array(13) { [“event_type”]=> array(1) { [0]=> object(WP_Term)#2897 (10) { [“term_id”]=> int(192) [“name”]=> string(8) “Workshop” [“slug”]=> string(8) “workshop” [“term_group”]=> int(0) [“term_taxonomy_id”]=> int(192) [“taxonomy”]=> string(10) “event-type” [“description”]=> string(0) “” [“parent”]=> int(0) [“count”]=> int(172) [“filter”]=> string(3) “raw” } } [“location”]=> string(19) “Harvestworks Studio” [“other_location_name”]=> string(0) “” [“address”]=> string(38) “596 Broadway, #602, New York, NY 10012” [“location_notes”]=> string(0) “” [“date”]=> string(8) “20140614” [“end_date”]=> string(8) “20140615” [“time”]=> string(0) “” [“end_time”]=> string(0) “” [“time_notes”]=> string(0) “” [“artists”]=> string(15) “Phillip Stearns” [“secondary_artists”]=> string(0) “” [“listed_artists”]=> array(10) { [0]=> object(WP_Post)#2691 (24) { [“ID”]=> int(5187461) [“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(4) “NONE” [“post_title”]=> string(12) “Mario deVega” [“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(12) “mario-devega” [“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=5187461” [“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)#2724 (24) { [“ID”]=> int(5929483) [“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(460) “Miguel Frasconi (New York) and Joker Nies (Cologne) modify or build their instruments to their needs, creating music from a uniquely imagined tradition. Apart from various analog devices, modified electronic toys and high-end synth modules, they both work with the Omnichord, an electronic autoharp that in its modified, or “bent” form, is a favorite instrument of composers looking for unique ways to create spontaneous and delicate music with subtle control.” [“post_title”]=> string(10) “Joker Nies” [“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(10) “joker-nies” [“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=5929483” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [2]=> object(WP_Post)#2721 (24) { [“ID”]=> int(5147562) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(702) “Michael Vorfeld is a sound and visual artist based in Berlin, Germany. His installations generally focus on the spatialization of light, using minimalist architecture and sound design to attain pure, crystalline shapes. His music is centered on his use of bowed cymbals and homemade string instruments to create shimmering, microtonal music rich in overtones. He has performed in Europe, Japan, and America solo or with other improvisers and occasionally dancers. 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She is an integral participant of the New York sound art and experimental music communities, and known worldwide for her pioneering gestural/textural approach on her electronically-processed accordion and self-designed virtual sound-processing instrument. Described as a “sound-ist,” of “protean,” talent by music critic Steve Smith, Parkins’ laptop electronics and Fender-amped accordion create sonic fields of lush harmonics and sculpted electronic feedback, punctuated by moments of gap and rift. Parkins’ compositions include multi-diffusion site-based installations featuring amplified objects, electroacoustic solo and ensemble pieces, electronic music pieces, and live scores/sound design for dance and film. Her work has been presented at the Whitney Museum of American Art, The Kitchen, Diapason, and Experimental Intermedia; and international festivals/venues including Mexico City’s 1st International Sound Art Festival, NEXT in Bratislava, Cyberfest in St. Petersberg, and Q-02 in Brussels. Parkins records and performs as a solo artist and has collaborated with sonic innovators such as Otomo Yoshihide, David Watson, John Butcher, and Nels Cline, among many others. On an ongoing basis, Parkins develops her primary performance project, a series of interactive audio/visual works inspired by Rube Goldberg’s circuitous machines. Recent projects: In 2013-2014, Parkins has been awarded artist residencies at Harvestworks Digital Media Art Center in NYC and Q-02 Workspace for Experimental Music and Sound Art in Brussels, where she has been composing a multi-diffusion electroacoustic performance/installation, Three Rooms in the Memory Palace. This season, she will tour in Europe with her solo project and in a new duo project with Swiss experimental pianist/sound text poet Jacques Demierre. In 2013-14, Parkins’ multi-diffusion Faulty (Broken Orbit) is featured in “With Hidden Noise,” a sound art exhibition organized by Independent Curators International that has been presented in Melbourne (Australia), Seattle, Minneapolis and NYC. Other recent projects include Austell 1, an 8-channel performance/installation presented in 2012 by Fragmental Museum, NYC, for which the artist funneled real-time sound from Long Island City’s rail yards into an adjacent reverberant warehouse, along with sonic interventions from a walking bell-ringer and Parkins’ omni-diffused accordion feedback. Also, in 2012, Parkins performed a new audiovisual work at Experimental Intermedia, NYC, in collaboration with video artist Ana Carvalho. Her “portable” audio work featured in the Lingua Franca show at Cyberfest 2011 in St. Petersburg, Russia, and Parkins was invited by Christian Marclay to perform her interpretations of seven of his graphic scores at the Whitney Museum’s 2010 retrospective festival of Marclay’s work. Since 2009, Parkins has been touring in Europe with choreographer Vera Mantero’s production We Are Going to Miss Everything We Don’t Need, for which Mantero commissioned Parkins’ live electroacoustic score, featuring amplified performers, objects and surfaces; and since 2010, Parkins has performed her live 12-channel sound design for Symptom, an intermedia performance work commissioned by The Body Cartography Project. Parkins’ recordings have been published by Important Records, Atavistic, and Creative Sources, and her work has received support from American Composers Forum, NYSCA, the French-American Cultural Exchange, Meet the Composer, Harvestworks Digital Media Arts Center, and Frei und Hanseastadt Hamburg Kulturbehoerde. 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His array of activities includes collaborations with the Balinese composer Dewa Berata on music for a large-scale shadowplay, with operatic tenor John Duykers on unique music/theater events, with the Tibetan songwriter Techung, with whom he has toured throughout India, and has worked closely with composers John Cage, Morton Subotnick, Pauline Oliveros, James Tenney and Jon Hassell. He was a founding member of The Glass Orchestra, the internationally renowned ensemble featuring all glass instruments (1977-86), and the sound-sculpture band Möbius Operandi (1990-95) ) and has performed as a keyboardist with the Paul Dresher Ensemble (1988-95) and the Philip Glass Ensemble (1992).” [“post_title”]=> string(15) “Miguel Frasconi” [“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) “miguel-frasconi” [“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=5884294” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [6]=> object(WP_Post)#2693 (24) { [“ID”]=> int(5595796) [“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(4) “NONE” [“post_title”]=> string(12) “Maria Chavez” [“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(12) “maria-chavez” [“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=5595796” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [7]=> object(WP_Post)#2690 (24) { [“ID”]=> int(5281383) [“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(989) “Phillip White will compose a new work for the Dither electric guitar quartet that will feature custom built electronics based on a small arduino and a set of four relays that is programmed to overlay a rhythmic structure and a brutish spatialization of sound. The score will be a graphic work instructing the quartet in the manipulation of assigned parameters over time. In addition to his work with analog and digital electronics, White has written extensively for chamber ensembles and created a large body of intermedia pieces that explore meaning in information transmission. In 2008, Philip received his MFA in Electronic and Recorded Media from Mills College where he worked with Chris Brown, Hilda Parades, Helmut Lachenmann, Roscoe Mitchell and James Fei. Currently Philip is the Technical Director at ISSUE Project Room.” [“post_title”]=> string(13) “Phillip White” [“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(13) “phillip-white” [“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=5281383” [“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)#2694 (24) { [“ID”]=> int(5916594) [“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(75) “Joshua Fried aka RADIO WONDERLAND turns mass culture into recombinant funk.” [“post_title”]=> string(33) “Joshua Fried aka Radio Wonderland” [“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(33) “joshua-fried-aka-radio-wonderland” [“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=5916594” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [9]=> object(WP_Post)#2722 (24) { [“ID”]=> int(5469068) [“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(4) “NONE” [“post_title”]=> string(32) “Lars Graugard aka Lars From Mars” [“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(32) “lars-graugard-aka-lars-from-mars” [“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=5469068” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } } }