array(13) { [“event_type”]=> array(1) { [0]=> object(WP_Term)#2683 (10) { [“term_id”]=> int(195) [“name”]=> string(8) “Festival” [“slug”]=> string(8) “festival” [“term_group”]=> int(0) [“term_taxonomy_id”]=> int(195) [“taxonomy”]=> string(10) “event-type” [“description”]=> string(0) “” [“parent”]=> int(0) [“count”]=> int(24) [“filter”]=> string(3) “raw” } } [“location”]=> string(19) “Harvestworks Studio” [“other_location_name”]=> string(0) “” [“address”]=> string(0) “” [“location_notes”]=> string(0) “” [“date”]=> string(8) “20070101” [“end_date”]=> string(8) “20071211” [“time”]=> string(0) “” [“end_time”]=> string(0) “” [“time_notes”]=> string(0) “” [“artists”]=> string(34) “Mari Kimura, Frédéric Bevilacqua” [“secondary_artists”]=> string(144) “Kenseth Armstead, Nurit Bar-Shai, Christopher Bailey, Mem1, Liora Belford, Tobias Rosenberger, Elad Shniderman, Oscar De Franco, Rashaad Newsome” [“listed_artists”]=> array(10) { [0]=> object(WP_Post)#2725 (24) { [“ID”]=> int(5947851) [“post_author”]=> string(1) “2” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(319) “Composing for Augmented Violin System: Creative Process and Musical Approach using a gestural interface by Mari Kimura (Juilliard School) and Frédéric Bevilacqua (IRCAM). Mari Kimura discussed her creative approach, Max/MSP programming and collaborative effort using IRCAM’s bowing tracking system, “Augmented Violin”” [“post_title”]=> string(21) “Frédéric Bevilacqua” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(17) “frdric-bevilacqua” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-01-21 18:47:00” [“post_modified_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5947851” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [1]=> object(WP_Post)#2727 (24) { [“ID”]=> int(5699631) [“post_author”]=> string(1) “2” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(619) ““Spook” is a multimedia installation project based on the true story of the double agent and slave, James Armistead Lafayette, who gave our insurgent forefathers freedom from the tyranny of the British Empire during the American Revolutionary War. The installation will orchestrate the media and Armstead’s research around James’ activities and story. 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Imagining abstract musical gestures, one can then use the system to realize the gestures with different combinations of found sounds. 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With a 5.1 Surround Sound score by Mem1 (Laura Thomas-Merino, cello & M. 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The video screens display an 8 minute cycle depicting urban surroundings, captured by computer controlled robotic cameras, accompanied by a musical composition for 6 breathing voices edited for surround sound. The multitude of elements produces a contrast of unity and multiplicity: the 6 voices unite into a single enfolding sound; the four screens show a single object in different moments in time and from different perspectives, so that the singular disintegrates into a multiplicity. However, the manipulation is performed in temporal succession avoiding repetitiveness. 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The video screens display an 8 minute cycle depicting urban surroundings, captured by computer controlled robotic cameras, accompanied by a musical composition for 6 breathing voices edited for surround sound. The multitude of elements produces a contrast of unity and multiplicity: the 6 voices unite into a single enfolding sound; the four screens show a single object in different moments in time and from different perspectives, so that the singular disintegrates into a multiplicity. However, the manipulation is performed in temporal succession avoiding repetitiveness. The robotic camera movement contrasts with the human motion, opposing the animate with the inanimate, the city life and the living city.” [“post_title”]=> string(15) “Elad Shniderman” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(15) “elad-shniderman” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-01-21 18:47:00” [“post_modified_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5551342” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [8]=> object(WP_Post)#2726 (24) { [“ID”]=> int(5732416) [“post_author”]=> string(1) “2” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(269) “Listen In: Oscar De Franco & Rashaad Newsome. Oscar De Franco worked at Harvestworks for three months as part of our International Internship Program. 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After receiving his BA he moved to New York where he studied film at Film Video Arts. Rashaad’s work has been shown nationally and internationally at such creditable institutions and commercial art galleries as: K.U.E.L., Berlin, Germany; Glassbox Gallery, Paris, France; Rush Arts Gallery, NYC; Zero Station, Portland, Maine; Veletrzni Palace, Prague, Czech Republic; Fondation Cartier, Paris, France; Fiac, Paris, France; The Film Gallery, Paris, France; The Contemporary Arts Center, New Orleans, LA and The New Orleans Museum of Art. 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