Anna Friz and Coppice performed in their audio installation at Tritriangle on 5/25/2013 in Chicago, IL. The two installations and two live performances occupied the gallery as co-existing organisms. Â Each stemming from Frizâ€™s and Coppiceâ€™s own larger overarching projects, Frizâ€™s Nocturne and Coppiceâ€™s A Vinculum Variation are iterations, though it becomes clear that these iterations are not repetitions, but manifestations of differences in space, time, and materiality. The artists filled the spaces above my head and below/around my feet with sounds produced by other bodies: people, instruments, apparatuses, and radios. The two installations created the terrain in which the live performances inhabited. The earthy landscape, coupled with a cloud of respiration, constituted a world of transmission that enabled relationships to form in and between bodies.
In the space of Tritriangle, tiny blueish-silvery lights floating in air illuminate 82 small silver radios suspended from thin silver wires, a cloud of radios. In one corner of the space is blue light; in two other corners, yellow-gold illuminations. The blue corner holds three hand-built radios by the inventor George Kagan, an accordion, a harmonica, a chair, a mixer, and other sound equipment. Two radio transmitters fixed near the ceiling, send signals on two different frequencies to the 82 suspended radios. The radios, hovering at different levels around my head, emit gentle sounds of an accordian-played melody, breath, and radio static. The golden-brown corner contains a chair, an accordion, a box. Another corner contains a set-up with tape players, speakers, and an inductive mixing table with devices that send signals to the speakers lining the room close to the floor. These speakers emanate sounds of breathing, bellows of an accordion, air passing through processed reeds, the crackling paper inside a shruti box, pressure cuffs, and a funnel. In a third corner, golden light illuminated that illuminates a metal funnel.
A Vinculum Variation; Coppiceâ€™s Archived Air Contours
For the installation and performance at Tritriangle, Chicago-based duo Coppice (NoÃ© CuÃ©llar and Joseph Kramer) created a listening experience that compelled the listener to navigate and inhabit the space of the gallery in a fluid way. Before the performances, the audience could walk freely around the space and stop to observe what was emitting from the various speakers lining the room. During the performance, the audience stilled and the artists and the audio material activated. CuÃ©llar, playing the accordion and free reeds, moved his own body around and through the space, while Kramer used two custom-built apparatuses: his customized inductive mixing table and customized cassette tape player. Kramer, kneeling on the floor, using this table, which â€œredistributes the sounds of the Vinculum archive as they are played back through small speakers resting at different locations on its surface,â€ Â changes the location from where sounds poured. The cassette tape instrument Kramer designed and created is able to â€œmake a record of the sonic space that also reproduces the recording from moments ago while simultaneously recapturing its own output.â€ 
These devices together create space and time that shift and refuse to remain static or linear. The changes in the part of the room that contained the raw recordings from the Vinculum archive created a constantly changing environment of breathing; audio materials from their ongoing-archive emerged in the space and surrounded the audience with breath. CuÃ©llar, changing positions throughout the space of the installation, used the accordionâ€™s keys and bellows to breathe sounds throughout the room. Coppiceâ€™s contribution to the installation as a whole grounded the audience and the space itself creating a material terrain the viewer could navigate and explore.
Coppiceâ€™s installation and performance at Tritriangle emerged from its ongoing project since 2010Vinculum, a constantly shifting index of sounds, bodies, and space that involves isolating and highlighting particular sounds that are specific to Coppice. Sitting down with CuÃ©llar and Kramer in their studio, they describe their interest in the â€œbehavior of soundsâ€ Â and the ways in which different sounds demand a different kind of listening. However, Coppice is not necessarily interested in making the listener more aware of the plethora of quotidian sounds that may surround her. Rather, the listener is encouraged to connect to the collection of sounds Coppice draws from to create their compositions. The work is deeply self-referential in its consistent pointing back to itself, its own self-reflexivity. The recordings, which are used to form Coppice compositions, are stored and categorized as specimens the listener can study and discover within the work. Coppiceâ€™s archival process, which involves recording the sounds and storing them in built containers or vessels – hand-sewn pouches or built wooden boxes (for Vinculum Specimen Edition), produces a peculiar meditation on the nature of cataloguing. What is capable of being stored? What should be saved? The individual entries/specimens can then be accessed and experienced by the listener in a multitude of ways. Coppice encourages the listener â€œto play the discs simultaneously on repeat from multiple players when possible.â€ Â However, the listener has the ability to change the order and method of playback to create her own way of experiencing the archived sounds. The archive is not static and is rather presented as a collection that is open to change and re-arrangement; it is an â€œopen composition.â€ 
Coppice describes the sounds of Vinculum as quiet and having to be found from a particular point of view. Because Coppice is concerned with each soundâ€™s specific experiential condition, the recordings in the archive capture the particular spatial arrangement necessary to recognize the sound, making the archive one of space and the way the listener and the instrument inhabit space. Many of the sounds Coppice finds, makes, and records relate to the human body and its rhythms. The breath that passes through a tube and the air that traverses through the bellows of an accordion or pump organ indicate the necessity of the body to the production of that sound, whether it is the musicianâ€™s breath, hands, or feet interacting with the instrument or apparatus. They claim that it is the â€œair on the edge of thingsâ€ Â that makes its way into the auditory. Coppiceâ€™s sounds that insist on the â€œair on the edge of thingsâ€ found themselves in conversation with Frizâ€™s dreamy cloud of radio breath that floated above their audio terrain.
Nocturne; Anna Frizâ€™s Radiogenic Objects
Canadian sound and radio artist Anna Friz, who is currently based in Chicago, performed second, immediately following Coppice, in the installationâ€™s landscape. While the suspended radios picked up the transmission of an accordion-played melody, Friz began to play that same phrase in the middle of the space. The recordings emanating from the tiny radios and the live instrument in the installation mingled together in a sea of sounds and lights. When the recorded melody ended, Friz used the live accordion with its bellows to create a drone, filling the space. At one point, Friz got up, put the accordion down, turned on the handbuilt radios, picked up the harmonica, and began to play the instrument, sending it through the transmitters to the radios filling the space above my head.
Nocturne is an iteration of her radiophonic installations that began in 2006 with You are far from us, a project she has been transforming since its premiere at Radio Revolten Festival at Ã„rtzejaus in Halle, Germany. The work explores the notion that radio technology is not disembodied, and that it actually holds within it traces of bodies and perhaps even allows us to overcome distance between bodies. Friz materializes the radioâ€™s possible embodiment through voice and its breath, corporeality, and emotion. Breath and radio are intimately linked; Friz describes the phenomenon of the breath and radio static as sharing the same frequency range – a fascinating aspect of radioâ€™s embodiment. She also describes the radios and their tendency to drift from their frequencies as a precarious bodily situation, not unlike human and nonhuman animal bodies that are subject to their environments and situations. The radios are in relationships with each other, though mediated through the multiple radio transmitters that populate the ceiling of the space.
The first manifestation of the installation You are far from us involved four transmitters, 50 radios, and 5-10 hand-crank Grundigs. This installation focused on the disastrous human condition and the ways in which it is transmitted and created through radio. In her statement for You are far from us, Friz asks the question: â€œWhat nearly inaudible signals, transmitted in moments of intensity or crisis â€” what do people seek to transmit, in a moment between the intake of breath and the breath held, waiting, in tension?â€ Â Further, in turning to the specificity of the radio, she states that â€œ[b]uilt on breath and other bodily exclamations typically absent from regular radio broadcasts, the radios operate at the limit of their capacity to transmit emotion.â€ Â This interest in the radio as entity and performer itself is something Friz has been working with, an evolvement of her earlier work which conceptualized the radio as containing within itself people and that â€œthe voices emanating from the radio were the voices of the little people who lived inside. Turn on the radio, the little people begin to talk, change the station and they change their voices. I imagined the radio people waited inside while the radio was off, ever ready to perform at the click of the dial.â€ Â Now, she conceptualizes the radios themselves as the performing entities, not tied to a necessarily anthropomorphic view of the world. This is not to say that the radios are entirely outside the realm of human experience; they experience the precariousness of the world in perhaps a similar way. They tune in to frequencies and then drift off, floating and locking into a new one â€” a new world experience.
Friz describes the radios suspended in the floating cloud as sleeping, experiencing REM cycles, taking in the day and processing it through dreams. Nocturne at Tritriangle is an outgrowth of the section â€œNocturneâ€ from Frizâ€™s previous installation You are far from us, with the sectionâ€™s intent being â€œstilling the breath and relaxing [the radios].â€ Â Friz emphasizes that she chooses to privilege the auditory over the visual in the installation because it helps the listener â€œfocus attention on moving through spaceâ€ Â and instills the notion that the listener is a sensing body. The stilling of the breath and the radios drives home this recognition. When limiting one sense, other senses heighten. The viewer is no longer dependent on the two orbs situated in the front of the head as guides through space. The audio creates spatial relationships that enable the viewer to navigate the space at her own leisure. This navigational drifting relates to the radiosâ€™ own drifts. The radios experience the phenomenon of capture effect, thus causing them to detune and find a new channel to occupy. For Friz, the detuning isnâ€™t necessarily about interference, since the notion of interference corresponds to a cybernetic theory of communication with involves fidelity to a message. Rather, she is interested in exploring “fields of influence.” Â The radiosâ€™ detuning donâ€™t mark a deficiency or breakdown. Instead, the tuning into different frequencies seem to reflect human and nonhuman animal choices to take a turn, go down a different path. The suspension of the inhale,  creates the space in which life is lived, with all of its precariousness.
Coppice and Friz created an environment in which the audience and the device could all breathe together, exchanging exhalations and inhalations actualizing a cloud of respiration. Focusing on the breath allows us to recognize that we are constantly exchanging material from our own bodies with the world. Though, this body in its continual state of exchange shows us that the molecules in our own bodies arenâ€™t static and canâ€™t always belong to us; these molecules are only finding themselves to exist within us for a passing moment in time. â€œThe breath does not belong to the self. It enters and exists of its own accord. It inhabits the empty space of the lungs for brief periods and the same molecules and particles may never enter again.â€ 
 Personal conversation with Anna Friz and Coppice at the performance, May 25, 2013.
Â Coppice,Â A Vinculum Variation,Â http://www.futurevessel.com/coppice/work/performance-installation/a-vinculum-variation.
Â Joseph Kramer, “Episode 31: Porous Notion: Index Fragments and Interpretation,” Radius (Oct. 2012):Â http://theradius.us/episode31.
Â Personal interview with Coppice, June 5, 2013.
Â Coppice, Vinculum, http://www.futurevessel.com/coppice/work/recordings/vinculum.
Â Personal interview with Coppice.
 Anna Friz,Â You are far from us,Â http://nicelittlestatic.com/sound-radio-artworks/you-are-far-from-us/.
 Anna Friz, Who are the people inside your radio,Â http://nicelittlestatic.com/sound-radio-artworks/who-are-the-people-in-your-radio/.
Â Personal interview with Friz, June 8, 2013.
Â Friz describes the inhalation as suspension.
Â Meredith Kooi, â€œAristophanesâ€™ Hiccups and Relational Spasms,â€ given at Location/Location symposium organized for Field Static: A Group Show About the Object, Co-Prosperity Sphere (Chicago, IL: June 6, 2012), 6.
The sound switches. Loud intensity and vibration. My body is permeated by the sound and radio waves. While watching the dancer move, I realize that all the cells of my own body are moving, oscillating, with the sound waves.
The dancer runs across the stage, throws herself towards the floor, glides. My body feels the impact of the floor on skin, skidding, sliding, perhaps squeaking.
Darkness and light, spotlights on my sight horizon. The moving horizon line, the white board, shifts my bodily perspective and orientation.
Jennifer Monson premiered her latest evening-length performance Live Dancing Archive at The Kitchen in New Yorkâ€™s Chelsea neighborhood for a two-week run February 14th – 23rd, 2013. The project Live Dancing Archive comprises three components, which consist of three different archival practices: dance, video, and digital archive. The â€œProgram Notesâ€ for the performance states that â€œEach of these captures how bodies hold, transmit, and convey experiences and understandings of ecological systems as they relate to human movement through the specificities of their medium.â€ Â Monsonâ€™s work explores the ability of movement itself as an archival practice; she is interested in the particular capability movement has to archive, record, and store the ecological systems that we experience.
For the two-week run, the video component of the archive was a a video installation which was on view during the day before the evening performances in The Kitchenâ€™s Theater. This part of the work, made by Robin Vachal, a videographer, video installation producer, editor, and teacher, consisted of editing approximately 50 hours of footage Vachal captured during the BIRD BRAIN Osprey Migration from 2002, an â€œ8-week research project in which dancers followed the migration of ospreys along the Atlantic Flyway from Maine to Venezuela.â€ Â Watching the video, the audience experiences the dancersâ€™ improvisation solos, conversations with park rangers at nature centers and preserves, public performances, and public workshops Monson and iLAND held with park patrons.
Another component of Live Dancing Archive is the digital archive which was designed and implemented by Youngjae Josephine Bae, who completed her MA in Library and Information Science, in collaboration with Monson and Vachal. The digital archive consists of video footage, photographs, dancersâ€™ journals, project notes, plans and schedules for performances and workshops, and other ephemera generated from the BIRD BRIAN Osprey Migration. The aim of the digital archive is to â€œmake available to the public as much of this material as possible.â€ Â The program notes encourage the audience to â€œperuse the archive in your own time as a supplemental experience to your participation in the audience tonight.â€ Â The performance need not â€œendâ€ once the audience member leaves the theater; she can continue to experience the work through the material which was archived in the movement of the performance.
Live Dancing Archiveâ€™s live performance aspect involves the audience as well.Â The audienceâ€™s participation in the live performance is that of the ocean. Monson describes her process of choreographing the movement in the program notes as:
â€œA significant amount of the dance material was learned from video documentation of four improvised solos on the beach at Ocracoke Island, NC. The dancers were Javier Cardona, Morgan Thorson, Alejandra Martorell, and myself. The camera angle was always moving so deciding how to orient myself in the dancing was a challenge. Eventually I arrived at orienting myself always towards the ocean. The audience is the ocean.â€ 
The audience gets to experience a journey of the spaces and ecologies that Monson and the other dancers migrated in Monsonâ€™s choreography, and it also gets to become part of that environment itself. Monsonâ€™s choice to make the ocean the point of orientation and her further choice to allow the audience to occupy that position, creates a complex dynamic of waves and force that oscillate between the performer and the audience. It is also in Monsonâ€™s processes of research and choreography that point to the ecological systems along the migratory path. Monson describes her work as dance research; the movement generated during the migration is knowledge-making. I would further argue that the audienceâ€™s experience of viewing the video, the digital archive, and the live performance, while also becoming a participatory element of the system created in the theater are all knowledge-making practices which coalesce in a system of bodies and the environments in which they inhabit. Describing this process of knowledge-making, Monson states that
â€œthe knowledge has to do with understanding the relationships between events and systems. When Iâ€™m dancing, Iâ€™m bringing multiple ways of perceiving information of movement, sensory, imaginative, and analytical registers. Iâ€™m processing information of the world and using it to make choices about movement in the world. The multiple systems I am moving and that are moving me help me to understand the complex systems I am perceiving. There is also the phenomenological approach – as I am moving, the world is showing up for me, itâ€™s changed by my moving, and as I move I also show up for the world. The knowledge is about ways of putting things together in multiple modes, holding unstable relationships of meaning and conditions of existence.â€ 
Phenomenologist Maxine Sheets-Johnstone writes about the primacy of movement in our consciousness of the world. In her book The Primacy of Movement, she states that â€œWe make sense of ourselves in the course of moving.â€ Â However, movement is not only sense-making, but constitutive and generative of the self that is moving. Further, Sheets-Johnstone claims that â€œIn effect, movement forms the I that moves before the I that moves forms movement.â€ Â These two phenomenological statements seem to permeate Monsonâ€™s process of research and performance. Her work explores the ways in which ecological systems function and the dancing bodyâ€™s relationship with and in these systems.
The live performance of Live Dancing Archive was itself a system. This component of the archive also consisted of multiple parts including the movement, live sound, and live stage and lighting design changes and manipulations. The sound, composed and performed by Jeff Kolar, an audio artist based in Chicago, is â€œgenerated live through field experiments in the AM/FM, Shortwave, Citizens, and Unlicensed radio spectrums. The instrument arrangement of handmade radio transmitters and receivers respond directly to external weather phenomena, wireless technology systems, and human activity.â€ Â After the performance I attended, Kolar explained that there were more â€œghostsâ€ being picked up by the receivers that night than had usually been happening for the other performances. The fluctuations occurring in the systems of the electromagnetic spectrum and the Hertzian space surrounding and emanating from the instruments, the electronic objects of the audience members, and the other technologies that exist in and around the space of The Kitchen directly impacted the sound performance and thus the entire ecology of the live performance.
The live manipulation of the lighting and stage, performed and designed by Joe Levasseur, who has received two Bessie awards for his design work, was a continual shifting of the ecology of the theater space. The minimal stage props and lighting, reminiscent of Isamu Noguchiâ€™s stage designs for Martha Graham, seemed to create the boundaries of space and time. The stage prop, a long wooden board on wheels, serves as the â€œhorizon lineâ€ that can move and shift. At times, Monson herself moved the horizon line, thus changing the orientation of the horizon and its relationship to the audience, the ocean. The lighting was able to move around the stage as well and was manipulable by Monson and Levasseur. The turning on and off of the light, sometimes a single light that was moved around the stage, seemed to control the limits of the perceptual experience of the work. Our perception is always bounded; we cannot see the backs of our heads, our eyes even work through an amalgamation of small focal points, congealed in our brains – we donâ€™t see the world as a clear image; our perception of the world is a complex system composed of interweaving aspects that need to work together to form a coherent experience of the world.
Phenomenology, the philosophical study of our experiencing of the worldâ€™s phenomena, understands our bodies as the entities that world the world. The world is mediating through our perceptual experience of it and the world appears for us through our engagement with it. Monsonâ€™s work takes this phenomenological understanding of the world seriously in her research processes and the performances that result from them. Much of the research process involves improvisational movement in the places along the migratory route Monson was following. In Ann Cooper Albrightâ€™s article â€œSituated Dancing: Notes from Three Decades in Contact with Phenomenology,â€ she describes the transition from considering the aesthetics of dance to the phenomenology â€œbecause phenomenology focuses attention on the circumstances of this active â€œbecoming.â€ Â Though Albright is discussing more specifically Contact Improvisation, she incorporates the notion of embodied research, an important aspect of Monsonâ€™s work. Albright describes embodied research as a process that â€œrequires that one engages seriously with the ambiguity that results from trying to conceptualize bodily experience that can be quite elusive. It requires patience with the partiality of physical knowing as well as a curiosity about how theoretical paradigms will shift in the midst of that bodily experience.â€ Â This situated-ness of research also can be placed in a feminist tradition stemming from feminist epistemology and the notion of situated knowledge explored by Donna Haraway in her essay â€œSituated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.â€ Monsonâ€™s method of phenomenological epistemology of ecology speaks well to feminist conversations about science and the generation of scientific knowledge.
In thinking about what this means for an archive and the processes of archival practices, Live Dancing Archive speaks to the ways in which archives have to be generated; they do not simply exist in the world. They are always subject to the particular bodies controlling their collection, documentation, storage, and availability. The interesting aspect of Monsonâ€™s work for conversations about the archive is the tension of the usual goal of the archive â€” infinite storage for an infinite amount of time â€” and the ephemerality of movement. Can we ever say that an archive is a permanent collection of materials that simply narrate history? Archives are subject to the circumstances of the world â€” floods, unemployment, politics, fires â€” and any notion that we can make a truly permanent archive is contingent on the resources available and ideologies of the day. Monsonâ€™s Live Dancing Archive made me think critically about these aspects of making and transmitting history. Her movement, some of which I was able to glean from the video installation, is able to capture the singularity of the movement in its original form, though changed, made into something different in its repetition. Her attention to the specificities of place and the ecological systems constituting it along with bodily and movement singularities, creates a complex of environmental knowledge and history within the performance and the dancing body.
Live Dancing Archive is featured in the upcoming 2013 Dance Improvisation Festival organized by Columbia College Chicagoâ€™s Dance Center and curated by Lisa Gonzales with support from Links Hall, taking place June 3-8, 2013. Monsonâ€™s Live Dancing Archive will be performed Thursday, June 6, 2013 at 8PM. Be sure to visit the Dance Improvisation Festivalâ€™s website for tickets, information, and schedule of other workshops. http://www.colum.edu/Dance_Center/performances/2013improvfest/
Live Dancing Archive Collaborators:
Jennifer Monson: Choreography
Robin Vachal: Video Installation
Jeff Kolar: Composer
Joe Levasseur: Lighting
Susan Becker: Costumes
Betsy Brandt: Dramaturge
Davison Scandrett: Production Manager
Youngjae Josephine Bae: Digital Archive
Tatyana Tenenbaum: Dresser
 Jennifer Monson, “Program Notes,” in Jennifer Monson/iLAND Live Dancing Archive (New York: The Kitchen, 2013), 4.
 Ibid., 5.
Â Ibid., 5.
Â Ibid., 4-5.
 Ibid., 4.
 Personal Interview with Monson, 4.16.2013.
Â Maxine Sheets-Johnstone, The Primacy of Movement,Â expanded second edition (Amsterdam and Philadelphia: Johns Benjamins Publishing Company, 2011), 117.
Â Ibid., 119.
 Monson, “Program Notes,” 4.
Â Ann Cooper Albright, â€œSituated Dancing: Notes from Three Decades in Contact with Phenomenology,â€ Dance Research Journal, vol. 43, no. 2 (Winter 2011), 9.
Â Ibid., 14.
November 29, 2011 · Print This Article
Universe. It is only 2 more days till we open up in Miami Beach in the mighty Ox-Bow Cabin.
Are you ready?
We will be..
Outside the Loop Radio which reportedly broadcasts from it’s (for our benefit) 100-watt artsy-fartsy radio station took time to interview Richard and DMac and ask about the birth and direction of Bad at Sports. If you want to listen to the entire episode click here for the direct link.
Duncan & Richard appear at 6 min 20 seconds into the show. Richard geeks out over audio tech, Duncan tells the back story with eloquence. They both have a jaw drop moment when the hosts ask how you could get hate mail doing a art audio program.
Check it out.