, Europe and Australia. She was a featured soloist in Eric Mingus' radical reimagining of Tommy by the Who (Adelaide Festival 2015), and was artist in residence at the Centre Culturel Irlandais in Paris in 2014 and in 2020.
Guitarist, composer, and computer music programmer Nick Didkovsky has composed music for Kathleen Supové, ETHEL, Bang on a Can All-Stars, Meridian Arts Ensemble, New Century Players, ARTE Quartett, as part of the Fred Frith Guitar Quartet, and his own bands Doctor Nerve, Vomit Fist, Häßliche Luftmasken, and others. His compositions and guitar performances appear on more than 50 records. For over 30 years, his avant-metal big band Doctor Nerve has fueled Didkovsky's intricate compositions with the energy of rock, punching holes through the walls between heavy metal, contemporary music, and improvisation, and performing at festivals including Moers, FIMAV, and the Whitney Museum's 'Whitney Live.' With computer music pioneer Phil Burk, Didkovsky developed the computer music language Java Music Specification Language (JMSL).
‡ Liner notes only available with the CD.
Ballad of Tensegrity I (≥ 5:12), Ballad of Tensegrity II (2:28), Peculiar Velocities I (3:46), Peculiar Velocities II (3:36), Sleeping Dragon (5:22), D-Loop I (≥ 6:16), D-Loop II (5:13), Polytely I (≥ 5:01), Polytely II: Breakdown (5:33), Anagnorisis I (2:09), Anagnorisis II (2:19). Total duration ≥ 46:54.
Recorded August 9, 2019, Hackney Road Studios, London.
Recorded by Sean Woodlock. Mixed by Han-earl Park.
Thanks to Sean and Richard; to Colin Webster, Ingrid Laubrock, Alex Hawkins, Charles Hayward and Melanie L Marshall; to Rui Neves, João Brilhante, Inês Nunes and everyone at Jazz em Agosto/Calouste Gulbenkian Foundation; Kathianne Hingwan, Kim Macari, Ali Ward and everyone at The Vortex; Matthew Nolan at Note Productions; Aoife Concannon, Adam Nolan, Kenneth Killeen and Caitríona O'Mahony at Improvised Music Company; to Lee Paterson; to Laurent Carrier and everyone at Colore; to Paul Acquaro of Free Jazz; Mike Borella of Avant Music News; Dave Foxall of aJazzNoise ; and Tim Owen of _____on Sound.
A big thanks to the backers of our Kickstarter project for their awe-inspiring generosity; helping bring this music to you! A massive thanks to Phillip A., Bruno Bissonnette, Mike Borella, Colin Cahill, Jeremy Clarke, Gary Couse, Nicholas Croft, Don Davis, Andrew Raffo Dewar, Tom Duff, Erik Ellestad, Lee Rice Epstein, Goldi, Owen Green, Rich Hollis, Martin Hoogeboom, Terry Kattleman, Gary W. Kennedy, Liam, Bartholomew R. Mallio, walt mattes, Andrew McKenzie, Rob Miller, Eric Mingus, John Minnock, david m morris, Neil, Matthew Nolan, Michael Rogers, Steffen Schindler, Ken Shimamoto, Craig Sines, j. sinton, Marte van der Loop, Tom Ward, Bernd Wimmer, aJazzNoise, and the Newcastle Festival of Jazz and Improvised Music, and to our anonymous backers.
Also available with…
Eris 136199 (Peculiar Velocities) Hoodie (limited edition) [details…]
80% ringspun cotton, 20% polyester, 280gsm hoodie.
Unisex fit.
S, M, L, XL, XXL.
Celebrate your love of skonkin' improvised goodness by wearing the noisily official Eris hoodie.
Eris 136199 (BAF001) [details…]
Track listing: Therianthropy I (≥ 3:43), Therianthropy II (8:56), Therianthropy III (3:55), Therianthropy IV (6:30), Adaptive Radiation I (6:44), Adaptive Radiation II (8:48), Adaptive Radiation III (5:54), Universal Greebly (10:58), Hypnagogia I (8:03), Hypnagogia II (4:45). Total duration ≥ 68:25.
12-04-20: added the hoodie.
Categoriesaudio recordings, download, media, video recordings Tagsa Jazz Noise, Adam Nolan, Alex Hawkins, Ali Ward, Anagnorisis, Anagnorisis I, Anagnorisis II, Anomic Aphasia, Aoife Concannon, audio recordings, Avant Music News, BAF001, BAF002, Ballad of Tensegrity, Ballad of Tensegrity I, Ballad of Tensegrity II, Bandcamp, Caitriona O'Mahony, Calouste Gulbenkian Foundation, Catherine Sikora, CD, Charles Hayward, Colin Webster, Colore, D-Loop, D-Loop I, D-Loop II, Dalston Sound, Dave Foxall, Eris 136199, Free Jazz Blog, Hackney Road Studios, Han-earl Park, Improvised Music Company, Inês Nunes, Ingrid Laubrock, Jazz em Agosto, João Brilhante, Kathianne Hingwan, Kenneth Killeen, Kickstarter, Kim Macari, Laurent Carrier, Lee Paterson, liner notes, London, Matthew Nolan, Melanie L Marshall, Mike Borella, Nick Didkovsky, Note Productions, Paul Acquaro, Peculiar Velocities, Peculiar Velocities I, Peculiar Velocities II, performance, Polytely, Polytely I, Polytely II: Breakdown, recordings, Richard Scott, Rui Neves, Sean Woodlock, SLAMCD 559, Sleeping Dragon, Tim Owen, video recordings, Vortex Jazz Club, YouTube
Noisy. Discordant. Melodious. A succession of collisions. (IMC Artist Q&A with Han-earl Park)
© 2010 Stephanie Hough
Predilections, appetites, egos, histories and traditions? Can choices be apt to the point of prescient, or left-field to the point of inappropriate? What do I hope audiences get from my music? Does Jeff VanderMeer make another appearance in one of my interviews? and do I reveal myself a Marxist? Find out in Other Side Of The Tracks: Artist Q&A with Han-Earl Park, Eris 136199:
How would you describe the type of music that Eris 136199 creates?
Noisy. Discordant. Melodious. Pretty in its own not alway predictable way. And by discordant, I don't mean in terms of harmonic intervals, but in terms of on-stage, real-time musical interactions; in terms of a kind of heterogeneity of idiom and tradition. For me, Eris' is a music that doesn't desire to create, necessarily, a synthesis or a coherence or even an agreement, but one which trusts, and takes pleasure, in interaction itself. It's a music that's, in a way, compromised, or a music which is a succession of collisions—of idioms, of traditions, of histories, of desires, of tactics. But the music creates a situation that is, in its own way, beautiful. [Read the rest…]
Many thanks to Caitriona O'Mahony at the Improvised Music Company for the questions.
Monday, August 12, 2019, at 8:00pm: Improvised Music Company in association with Note Productions presents Eris 136199 (Han-earl Park: guitar; Catherine Sikora: saxophones; and Nick Didkovsky: guitar). The event takes place at The Fumbally Stables (Fumbally Lane, Dublin 8). [Get tickets…]
Eris 136199 is also performing…
August 8: London, England; and August 11: Lisbon, Portugal. [Details…]
By Eris 136199
Categoriesgigs, media TagsCaitriona O'Mahony, Catherine Sikora, Dublin, Eris 136199, Han-earl Park, Improvised Music Company, interview, Jeff VanderMeer, Nick Didkovsky, Note Productions, performance, press, Sirene 1009, The Fumbally Stables, website
performance diary (Berlin, Cork, Dublin, Lisbon, London) 07-06-19
July 21, 2019 plugd
Upstairs @ The Roundy
Cork, Ireland 8:00pm Han-earl Park (guitar) presented by CIMC. Also performing: Chris Engel. Admission: €5 at the door.
August 8, 2019 Vortex Jazz Club
11 Gillett Square
London N16 8AZ
England 8:00pm Eris 136199 (Han-earl Park: guitar; Catherine Sikora: saxophones; and Nick Didkovsky: guitar).
Tickets: £10.
[Vortex page…] [Get tickets…]
[Special offer…]
August 11, 2019 Calouste Gulbenkian Foundation
Av. de Berna, 45 A
Lisbon, Portugal 6:30pm Eris 136199 (Han-earl Park: guitar; Catherine Sikora: saxophones; and Nick Didkovsky: guitar) as part of Jazz em Agosto.
[Jazz em Agosto page (info/tickets)…]
August 12, 2019 The Fumbally Stables
Fumbally Lane
Dublin 8, Ireland 8:00pm Eris 136199 (Han-earl Park: guitar; Catherine Sikora: saxophones; and Nick Didkovsky: guitar) presented by Improvised Music Company in association with Note Productions. Also performing: Zeropunkt (Fergus Cullen, Jamie Davis and Damien Lennon). Tickets: €12 online/€15 at the door.
[IMC page…] [Get tickets…]
September 15, 2019 Hošek Contemporary
MS Heimatland
Fischerinsel 3
Germany 5:30pm (doors: 5:00pm) Han-earl Park (guitar) as part of Improvised & Experimental No. 73. Also on the program: Simona Blahutová (sound installation), Gloria Damijan (toy piano), and Johnny Chang (viola). Donations €5–10.
[Hošek page…]
Continue reading "performance diary (Berlin, Cork, Dublin, Lisbon, London) 07-06-19"
Categoriesdiary, gigs TagsBerlin, Calouste Gulbenkian Foundation, Catherine Sikora, Chris Engel, CIMC, Cork, Damien Lennon, Dublin, Eris 136199, Fergus Cullen, Gloria Damijan, guitar-guitarist duets, Han-earl Park, Hošek Contemporary, Improvised & Experimental, Improvised Music Company, Jamie Davis, Jazz em Agosto, Johnny Chang, Lisbon, London, MS Heimatland, Nick Didkovsky, Note Productions, performance, plugd, Simona Blahutová, solo, The Fumbally Stables, The Roundy, Vortex Jazz Club, Zeropunkt
RTÉ: Nova: improvisation, ankhrasmation, Mathilde 253 and Ishmael Wadada Leo Smith
Ishmael Wadada Leo Smith, transformation, ankhrasmation, teaching improvisation, Charles Hayward's backbeats and Mathilde 253? You can listen again to the interview with me originally broadcast on March 27, 2011 on Nova on RTÉ lyric fm. [Listen again…]
Categoriesaudio recordings, media TagsArts Council of Ireland, audio recordings, Bernard Clarke, Charles Hayward, Cork, Cork Opera House, Dublin, Eoin Brady, FUAIM, Half Moon Theatre, Han-earl Park, interview, Ishmael Wadada Leo Smith, Mathilde 253, Music Network, National Concert Hall, Note Productions, Nova, press, recordings, RTÉ, RTÉ lyric fm, UCC, UCC School of Music
thanks: Mathilde 253 with Ishmael Wadada Leo Smith (Cork and Dublin, 2011)
Photos © 2011 Julia Healy
Thanks to Catherine Kirby and everyone at the National Concert Hall for able and professional assistance, to John Godfrey, Juniper Hill and Melanie L. Marshall, the then coordinators of the UCC Music Research Seminar Series, who strongly supported Wadada's visit, and to Mary Hickson, Chris Gaughan, Peter Crudge, Eoin Winning and everyone at the Cork Opera House. Kudos to Tony O'Connor and Athos Tsiopani for the behind-the-scenes help, and to John Hough for the videography and the technical support. Thanks also to Carmel Daly and Mel Mercier of UCC School of Music; Gary Sheehan of Note Productions; Jeffrey Weeter, Paul O'Donnell and, formerly, Jesse Ronneau of the UCC Concerts Committee; and Andreas W. Ziemons, Niamh Ryan and Louise Walsh at Music Network. Thanks to David Leikam of the Arts Noticed, Linda Plover of Blue Monkey PR, Eoin Brady and Bernard Clarke of Nova, and Sandra Quinn at the Evening Echo for their support.
A big thank to the best sound engineer in the world, Alex Fiennes, for amplifying the Cork event, and making the performance sound its best! and to Melanie for the conversations and unofficial roadie duties. Kudos to Marian Murray for jumping into the deep end, a special note of thanks Paul G. Smyth for stepping-up to support this project, and to Dennis Cassidy, Fergus Cullen and Benedict Schlepper-Connolly who came to the rescue when our drum-hire situation briefly went into tail-spin.
And of course a big, big, big thanks to Charles Hayward, Ian Smith and Ishmael Wadada Leo Smith for letting me share in their skill, craft, intelligence, musicality, generosity and sense of play (and their patience with this first-time tour manager): I'll treasure Charles' rhythmic travels to the outer reaches of an alternative-universe Caribbean; Ian's brave counterpoint; and the spiraling, expert stacatto precision of Wadada's trumpet.
Last but not least, thanks to all who came to listen and witness creative music in real-time!
Presented with funding from the Music Network Performance and Touring Award, and support from UCC School of Music, Note Productions, the National Concert Hall and the Cork Opera House.
Categoriesgigs TagsAlex Fiennes, Andreas W Ziemons, Arts Council of Ireland, Athoulis Tsiopani, Benedict Schlepper-Connolly, Bernard Clarke, Blue Monkey PR, Carmel Daly, Catherine Kirby, Charles Hayward, Chris Gaughan, Cork, Cork Opera House, David Leikam, Dennis Cassidy, Dublin, Eoin Brady, Eoin Winning, Evening Echo, Fergus Cullen, FUAIM, Gary Sheehan, Half Moon Theatre, Han-earl Park, Ian Smith, Ishmael Wadada Leo Smith, Jeffrey Weeter, Jesse Ronneau, John Godfrey, John Hough, Julia Healy, Juniper Hill, Linda Plover, Louise Walsh, Marian Murray, Mary Hickson, Mathilde 253, Mel Mercier, Melanie L Marshall, Music Network, National Concert Hall, Niamh Ryan, Note Productions, Nova, Paul G Smyth, Paul O'Donnell, Peter Crudge, RTÉ, RTÉ lyric fm, Sandra Quinn, the Arts Noticed, Tony O'Connor, UCC, UCC School of Music
tonight: Mathilde 253 with Ishmael Wadada Leo Smith (Dublin, 2011)
Tonight (Thursday, March 31, 2011), at 8:30pm: Mathilde 253 (Charles Hayward: drums, percussion and melodica; Han-earl Park: guitar; and Ian Smith: trumpet and flugelhorn) performs with Ishmael Wadada Leo Smith (trumpet), plus Paul G. Smyth (piano), at the Kevin Barry Room (National Concert Hall, Earlsfort Terrace, Dublin 2, Ireland). [Details…]
Tickets: €12 (€10) from the National Concert Hall Box Office, tel: +353 (0)1 417 0000; fax: +353 (0)1 475 1507; email: info@nch.ie. [Get tickets…].
Presented with funding from the Music Network Performance and Touring Award, and support from Note Productions and the National Concert Hall.
Categoriesgigs TagsArts Council of Ireland, Charles Hayward, Dublin, Han-earl Park, Ian Smith, Ishmael Wadada Leo Smith, Mathilde 253, Music Network, National Concert Hall, Note Productions, Paul G Smyth
performance diary 03-22-11 (Cork, Dublin)
March 30, 2011 Half Moon Theatre
Half Moon Street
Emmets Place
Cork, Ireland 8:00pm Performances by Ishmael Wadada Leo Smith (trumpet) with Mathilde 253 (Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and Ian Smith (trumpet and flugelhorn)). Presented with funding from the Music Network Performance and Touring Award, and support from the UCC School of Music and the Cork Opera House. Tickets: €11 (€6) from the Cork Opera House.
[Get tickets…]
[facebook event…]
March 31, 2011 Kevin Barry Room
Earlsfort Terrace
Dublin 2, Ireland 8:30pm Performances by Ishmael Wadada Leo Smith (trumpet) with Mathilde 253 (Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and Ian Smith (trumpet and flugelhorn)), plus Paul G. Smyth (piano). Presented with funding from the Music Network Performance and Touring Award, and support from Note Productions and the National Concert Hall. Tickets: €12 (€10) from the National Concert Hall Box Office.
April 4, 2011 The Roundy
Cork, Ireland 9:00pm
(doors: 8:45pm) Performance by Catherine Sikora (saxophones), Ian Smith (trumpet and flugelhorn), Han-earl Park (guitar) and Jeffrey Weeter (drums and electronics).
Admission: €10/5.
Continue reading "performance diary 03-22-11 (Cork, Dublin)"
Categoriesdiary, gigs TagsCatherine Sikora, Charles Hayward, Cork, Cork Opera House, Dublin, Half Moon Theatre, Han-earl Park, Ian Smith, Ishmael Wadada Leo Smith, Jeffrey Weeter, Mathilde 253, Music Network, National Concert Hall, Note Productions, Paul G Smyth, The Roundy, UCC, UCC School of Music
reminder: Mathilde 253 with Ishmael Wadada Leo Smith (Cork and Dublin, 2011)
Next week (March 30 and March 31, 2011): Performances in Cork and Dublin, Ireland, by Ishmael Wadada Leo Smith (trumpet) with Mathilde 253 (Charles Hayward: drums, percussion and melodica; Han-earl Park: guitar; and Ian Smith: trumpet and flugelhorn). [Details…]
Cork, March 30, 2011: Performance by Mathilde 253 with Ishmael Wadada Leo Smith (and amplification by Alex Fiennes) at the Half Moon Theatre (Cork Opera House, Emmet Place).
[performance diary entry] [facebook event page]
Tickets: €11 (€6) from corkoperahouse.ie or +353 (0)21 427 0022. [Get tickets…]
Dublin, March 31, 2011: Performance by Mathilde 253 with Ishmael Wadada Leo Smith, plus Paul G. Smyth, at the Kevin Barry Room (National Concert Hall, Earlsfort Terrace, Dublin 2).
Tickets: €12 (€10) from the National Concert Hall Box Office, tel: +353 (0)1 417 0000; fax: +353 (0)1 475 1507; email: info@nch.ie. [Get tickets…]
See the performance diary for up-to-date info. [Details about events/tour…]
Ishmael Wadada Leo Smith will also speak on 'Ankhrasmation: A Systemic Music Language for Creative Music' as part of the UCC Music Research Seminar Series. The talk is free, open to the public, and takes place at the UCC Music Building (Sundays Well, Cork) at 2:00 pm on 30 March.
Categoriesgigs TagsAlex Fiennes, Arts Council of Ireland, Charles Hayward, Cork, Cork Opera House, Dublin, FUAIM, Half Moon Theatre, Han-earl Park, Ian Smith, Ishmael Wadada Leo Smith, Mathilde 253, Music Network, National Concert Hall, Note Productions, Paul G Smyth, UCC, UCC School of Music
tickets available: Mathilde 253 with Ishmael Wadada Leo Smith (Cork and Dublin, 2011)
Tickets are now available for the performances in Cork and Dublin, Ireland, by Ishmael Wadada Leo Smith (trumpet) with Mathilde 253 (Charles Hayward: drums, percussion and melodica; Han-earl Park: guitar; and Ian Smith: trumpet and flugelhorn). [Details…]
Cork, March 30, 2011: Performance by Mathilde 253 with Ishmael Wadada Leo Smith at the Half Moon Theatre (Cork Opera House, Emmet Place).
Categoriesgigs TagsArts Council of Ireland, Charles Hayward, Cork, Cork Opera House, Dublin, FUAIM, Half Moon Theatre, Han-earl Park, Ian Smith, Ishmael Wadada Leo Smith, Mathilde 253, Music Network, National Concert Hall, Note Productions, Paul G Smyth, UCC, UCC School of Music
flyer: Mathilde 253 with Ishmael Wadada Leo Smith (Cork and Dublin, 2011)
Flyers now released for the performances in Cork and Dublin, Ireland, by Ishmael Wadada Leo Smith (trumpet) with Mathilde 253 (Charles Hayward: drums, percussion and melodica; Han-earl Park: guitar; and Ian Smith: trumpet and flugelhorn).
flyer © 2011 Han-earl Park and unknown photographer (click to download PDF…)
Performances are as follows:
Tickets: €11 (€6) from the Cork Opera House. [Get tickets…]
Tickets: €12 (€10) from the National Concert Hall Box Office. [Get tickets…]
performances: Mathilde 253 with Ishmael Wadada Leo Smith (Cork and Dublin, 2011)
March 2011: Performances in Cork and Dublin, Ireland, by Ishmael Wadada Leo Smith (trumpet) with Mathilde 253 (Charles Hayward: drums, percussion and melodica; Han-earl Park: guitar; and Ian Smith: trumpet and flugelhorn).
See the performance diary for up-to-date info.
[Download press release (PDF)…]
Mathilde 253 with Ishmael Wadada Leo Smith
(Cork and Dublin, Ireland: March 2011)
Expect powerful and inventive musical interactions as internationally renowned composer-improviser Ishmael Wadada Leo Smith performs with the virtuosic, cross-idiomatic ensemble Mathilde 253 (Charles Hayward, Han-earl Park and Ian Smith) in Cork and Dublin, Ireland in March 2011. This two-date tour marks Ishmael Wadada Leo Smith's first appearance in Ireland, and the Irish debut of Mathilde 253.
Hailed as "one of the most vital musicians on the planet today" (Bill Shoemaker, Coda), legendary composer, multi-instrumentalist, improviser and educator Ishmael Wadada Leo Smith has been active in creative contemporary music for over forty years. He is creator of Ankhrasmation, a systemic music language, and his music traverses traditions as diverse as the delta blues, creative world musics, American experimentalism and live-electronics. His current ensembles include the Golden Quartet (currently with Vijay Iyer, John Lindberg and Pheeroan akLaff), Silver Orchestra (with J.D. Parran, Lindberg, Okkyung Lee, Harris Eisenstadt and others), Organic (with Nels Cline, Lee, Lindberg, akLaff and others), and his compositions have been performed by ensembles including the Kronos Quartet, Da Capo Chamber Player, New Century Players, San Francisco Contemporary Music Players, Del Sol String Quartet and New York New Music Ensemble. He is faculty member, and director of the African-American Improvisational Music program, at The Herb Alpert School of Music at the California Institute of the Arts, a Guggenheim Fellow, and a longtime member of the Association for the Advancement of Creative Musicians.
Mathilde 253 consists of the pioneering avant-rock drummer Charles Hayward (This Heat, Camberwell Now, Massacre), rising Cork-based guitarist and improviser Han-earl Park (Paul Dunmall, Kato Hideki, Stet Lab), and Irish trumpeter and mainstay of the London improvised music scene, Ian Smith (Derek Bailey, The London Improvisers Orchestra, The Gathering). Mathilde 253 was formed to explore the spontaneous mashup of avant-rock, African-American creative musics, European free improvisation and noise, and collaborates with noted improvisers such as Lol Coxhill and Pat Thomas. Guillaume Belhomme described the music of the ensemble's eponymous debut CD, released in 2011 by Slam Productions (SLAMCD 528), as "ordered and entwining… a tapestry of choice: that of another Mathilde, of a complete beauty".
The Dublin event will open with a solo performance by the Dublin-based Paul G. Smyth, one of Ireland's foremost free-improvising pianist.
The events take place: Wednesday, 30 March, Half Moon Theatre (Cork Opera House, Emmet Place, Cork), 8:00 pm; and Thursday, 31 March, Kevin Barry Room (National Concert Hall, Earlsfort Terrace, Dublin) 8:30 pm.
Continue reading "performances: Mathilde 253 with Ishmael Wadada Leo Smith (Cork and Dublin, 2011)"
Categoriesgigs TagsArts Council of Ireland, Charles Hayward, conference, Cork, Cork Opera House, Dublin, FUAIM, Half Moon Theatre, Han-earl Park, Ian Smith, Ishmael Wadada Leo Smith, Mathilde 253, Music Network, National Concert Hall, Note Productions, Paul G Smyth, symposium, UCC, UCC School of Music
performance diary 02-06-11 (Birmingham, Cork, Dublin, Edinburgh, London)
February 7, 2011 The Roundy
(doors: 8:45pm) Stet Lab featuring Stephen Davis (drums) with Han-earl Park (guitar), plus Helena Reilly (voice), Kevin Terry (guitar) and Dan Walsh (drums).
February 15, 2011 The Lamp Tavern
Barford Street
Birmingham B5, England 9:00pm Fizzle presents a performance by Paul Dunmall (saxophones), Han-earl Park (guitar) and Mark Sanders (drums).
Admission: £5.
February 18, 2011 St Cecilia's Hall
Niddry Street
Cowgate
Edinburgh EH1, Scotland 8:00pm Grind Sight Open Eye presents performances by Han-earl Park (guitar), and Matthew Collings, plus others (TBA).
Details to follow….
Recommended donation: £2.
February 19, 2011 Lewisham Arthouse
140 Lewisham Way
London SE14, England 8:00pm Performance by Mathilde 253 (Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and Ian Smith (trumpet and flugelhorn)) with Pat Thomas (synthesizer) plus Zolan Quobble (spoken word).
February 21, 2011 Bar & Co.
Temple Pier
London WC2R, England 8:30pm
(doors: 8:45pm) Boat-ting presents a performance by Mathilde 253 (Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and Ian Smith (trumpet and flugelhorn)) with Lol Coxhill (saxophone). Also performing are Sharon Gal (voice), Alex Ward (guitar) and Steve Noble (drums); Red Start (Noel Taylor (clarinet), Benedict Taylor (viola) and Noura Sanatian (violin)); and Sibylline Sisters (Sibyl Madrigal (poetry), Aromorel Weston (voice) and Kay Grant (voice)). Admission: £6/4.
March 2011 The Netherlands I'm looking for performance opportunities in The Netherlands mid-March 2011. Interested promoters, venues and sponsors, please get in touch!
Continue reading "performance diary 02-06-11 (Birmingham, Cork, Dublin, Edinburgh, London)"
Categoriesdiary, gigs TagsAlex Ward, Aromorel Weston, Bar & Co., Benedict Taylor, Birmingham, Charles Hayward, Cork, Cork Opera House, Dan Walsh, Dublin, Edinburgh, Fizzle, Grind Sight Open Eye, Half Moon Theatre, Han-earl Park, Helena Reilly, Ian Smith, Ishmael Wadada Leo Smith, Kay Grant, Kevin Terry, Lewisham Arthouse, Lol Coxhill, London, Mark Sanders, Mathilde 253, Matthew Collings, Music Network, National Concert Hall, Noel Taylor, Note Productions, Noura Sanatian, Pat Thomas, Paul Dunmall, Paul G Smyth, Red Start, Sharon Gal, Sibyl Madrigal, Sibylline Sisters, St Cecilia's Hall, Stephen Davis, Stet Lab, Steve Noble, The Lamp Tavern, The Roundy, UCC, UCC School of Music, Zolan Quobble


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Q: Unresolved reference: Manifest from custom Permission I have an app with a broadcast receiver to receive input from an external sdk, and in that broadcast receiver i send intent to an other broadcast receiver in my app. I have defined in the manifest
<manifest xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:tools="http://schemas.android.com/tools"
    package="com.xxx">

<permission
        android:name="com.xxx.permission.BR_PERMISSION_BLUEDOT"
        android:label="BR_PERMISSION_BLUEDOT"
        android:protectionLevel="dangerous" />

<uses-permission android:name="com.xxx.permission.BR_PERMISSION_BLUEDOT" />

in the broadcast receiver for the external sdk onReceive method i have defined
context.sendBroadcast(intent, com.xxx.Manifest.permission.BR_PERMISSION_BLUEDOT)

to send intent to the fragment, where is declared an other BR
 private fun configureReceiver() {
        val filter = IntentFilter()
        //Filter
        filter.addAction(BluedotGeoTriggerReceiver.INTENT_ON_ZONE_INFO_UPDATE)
        filter.addAction(BluedotGeoTriggerReceiver.INTENT_ON_ZONE_ENTRY_EVENT)
        filter.addAction(BluedotGeoTriggerReceiver.INTENT_ON_ZONE_EXIT_EVENT)
        //register
        baseContext.registerReceiver(ftxBluedotBroadcastReceiver, filter, com.xxx.Manifest.permission.BR_PERMISSION_BLUEDOT, null)
    }

The problem is during the build, i get this error
Unresolved reference: Manifest

redpajama_set_name: RedPajamaStackExchange


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Part of a project I'm working on requires re-setting a MySQL table by deleting most – but not all – rows. In PHP I'm using mysqli::prepare to prepare the MySQL statements.
The MySQL statement includes a parameter marker – denoted by ? – which is then substituted for the value of the $id variable using mysqli::bind_param.


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Home > SEC > SEC Awards Compliance Officer Whistleblower Bounty of Approximately $1.5 Million
SEC Awards Compliance Officer Whistleblower Bounty of Approximately $1.5 Million
By Harris Mufson, Sigal Mandelker and Steven J. Pearlman on April 22, 2015 Posted in SEC
Earlier today, the SEC announced that it would pay an unidentified compliance officer a whistleblower bounty award of between $1.4 and $1.6 million. This is the second award that the SEC has made to a whistleblower with internal audit or compliance responsibilities. According to the SEC, the recipient of the bounty award "had a reasonable basis to believe that disclosure to the SEC was necessary to prevent imminent misconduct from causing substantial financial harm to the company or investors."
Andrew Ceresney, Director of the SEC's Division of Enforcement, stated in the announcement that the compliance officer "reported misconduct after responsible management at the entity became aware of potentially impending harm to investors and failed to take steps to prevent it." Mr. Ceresney noted that the SEC's rules "permit compliance officers to receive an award for reporting misconduct to the SEC" when investors or the market could suffer substantial financial harm.
Since its inception in 2011, the SEC's whistleblower program has paid more than $50 million to 16 whistleblowers who provided the SEC with "unique and useful information that contributed to a successful enforcement action." In August 2014, the SEC announced its first whistleblower award to a compliance employee — a $300,000 award to an employee who performed "audit and compliance functions and reported wrongdoing to the SEC after the company failed to take action when the employee reported it internally."
The SEC has made clear that employees who perform audit and/or compliance functions are eligible to receive bounty awards and may not be precluded from communicating with the SEC about potential securities violations. With this award, the SEC is sending the message that companies should effectively address internal reports of misconduct, whether it be from a compliance officer or other employee.

redpajama_set_name: RedPajamaCommonCrawl


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Artists, Community, Curators, Featured, Interviews
Communal Space and Place: An Interview with Hume Founder Fontaine Capel
written by Annette LePique
I met Fontaine Capel several years ago while working at the MCA. Fontaine was an arts educator, and I worked in the Visitor Services Department. Though our paths only crossed for a brief time before Fontaine left the MCA to build the Humboldt Park communal arts space, Hume, I immensely enjoyed and appreciated our conversations. We spoke about community within the arts, and I deeply admired her drive and dedication towards building safe and equitable communal spaces. Recently I had the opportunity to visit Hume and sit down with a Fontaine to discuss her practice and Hume's community-driven mission.
Annette LePique: Thank you so much for speaking with me today, Fontaine! It's been a while since I've been to Hume, but do you think that it will always be on Armitage? Or will there be any future expansion?
Fontaine Capel: Thanks so much for stopping by! So, there are a couple of things to note about Hume. We have zero official funding from grants or organizations – we're entirely self and community supported. The three women who run the space all volunteer our labor and contribute financially each month to make sure rent is paid. We also rent out studio spaces to emerging artists and receive recurring monthly donations from different supporters. Donations usually range from five to fifteen dollars. Which is to say that we are totally dependent on the whims of the rental market. We are all artists, we all have day jobs. Some of us have day jobs under the poverty line. So we will go wherever it is cheap and accessible. Cheap and accessible also must overlap with where folks will be likely to show up to an arts space. This means that we live in places where gentrification is happening. Traditionally, art spaces are the first wave of gentrification. It's a really tough place to be.
AL: Definitely, navigating that is so tricky.
FC: For me the challenge lies in providing materials and support to underrepresented artists while simultaneously maintaining a level of community accessibility. That means having bilingual signage and engaging with anyone I may see looking into the space but hesitating to enter. Being able to speak Spanish is really important for that. I live in this neighborhood, I'm one of the forces gentrifying this neighborhood, and this space is a force – if we do it wrong – that will absolutely continue the gentrification of this neighborhood. My Latinx family has also been gentrified out of our own neighborhood in Brooklyn, which is actually the subject matter of my current exhibition. We're constantly thinking about and trying to become better neighbors.
Fontaine Capel. Photo by Ramon Espinosa, Associated Press.
AL: It's interesting that something we learn at such a young age, "being a good neighbor," can perhaps play a role in reshaping a narrative of gentrification. When we were speaking about how artists are traditionally that first wave of gentrification there's potential for new models of community to form when this first wave of people, such as yourself, possess cognizance and criticality towards who is coming and participating at local art spaces. Maybe a better way to state that is, thinking about who feels welcome. What do you think?
FC: Yes, especially when you consider "to whom are you being a good neighbor?" Exclusively catering toward a community whose members moved here as recently as I did, and who already feel comfortable coming into white-walled gallery spaces, is not being a good neighbor.
AL: That's also a very small sliver of the community and not representative of all potential conversations or participation.
FC: It's something that we've struggled with. It's something with which we're still struggling – we have not found a solution. It's tricky, since we want to highlight work by underrepresented artists, folks who are pushing the envelope through queer or feminist art that may not be easy for passersby to digest. We want to engage in that dialogue and, at the same time, be "good neighbors." So it's about talking to people, which is also hard when we all have day jobs and can't maintain regular hours.
Something else on my mind is that Hume is in a corner storefront in a predominantly Latinx neighborhood, similar to my Cuban grandfather's corner bodega in 1960's-70's Brooklyn. The place we replaced was quite similar to his bodega. How do we support artists who don't get funding, space, or recognition from institutions because of financial barriers? How do we create our own structures so we don't have to look to exterior established institutions for validation, while not alienating or aiding in the displacement of the community around us? That's the tension.
AL: Questions of age and technology intersect this tension in an interesting way. Thinking about what you said regarding Hume's support of artists who make challenging work, many younger folks in the neighborhood who grew up with internet access may have an interest in art that is not easily digested. Though computer knowledge and internet access, of course, have their own issues pertaining to accessibility. However, technology's presence in one's life is beneficial towards cultivating a curiosity and a vocabulary with which to ask questions and begin difficult conversations. Older folks may not have had access to those same resources, and without those tools, challenging conversations can be difficult to begin.
At Hume's space during 2nd Floor Rear, 2017. Photo by Jaclyn Rivas.
FC: Yeah, totally. When we began building out the space, there were these kids who lived down the street who always watched us. From putting down flooring to painting the walls, they would always come around and ask, "What are you doing?" They are welcome any time, all the time. When I'm working in my studio, they come in. When we have openings, they come in and not even with their parents! They also touch everybody's shit, which is fine, until it's not. (They haven't hung out in many art studios, so we've had to talk about not playing with things that don't belong to you.) My experience as an arts educator at the MCA and Marwen has been really helpful in both having really interesting conversations and establishing boundaries with these kids. It's a juggling act. Ultimately my wish is that they feel confident in asking difficult questions in a space that has been historically unfriendly to children. I hope that Hume can help unpack many of the hierarchies of the "white-walled gallery."
AL: Definitely! Especially with the moneyed gallery system being populated by white people, rich white people, white guys, rich white guys, etc.
FC: Yeah, and we have zero rich white guys in this entire situation, and that's great!
I chose the iconography in this specific installation because it will be familiar to Latin American immigrants from the Caribbean, including Cuban and Puerto Rican folks. It's been really great to be able to sit and meet people. Some women came by while I was holding open hours the other day and asked me about the space. I explained it was an art gallery. They started asking questions and said they weren't going to come in here but they recognized the Export Sodas and Galletas (Cuban crackers). They're Latina, and they grew up across the street. They asked me if my landlady still owned the building and if her grandson still lived upstairs. They called her and joked that it was her underwear hanging up on the wall. It was so lovely and affirming that they came in and thought that the exhibition was great. One of them understood that all of these things were art, but the other kept asking if I knew about these items. I said, "Yes this is my work, and these are the foods and experiences with which I grew up." It is affirming to be able to signal to other Latinx's that this space is a place where you can engage. This is art that speaks directly to aspects of your experience and hopes to recontextualize it and its iconography to "fine art" in a white-walled gallery.
AL: The representation of those experiences as well is critical.
FC: Right, and representation intersects with white audiences in an interesting way as it prompts them to ask questions. The white people who have come in ask, "What are these crackers? What brand of coffee is that, I've never had it before?" Or even, "What material is on the floor?" I let them know that this is vinyl. I grew up with this and not wood. It's been personally important for me as someone who exists in this community and runs a space to say this is me, and this is how I grew up.
Still of Fontaine Capel's "Por La Mañana," Hume during Second Floor Rear Festival, 2017.
AL: People were confused by linoleum or vinyl?
FC: Yes. I've actually been thinking about linoleum. I grew up on the second floor of a beautiful old brick row house from turn-of-the-century Brooklyn. Though it was beautiful there were layers of linoleum. Everything had been painted over a million times; there were layers of wallpaper and linoleum floors. As a little kid I remember peeling and peeling endless layers of linoleum. I thought that that was normal until I went to my private school friends' houses and they had wooden floors. I thought it was a normal experience, but it's a marked difference between people who grew up with a specific type of not-wealth. (Though I'm sure there are countless people with wood floors who are not wealthy.) I read it as a very specific urban experience with landlords, low cost buildings, and painted plugs. Essentially all of these signifiers that others own the space in which you live.
So I've been able to have conversations around not just race, ethnicity, and immigrant status, but for the first time, wealth.
AL: The intersections between those topics, as well, are also interesting to consider.
FC: It's been gratifying and is just the surface of experiences to discuss and explore.
AL: One intersection is that between white-walled galleries and institutions. I came to Chicago for SAIC and immediately became aware of my privileged access to resources, jobs, and connections that would not have otherwise been available. It's highly problematic because if someone does not have access to institutions, like art schools or museums, it would then be difficult for them to feel comfortable in the art spaces and galleries intimately connected to those same schools and museums. Access to these institutions is a form of privilege. My friend told me a story that one day in class a professor asked the students if any had seen the latest show in the Louvre, and about ten kids raised their hands. This seems like a ridiculous question, but it perfectly sums up assumptions of access.
FC: Yeah, but that's the art world. That question is a perfect example of the classism and privilege tied to accessibility. Such assumptions also play a role in micro aggressions. They are especially insidious in institutions that are supposed to facilitate your learning. I've experienced them firsthand, and it undermines one's confidence.
AL: Especially because it places the burden of change on you. Instead of an apology and institutional change, you have to worry about how others will react.
FC: If you will be spoken of in a negative light…
AL: Something that could definitely hurt you in the long run.
FC: It's also funny what can happen in institutions without pushback just because someone with institutional power says, "Oh this must be fine," and everyone says, "Oh great, this must be fine." I'm reminded of the outcry over the MCA around a year ago because of their exhibition on the Latinx experience. The exhibition featured artists from the West Coast and no one from Pilsen or Little Village. It's hard to challenge institutions and hold them accountable.
AL: There's almost no criticality. Once a place reaches a certain size and enough money is circulated there's very little hindsight.
FC: That is both reflected in how those places deal with exhibitions and the artists they employ. Major institutions have structures that are harmful to artists and equitable support systems.
This complete lack of understanding or will to listen or change or support artists is really frustrating. There needs to be an alternative to these inertia-filled installations with high barriers to entry. That's why so many artist-run spaces have opened, and that's what Hume is doing. That's why this is necessary.
Hear Fontaine Capel speak on Saturday, April 22nd at 4:30pm for "Fresh Walls: New Space for Artists to Occupy" at the Lake FX CreativeCon–the largest free summit for artists across disciplines in the midwest.
Featured Image: Installation view of Fontaine Capel's "Por La Mañana," Hume (2017).
Annette LePique is a Chicago-based art historian and writer. She received her M.A. from the School of the Art Institute of Chicago in Modern and Contemporary Art History. She presented her research on gender, performativity and new media at Concordia University's 2015 Constellations Clusters Networks Conference in Montreal.
Filed under: Artists, Community, Curators, Featured, Interviews
Tagged with: Annette LePique, featured, Fontaine Capel, Hume, Lake FX, Latinx
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Stephanie Strickland has published eight books of printed poetry and ten works of trans-medial, electronic, and digital literature. Awards include two Di Castagnola Prizes from The Poetry Society, the Sandeen and Brittingham Prizes, NEH and NEA grants, the Boston Review, Pushcart, Salt Hill, and Best American Poetry prizes.
Strickland designed, curated, and produced TechnoPoetry Festival 2002 at the Georgia Institute of Technology as the McEver Chair in Writing. She is a current and longtime member of the Board of Directors of the Electronic Literature Organization and co-edited Electronic Literature Collection, Volume 1. She is known for her wide-ranging collaborations and her works have been widely anthologized, exhibited, and taught, as have her critical articles. Her files and papers are being collected by the David M. Rubenstein Rare Book and Manuscript Library at Duke University.
Dragon Logic wonders where have we gone … as our face-to-face world threatened from so many directions slips into potentially infinite virtual spaces. The slippage happened suddenly, worldwide, and we don't know whether it makes us irrelevant, provides an escape from apocalyptic problems, or could be welcomed as a new direction for human life. These poems are where I wrangle this increasingly invisible dragon-in-the-room.


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Home > Teledyne e2v completes delivery of…
Teledyne e2v completes delivery of image sensors to the Sentinel-5/UVNS instrument mission
High-Performance CCD image sensors supplied to enable collaborative weather and climate programme between ESA and EUMETSAT.
 Chelmsford, UK – February 7, 2019: Teledyne e2v has delivered all 12flight deliverables consisting of three variants of its CCD314 image sensors for the Sentinel-5/UVNS instrument to be launched onboard the Second Generation MetOp (MetOp-SG) satellites.
Delivering important data on the composition of the atmosphere, Sentinel-5 is set to make a step change in monitoring and forecasting global air quality. Copyright: ESA/P. Carril
A collaborative program between the ESA and EUMETSAT, the MetOp-SG programme comprises three flight sets of two low earth polar-orbiting satellites with complimentary payloads, MetOpSG-A and MetOpSG-B. Airbus Defence and Space is responsible for the MetOp-SG spacecraft and system.
The Sentinel-5/UVNS instrument onboard MetopSG-A is focused on global monitoring of key air quality trace gases and aerosols as a part of the Copernicus program. It will also contribute to operational meteorological observations from polar orbit and thus increase Europe's capability for long-term climate monitoring.
Teledyne e2v's custom CCD image sensors are optimized for different wavelengths and built around the company's proprietary enhanced quantum efficiency backside thinning process. The image sensors include a graded anti-reflective coating unique to Teledyne e2v, and will sit at the heart of the Sentinel-5/UVNS instrument, a high-resolution spectrometer operating in the ultraviolet to near-infrared range.
Teledyne e2v CCD314 NIR Imaging Sensor for Copernicus Sentinel-5/UVNS
In addition, the custom image detectors feature:
Split-frame transfer modes
Radiation-hardened process
Very high dynamic range
Dave Morris, Principal Project Manager at Teledyne e2v said: "Teledyne e2v is proud to have completed the manufacturing and delivery of all flight hardware to the Sentinel-5 program. We are confident the detectors will provide this collaborative effort between the EU and UK with advanced insights across all of the goals of this mission".
Dr. Didier Martin, Sentinel-5 Project Manager at the European Space Agency said: "These CCDs are the first flight items to be integrated at the heart of the Sentinel-5 instrument. With their outstanding performances, we are confident the sensors will meet the mission's goals of monitoring air quality and supporting climate modelling by measuring atmospheric trace gases such as Ozone, Nitrogen dioxide, Sulphuric dioxide and many others, on a daily basis with unprecedented accuracy and resolution."
Robert Greinacher, Sentinel 5 Project Manager at Airbus Space Systems concluded: "Sentinel-5 is one of the most important instruments on board the MetOp-SG spacecraft, providing precise weather and environmental monitoring for the sake of European citizens. The on-time delivery of the sensors by Teledyne e2v, together with their demonstrated performance, confirms the supplier selection by Airbus for this key technology on which Sentinel-5 is based. Further, these sensors are one key contributor to achieve an overall outstanding instrument performance. "
Funded by the EU and ESA
Funded by the EU and ESA banner
About Teledyne e2v
Teledyne e2v's innovations lead developments in healthcare, life sciences, space, transportation, defense and security, and industrial markets. Teledyne e2v's unique approach involves listening to the application challenges of customers and partnering with them to provide innovative standard, semi-custom or fully-custom imaging solutions, bringing increased value to their systems. As part of the Teledyne Imaging Group, and in combination with its sister companies, Teledyne DALSA and Teledyne Imaging Sensors, represent a new paradigm in the delivery of innovative imaging solutions built on unrivalled expertise and a deep technological heritage that includes capabilities across the spectrum, from infrared to x-ray imaging.
About Teledyne Imaging
Teledyne Imaging is a group of leading-edge technology companies aligned within the Teledyne brand. With unrivalled expertise across the electromagnetic spectrum and decades of experience, the group offers world-leading capabilities in sensing, signal generation and processing. The collective delivers innovative solutions to aerospace, defense, geospatial, machine and industrial vision, medical and life sciences, semiconductors and MEMs. For more information, visit teledyneimaging.com.
All trademarks are registered by their respective companies.
Teledyne reserves the right to make changes at any time without notice.
Mark Bown
Teledyne e2v
email: mark.bown@teledyne.com