A three-day event explores the radical oeuvre of British experimental composer Cornelius Cardew and the activities of the Scratch Orchestra (co-founded by him in 1969), and illuminates their significance today as artistic, pedagogical and political tools. Workshops, sound installations, a film screening, and an exhibition bring together historians, musicians, artists, and New School faculty and students, and are presented at The New School. Among the participants are contemporary music ensemble Either/Or, artists Luke Fowler and Robert Sember, and New School faculty members Danielle Goldman, Sarah Montague, Simonetta Moro, Evan Rapport and Ivan Raykoff and their students. Pianist and Cardew biographer John Tilbury is contributing a (pre-recorded) Call-to-Action.

Inspired by The Cardew Object at the ICA London (November 2009), these events are organized by the Vera List Center for Art and Politics as part of its 2009-2010 program theme “Speculating on Change.” Vera List Center Fellow Robert Sember, a member of the sound-art collective Ultra-red and the School of Echoes, leads the colloquium and workshops in collaboration with faculty members from Eugene Lang College The New School for Liberal Arts and The New School for Jazz and Contemporary Music.

DAY THREE PROGRAM

Exhibition
The Skybridge Art & Sound Space

Opening Reception: Thursday, April 15, 2010 – 4:00 to 6:00 p.m.
Exhibition Dates: Thursday, April 15 to Monday, May 10, 2010
Skybridge Gallery, Eugene Lang College, 65 West 11th Street, 3rd floor (enter at 66 West 12th Street)
Admission: Free

New School faculty Sarah Montague and Simonetta Moro and their students in the Skybridge Curatorial Project present an exhibition celebrating Cardew’s work and the events above. The Skybridge Art & Sound Space hosts multi-media exhibitions and curriculum-based projects in the arts, showcasing student projects that make the space a vibrant and exciting laboratory for visual, aural, and critical thinking.

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Cornelius Cardew (1936-1981) was a seminal figure of the British avant-garde of the 1960s and 1970s. A student of Karl-Heinz Stockhausen and a follower of John Cage, he formed the Scratch Orchestra with Michael Parsons and Howard Skempton in 1969 in London. Based on their experiments, Cardew published the book Scratch Music, now a classic resource for experimental musicians. In the late 1970s, Cardew became increasingly involved in a Marxist-Leninist discourse, eventually rejecting his own compositional work as elitist. Cardew died in an unresolved hit-and-run accident at the age of forty-five, estranged from most of his colleagues and challenged for his political convictions.

The Scratch Orchestra was a collaborative group of musically trained and untrained participants engaged in radical modes of improvisatory and cross-disciplinary art-making. In an effort to liberate performers from the constraints of traditional music notation as well, Cardew developed elaborate forms of graphic notation – all part of an explicit agenda of political consciousness and social action. These larger “ways of organizing,” including interpretations of two sections from Cardew’s The Great Learning (1968-71), are presented during The New School events in a structured environment that invites creative engagement and collaboration.

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Posted on March 31, 2010

A three-day event explores the radical oeuvre of British experimental composer Cornelius Cardew and the activities of the Scratch Orchestra (co-founded by him in 1969), and illuminates their significance today as artistic, pedagogical and political tools. Workshops, sound installations, a film screening, and an exhibition bring together historians, musicians, artists, and New School faculty and students, and are presented at The New School. Among the participants are contemporary music ensemble Either/Or, artists Luke Fowler and Robert Sember, and New School faculty members Danielle Goldman, Sarah Montague, Simonetta Moro, Evan Rapport and Ivan Raykoff and their students. Pianist and Cardew biographer John Tilbury is contributing a (pre-recorded) Call-to-Action.

Inspired by The Cardew Object at the ICA London (November 2009), these events are organized by the Vera List Center for Art and Politics as part of its 2009-2010 program theme “Speculating on Change.” Vera List Center Fellow Robert Sember, a member of the sound-art collective Ultra-red and the School of Echoes, leads the colloquium and workshops in collaboration with faculty members from Eugene Lang College The New School for Liberal Arts and The New School for Jazz and Contemporary Music.

DAY TWO PROGRAM

Workshop
How Can We Organize Collective Listening?

Saturday, April 10, 2010 – 12:00 to 6:00 p.m.
The New School, Theresa Lang Community and Student Center
55 West 13th Street, 2nd floor
Admission: Free, advance reservations recommended at vlc@newschool.edu

New School faculty members Evan Rapport and Ivan Raykoff host a public workshop developed in collaboration with Lang College classes New Ears for New Music (Raykoff), Punk & Noise (Rapport), Politics of Improvisation (Danielle Goldman), Image/Text (Simonetta Moro), and The New School for Jazz and Contemporary Music class Cross-Cultural Improvisation (Rapport). Workshop participants are asked to collect sounds in response to a specific question relating to local and current social or political concerns, then explore procedures for collective listening and organized action following some of Cardew’s models.

Public participation encouraged – sound tools provided.

__________________________________________________________________

Cornelius Cardew (1936-1981) was a seminal figure of the British avant-garde of the 1960s and 1970s. A student of Karl-Heinz Stockhausen and a follower of John Cage, he formed the Scratch Orchestra with Michael Parsons and Howard Skempton in 1969 in London. Based on their experiments, Cardew published the book Scratch Music, now a classic resource for experimental musicians. In the late 1970s, Cardew became increasingly involved in a Marxist-Leninist discourse, eventually rejecting his own compositional work as elitist. Cardew died in an unresolved hit-and-run accident at the age of forty-five, estranged from most of his colleagues and challenged for his political convictions.

The Scratch Orchestra was a collaborative group of musically trained and untrained participants engaged in radical modes of improvisatory and cross-disciplinary art-making. In an effort to liberate performers from the constraints of traditional music notation as well, Cardew developed elaborate forms of graphic notation – all part of an explicit agenda of political consciousness and social action. These larger “ways of organizing,” including interpretations of two sections from Cardew’s The Great Learning (1968-71), are presented during The New School events in a structured environment that invites creative engagement and collaboration.

__________________________________________________________________

Posted on March 31, 2010

A three-day event explores the radical oeuvre of British experimental composer Cornelius Cardew and the activities of the Scratch Orchestra (co-founded by him in 1969), and illuminates their significance today as artistic, pedagogical and political tools. Workshops, sound installations, a film screening, and an exhibition bring together historians, musicians, artists, and New School faculty and students, and are presented at The New School. Among the participants are contemporary music ensemble Either/Or, artists Luke Fowler and Robert Sember, and New School faculty members Danielle Goldman, Sarah Montague, Simonetta Moro, Evan Rapport and Ivan Raykoff and their students. Pianist and Cardew biographer John Tilbury is contributing a (pre-recorded) Call-to-Action.

Inspired by The Cardew Object at the ICA London (November 2009), these events are organized by the Vera List Center for Art and Politics as part of its 2009-2010 program theme “Speculating on Change.” Vera List Center Fellow Robert Sember, a member of the sound-art collective Ultra-red and the School of Echoes, leads the colloquium and workshops in collaboration with faculty members from Eugene Lang College The New School for Liberal Arts and The New School for Jazz and Contemporary Music.

DAY ONE PROGRAM

Colloquium with Sound Installation and Film Screening
An Introduction to Cardew

Friday, April 9, 2010
65 West 11th Street (enter at 66 West 12th Street)
Admission: $8, free for all students as well as New School faculty, staff and alumni with valid ID

Sound samples installation by New School students – 6:00 to 6:30 p.m.
Introduction by Robert Sember – 6:30 to 7:00 p.m.
Film screening, followed by discussion – 7:00 to 9:00 p.m.

Cornelius Cardew’s music and ideas – and their significance today as an artistic as well as pedagogical and political project – are introduced by Vera List Center Fellow Robert Sember. A screening follows of Glasgow-based artist Luke Fowler’s Pilgrimage from Scattered Points (2006, 45”), a film that explores the internal contradictions and struggles of Cardew’s Scratch Orchestra through first person interviews, recent and archival footage and original recordings.

“Filmmaker Luke Fowler depicts the Scratch Orchestra’s composer Cornelius Cardew in action, resonating in a brilliant, impressionistic visual landscape. Sound and image unite to form a hypnotic and freely associating current, which reaches far into the subjective sphere of experimental film.” (hotdocs.com)

Robert Sember and Luke Fowler are then joined by New School faculty members Ivan Raykoff and Evan Rapport in a closing discussion.

Sound samples culled from previous workshops are installed in the lecture hall and ring in the evening’s events; pianist John Tilbury (via recording), Cardew’s biographer and one of his closest associates, provides a call-to-action.

__________________________________________________________________

Cornelius Cardew (1936-1981) was a seminal figure of the British avant-garde of the 1960s and 1970s. A student of Karl-Heinz Stockhausen and a follower of John Cage, he formed the Scratch Orchestra with Michael Parsons and Howard Skempton in 1969 in London. Based on their experiments, Cardew published the book Scratch Music, now a classic resource for experimental musicians. In the late 1970s, Cardew became increasingly involved in a Marxist-Leninist discourse, eventually rejecting his own compositional work as elitist. Cardew died in an unresolved hit-and-run accident at the age of forty-five, estranged from most of his colleagues and challenged for his political convictions.

The Scratch Orchestra was a collaborative group of musically trained and untrained participants engaged in radical modes of improvisatory and cross-disciplinary art-making. In an effort to liberate performers from the constraints of traditional music notation as well, Cardew developed elaborate forms of graphic notation – all part of an explicit agenda of political consciousness and social action. These larger “ways of organizing,” including interpretations of two sections from Cardew’s The Great Learning (1968-71), are presented during The New School events in a structured environment that invites creative engagement and collaboration.

__________________________________________________________________

Posted on December 21, 2009

Join Bichlbaum’s class as it consults resident psychic Sherene Schostak about their own future and the future of their teacher.

Presented as part of the week-long exhibition and event series, “By Any Name: Institutional Memory at The New School.”

Posted on October 7, 2009

This class is a query on the nature of history, interrogating the relationship of the things we collect to how we construct our pasts. We explore archives broadly defined, from the contents of family photo albums to vast collections housed in libraries to the design of buildings that contain such collections. Ultimately, the city itself is examined as an archive in its own right-a vibrant collection of interrelated artifacts that records the selective presence of the past in built form. Students visit archival sites and undertake projects that consider the history, condition, scope, format, and design of archives in New York City.

Presented as part of the week-long exhibition and event series, “By Any Name: Institutional Memory at The New School.”

Posted on September 20, 2009

Visitors are invited to explore how information is gathered, compiled, edited and ultimately, archived. In collaboration with two resident artists, participants are asked to describe an aspect of the installation which will-for the duration of the workshop-include a live model. Using color and drawing as their tools, the artists will then interpret the participants’ verbal communications through their own visual associations. In this way, the gallery will become an archive of itself, embodying the process of information collection, interpretation, and presentation.

Presented as part of the week-long exhibition and event series, “By Any Name: Institutional Memory at The New School.”

Posted on September 20, 2009

As The New School celebrates its 90th anniversary, this collaboration between Parts & Labor and the Vera List Center features a series of free events hosted in Parts & Labor’s mobile gallery, a truck parked outside Tishman auditorium. Discussions, lectures, and workshops presented inside the truck and in adjacent rooms in The New School’s “signature building” (designed by Joseph Urban in 1930) bring together a cast of contributors, members of the university community, and the public to examine the founding principles of The New School and to address the question of how these principles have fared over time. These participatory events investigate the institutional and pedagogical history of the university as they have grown alongside a community and its urban site. Through a variety of interactive strategies participants initiate reflections on recent calls for change at The New School by projecting them against the backdrop of the university’s unique history of critical engagement with the concepts of newness and change.

Parts & Labor’s stop at The New School is one in a series of encounters unfolding during a traveling exhibition that will subsequently tour the country and explore other site- and community-specific experiences of the transformation of the American landscape. In its New York manifestation, called “By Any Name,” the project takes the concept of a university archive and re-imagines it as a representational installation with the power to evoke–and possibly, to jog–institutional memory, serving as an aesthetic, systemic response to the diverse missions, traditions, and images now associated with The New School.

Composed of recycled texts and computer equipment, materials drawn from The New School library, and a new text penned by members of The New School community, this week-long on-campus environment involves a range of major and lesser-known events, figures, ideas, opinions, and reminiscences which inform the legacy of the university. “By Any Name” invites both The New School community and the general public to consider: How does The New School remember its past, and how can its approach to the past change its approach to the future? “By Any Name” insists that the university’s legacy be subject to further documentation.

These events are presented as part of the Vera List Center’s 2009/2010 program cycle “Speculating on Change.”

SCHEDULE OF EVENTS

Unless noted below, all events take place in Parts & Labor Gallery at The New School, parked outside of Tishman Auditorium at 66 West 12th Street, and are free and open to the public.

Consultation/Séance
The Future
Monday, October 19 through Friday, October 23, 2009
Open daily, 11:00 a.m. to 1:00 p.m.
Featuring psychics Sherene Schostak and Kiki T

Sound Installation
WHERE ARE WE GOING? AND WHAT ARE WE DOING?
Monday, October 19 through Saturday, October 24, 2009, Open daily
A project by Vera List Center Fellows Lin + Lam and Robert Sember

Drawing Workshop
Thomas Bosket
Monday, October 19, 2009 – 1:00 to 4:00 p.m.

Discussion Group
Ali Krasners on the history of The New School
Monday, October 19, 2009 – 4:00 to 4:50 p.m.

Discussion Group
Tess Harrison on the history of The  New School
Monday, October 19, 2009 – 5:00 to 5:50 p.m.

Lecture
Peter M. Rutkoff
The New School at 90: What Would Dewey Do?
Monday, October 19, 2009 – 6:00 to 8:30 p.m.
Tishman Auditorium, 66 West 12th Street
Reception to follow in Wollman Hall, 65 West 11th Street, 5th Floor (enter at 66 West 12th Street)

Workshop
Andy Bichlbaum’s Class, sans Andy
Tuesday, October 20, 2009 – 3:00 to 5:40 p.m.
Featuring psychic Sherene Schostak

Open Discussion
John Zinsser
The New York Art World and The New School: History and Possibility
Wednesday, October 21, 2009 – 1:00 to 2:45 p.m.
Parsons The New School for Design, Kellen Auditorium
Sheila C. Johnson Design Center
66 Fifth Avenue at 13th Street

Roundtable
The Librarians’ Circle
Wednesday, October 21, 2009 – 6:30 to 8:00 p.m.
The New School, Orozco Room
66 West 12th Street, 7th floor

Class Session
Joseph Heathcott: The City as Archive
Thursday, October 22, 2009 – 12:00 to 1:40 p.m.

Conversation and Art Walk
Art in the Institution/Art as the Institution:
The New School Art Collection and its Institutional Life
Thursday, October 22, 2009 – 4:00 to 5:00 p.m.
Vera List Courtyard, 66 West 12th Street, ground floor

Posted on September 20, 2009