#Harvestworks
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ericleonardson · 1 year ago
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musichackathon · 2 years ago
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Off-The-Grid Music Hackathon
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Explore music and sound off-the-grid. Make music outdoors, without electrical outlets and internet access. Consider, how will working in a park on an island, removed from the streets and offices of the city, change your musical or sonic explorations? How will working without a table and chairs change your process? Will you create a battery powered experience? A physical hardware based musical or sound experience? Will you construct an instrument that does not rely on institutionally provided power or internet access? This hackathon encourages any medium, techniques, technologies, and procedures you can use to create music and sound experiences under these constraints. 
This non-competitive hackathon will include a mix of talks, performances, workshops and presentations by participants. Free and open to all (with RSVP—this event has limited capacity). Come learn, explore, create and share! We have an open call out for talks and workshops - please submit!
:: Date & Time
Saturday, August 5, 2023. Rain date, August 12, 2023. 11:30am - Doors Open 12:00pm - Talks
"Collaborating with the Woods," by Luciform
"Permacomputing and Making Music with Computers Outside," by Cameron Alexander
"Music & Sound Art Off-The-Grid," by Katarina Hoeger 1:00pm - Brainstorming& Hacking 3:30pm - "ReVoice," a workshop with Noah Aronson 5:00pm - Demos & Performances
:: Location
Harvestworks Back Lawn 10a Nolan Park Governor's Island New York, NY 11231
Click here for a map. :: Links
RSVP [REQUIRED, Tickets Limited]
Propose a Talk or Workshop
Volunteer
:: Logistics
This is an outdoor event. Bring any supplies you might need for your auditory masterpieces. Bring hats, sunscreen, bug spray, picnic blankets to work on and water bottles and whatever you need to work comfortably outdoors. Snacks and refreshments will not be provided, but can be purchased from food vendors on the island.
In case of postponement due to impending rain, notifications will be sent out via email to all who RSVPed.
Ferry fares and times: Travel to Governor's Island is free until 12PM on weekends. The last ferry to Brooklyn is at 5:30pm, the last ferry to Manhattan is 11:30pm. No participants will be stranded on Governor's Island.
:: Governor's Island Rules
Select rules of conduct for Governor's Island include: * All visitors, back packs, packages and vehicles are subject to search. * Visitors may bring their own food and non-alcoholic beverages. No grilling allowed at Harvestworks site. * Cyclists must follow all posted traffic signs, speed limits, and dismount areas. Bikes may only be locked at designated bike racks. * All visitors must depart the Island on or before the departure of the last public ferry departing Governors Island each day. * Pets and drones are not allowed. * Visitors are not allowed to secure items to trees or buildings. * Commercial activity and solicitation are not allowed.
For a full list, see https://www.govisland.com/plan-your-visit/rules.
:: About the organizers and hosts
This event is organized by Music Community Lab and hosted in back and side yards of Harvestworks and the Institute for Public Architecture at their residencies on Governor's Island.
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Music Community Lab (musiccommunitylab.org / musichackathon.org) is a not-for-profit which presents events encouraging exploratory approaches to music and sound.
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Harvestworks is a not-for-profit which supports the creation and presentation of art works achieved through the use of new and evolving technologies.
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The Institute for Public Architecture is a not-for-profit which uses design to challenge social and physical inequities.
Event graphics by Shagari Guity.
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carlagannis · 6 years ago
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Midnight Moment "Portraits in Landscape" | Documentation by Jason Akira Somma
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jgthirlwell · 7 years ago
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07.18.17 Issue Project Room and Harvestworks presented a concert of work created for Paul Geluso’s 3D sound object. Compositions were by Scott Smallwood, whose work was built on field recordings, Suzanne Thorpe who created a stunning piece for voices and Stephan Moore, who live-manipulated cymbals that were spinning on box fan motors.
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sarymsakovstudio · 6 years ago
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Игрушечный комбайн убирает настоящую кукурузу. #harvesting #harvest2018 #harvested #harvestday #harvestale #harvestoftheday #HarvestKidz #harvestman #harvestcaye #harvestrestaurant #harvestrain #harvestfood #HarvestVoxBox #harvestrepublic #harvestmoom #harvest91 #harvestwork #harvestyarnsandfiber #harvestmeats #HarvestforChristChurch #harvest_moon_official #harvestbythemoon #harvest1996 #harvestmoonmilk #harvest #harvest2018 https://www.instagram.com/p/Bn1DpozBR_y/?utm_source=ig_tumblr_share&igshid=13i3gsln9cqz6
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rocksmystripedsocks · 7 years ago
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Lucky to have this guy as a (harmless) coworker 💛🌱🐝 #harvestwork #savethebees (at Seeka Australia)
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soniayuditskaya · 3 years ago
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Secret Space Pope from yuditskaya on Vimeo.
My final performance for the 2021 season of Harvestworks on Governor's Island. The Secret Pope goes to Space! Awesome visuals by Vaporstack.
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luminousvelocity · 4 years ago
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#PreGame #mode Back in the saddle. A/V and Engineering go hand in hand. (at Harvestworks) https://www.instagram.com/p/CFA6ClGg_sT/?igshid=1bzvyx299qak3
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surveillancex · 6 years ago
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Thanks to support from Harvestworks NYC in 2018, DATA LOG now uses face recognition to create a real life file storage system of user’s faces.
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reversebullets · 6 years ago
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pink-room · 3 years ago
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Biography
D Loves The Sodomites is a transdisciplinary artist born in Minorca (1990) graduated in Fine Arts (UB) and Master in Art Education (UCM). E has lived and studied in cities such as Barcelona, Madrid, London, Paris and New York.
Eir work has been shown in theaters and festivals throughout Europe, such as Francesc Català-Roca Space (Barcelona, 2013); Revela-T Festival (Barcelona, 2014); Analogmania (Romania, 2015); Analogue Festival (London, 2015); at Rissaga New Wave Of Minorcan Artists at El Roser (Menorca, 2015); Miró Foundation (Mallorca, 2017); Nau Bostik (Barcelona, 2016); at the exhibition Refinement Begginings curated by El Palomar at Casal Solleric (Mallorca, 2018); at Where Does Reality Resides? at Es Baluard (Mallorca, 2019); e was interviewed in the book A Tiro de Piedra: Acercar lo Posible, edited by Es Baluard (Mallorca, 2019); e was a finalist twice at The Young Arts Contest of the Balearic Islands; e has been awarded with research and creation grants from Consell Insular de Menorca, Institut d’Estudis Balearics, Macba’s Study Centre (CED), Nau Estruch, Eima, Gamba Z’AIR, Harvestworks, etc.
At the beggining of 2021 e released digitally and physically a visual album with the same title as the shows, a project that has started to be toured in the form of a performance-concert at Sons de Nit Festival in Palma, at the Pride of Alaior, at Festival Emergències, etc.
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hypernatural · 6 years ago
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Testing #becomingbiodiversity my augmented reality project at #willowlake #flushingmeadowscoronapark @harvestworks @nycparks (at Queens, New York) https://www.instagram.com/p/BpsbN7zFNhb/?utm_source=ig_tumblr_share&igshid=17cidhcsv1wn6
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jgthirlwell · 8 years ago
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02.09.17 Annie Gosfield presented Jammed Radios, Flying Signals, and String Noise at Harvestworks, her works for jammed radio frequencies in surround sound featuring the String Noise violin duo of Pauline Kim and Conrad Harris.
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hungrymimigarfield · 4 years ago
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Rashaad Newsome (Week 6)
Biographical Information
Born in 1979 in New Orleans, Louisiana, Rashaad Newsome is an American Postwar & Contemporary artist whose work has debuted at many exhibitions at world-renowned galleries around the world, including The Studio Museum in Harlem (NYC), The National Museum of African American History and Culture (DC), The Whitney Museum (NYC), Brooklyn Museum (NYC), among many others. Newsome’s works are produced from diverse practices and in different mediums and forms, from collage, sculpture, video, music, to even computer programming and performance.
He completed a Bachelor of Fine Arts in Art History at Tulane University in 2001, and in 2004, he completed a certificate program in Digital Post Production from Film/Video Arts Inc. (NYC), and subsequently another certificate in MAX/MSP Programming at Harvestworks Digital Media Art Center (NYC).
He currently lives and works in both Brooklyn New York and Oakland California. His works have received significant acclaim, resulting in significant sales at various auctions, with his works selling for between $3,750 USD to $50,000 USD. His highest selling price of $50,000 USD came from his work Sun King, which sold at Christie's New York in 2012.
Artistic Influences – Artists and Cultural References
Rashaad Newsome’s diverse artistic practices draws from a variety of cultural and real-world sources, modern advertising, Modern and European Art History, Black and Queer culture, African Iconography to create counter-hegemonic work that challenges notions of cultural essentialism.
Combining African American hip-hop culture with European heraldic tradition, Newsome utilizes the gestures, sounds, and symbols from both cultural spheres to highlight the interconnections between themes, imagery, and ideology. For example, quote Newsome: “A coat of arms is really a collage of objects that represent social status and economic status and status as a warrior. Similarly, quote Newsome: “everybody wants to be the king of hip-hop.”
Furthermore, Newsome frequently represents the Black and Latinx LGBTQ+ communities in his artwork and performance pieces by integrating cultural iconography from African American and West/Central African art and performance. His works have become a voice for counter narratives of Black and Brown Queer cultures.
Finally, Newsome draws significant inspiration from his heritage as a native New Orleanian. From the colorful Mardi Gras Indians of the Tremé, to the extravagantly creative custom car community, and the New Orleans style brass bands, color, creativity, movement, and improvisation have been integrated into and explored within his artistic works, especially in his performances.
Artistic Practice – Themes, Topics
Newsome’s works focus on a range of diverse yet interconnected topics such as sexuality and sexual identity, racial difference, and the power of imagery to convey power and status.
For example, Newsome explores how visual and audio imagery in media and pop culture promote distorted concepts of power in modern society. From abstract Baroque-style designs composed of subculture iconography to personified figurative subjects, Newsome explores the theme of agency and status, with a particular emphasis on the interpretations of feminism by trans-gender and cis-gender women of color. Through his performance pieces, Newsome strives to dismantle social and racial hierarchies through performative acts and gestures by strong and heavily decorated female figures, reinforcing the theme of empowerment prevalent through his pieces.
King of Arms Art Ball
Brief Description + Personal Connection + Connection to Broader Artistic Practice
Newsome initially saw the King of Arms balls “as a way to subversively teach art history to the ballroom scene community” and bringing balls to the mainstream as he saw a growing trend in pop culture. Coupled with his consistent advocation and representation LGBTQ+ community of color in his various works, the King of Arms Ball series began in 2013.
The annual King of Arms Art Ball is an annual live performance consisting of pieces from artists, activists, and the gender non-conforming vogue community that is intended to empower the LGBTQ+ community of color. With reference to the vogue and ballroom scene from Harlem in the 1970s which was the original safe space for queer youth of color, the King of Arms Art Ball, quote Newsome, is where “the framework of performing gender binaries or some devotion to capitalism, which is often associated with ballroom, is eviscerated and there is a premium put on the contestants’ ability to imagine Black artists’ work in new ways.” Events have taken place in large metropolitan cities throughout the United States, such as New York City, Philadelphia, and Miami.
The ball includes a performance competition that includes various categories that are inspired by specific artists and art movements each year. Citing a few examples from this year, for the “Old Way,” contestants dress in the colorful, joyful style of a Barkley L. Hendricks painting. For “Commentator vs. Commentator,” contestants are asked to compose lyrics inspired by Arthur Jafa’s video, “Love Is the Message, the Message Is Death.
Artistic Strategies (form medium style)
Newsome effectively utilizes performance art to convey qualities and messages that are repressed by the need for normality in daily life. The ostentatious displays, costumery, and performance confronts the audience, and even the participants, with often unsolicited, contentious messages in a non-mediated and unframed manner. The physically close proximity of the audience to the performers at the ball not only enhances that message delivery but also invites the audience to become a part of the performance through their reactions. This process triggers empathy, or the ability to identify and associate with others’ experiences, whether it be between audience and performer, performer and performer, and even between audience members. Thus, the ball can be considered more of an immersive and participatory performance. Furthermore, the performance medium aligns with Newsome’s promotion of humanitarian values. Performance allows participants to breakdown increasingly common us-against-them dialogue by promoting an avenue to view, explore, and ultimately accept different perspectives that are essential to peaceful democracy.
Finally, the occasion of performance creates physical space and a clear reason for members to engage in dialogue, in an environment where the feelings, thoughts, and philosophies often excluded from regular discourse can be brought into the open. This process nurtures civic engagement and cohesion and awareness and appreciation of culture, which in this case is the black and brown LGBTQ community.
Content:
https://www.nytimes.com/slideshow/2015/09/21/t-magazine/rashaad-newsome-s-king-of-arms-ball.html
https://oolitearts.org/the-king-of-arms-art-ball/
https://www.guernicamag.com/freestyle/
https://www.debuckgallery.com/artist/rashaad-newsome/
https://datebook.sfchronicle.com/art-exhibits/dont-ask-rashaad-newsome-to-explain-his-art-its-your-job-to-understand-it
https://www.art-agenda.com/features/318502/rashaad-newsome-s-to-be-real
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pmstuff212 · 4 years ago
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This piece by @muyassarkurdi honors the futuristic and the ancient. Lured me in and woke me up @miriamparts @joannamattrey #dance #sound #visual #rhythm #patternoftime #experimental #governorsisland @governorsisland @harvestworks (at Governors Island) https://www.instagram.com/p/CGQDdXihGYd/?igshid=1j5yqfj3p1ljv
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soniayuditskaya · 3 years ago
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IPA House Concert from yuditskaya on Vimeo.
Video by Hans Tammen
Harvestworks is pleased to partner with the Institute for Public Architecture to present an experimental audio visual performance by Sofy Yuditskaya, Monica Rocha, Johannes Sistermanns and Hans Tammen who come together for the sake of the sound and the silences in between the sounds. It is about architecture and how we relate to it and each other within it.
Using the Block Building #9 on Governors Island as a musical instrument, the artists will activate the first floor room and explore how they relate to it and each other within it. It’s about listening and being present in the moment. Friction is a cue to listen more deeply. We don’t always want to know the motivations behind every move. And yet: we are curious about what provokes each action, each sound, sculpture, body surrounding emptiness. Breaking out of it, like a crash, falling back into silence, unmoving. Network, intensity, authenticity, simple frame, noise, listening floors… time is too short for us to break off after 45 minutes. EnTsemble always meets again, somewhere else, hearing grass grow.
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