array(13) { [“event_type”]=> array(1) { [0]=> object(WP_Term)#2699 (10) { [“term_id”]=> int(150) [“name”]=> string(11) “Performance” [“slug”]=> string(11) “performance” [“term_group”]=> int(0) [“term_taxonomy_id”]=> int(150) [“taxonomy”]=> string(10) “event-type” [“description”]=> string(0) “” [“parent”]=> int(0) [“count”]=> int(317) [“filter”]=> string(3) “raw” } } [“location”]=> string(5) “Other” [“other_location_name”]=> string(24) “Tenri Cultural Institute” [“address”]=> string(33) “43A W 13th St, New York, NY 10011” [“location_notes”]=> string(0) “” [“date”]=> string(8) “20180914” [“end_date”]=> string(8) “20180915” [“time”]=> string(0) “” [“end_time”]=> string(0) “” [“time_notes”]=> string(0) “” [“artists”]=> string(34) “Mari Kimura, Alec Hall, David Bird” [“secondary_artists”]=> string(58) “STRING NOISE (PK Harris, Conrad Harris), Kristen Norderval” [“listed_artists”]=> array(3) { [0]=> object(WP_Post)#2698 (24) { [“ID”]=> int(5815978) [“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(999) “Alec Hall is a composer and violinist living in New York City. His music attempts to re-imagine the possibilities of acoustic materials in the post-Avant-Garde musical landscape. Using forms of sonic representation to address urgent non-musical debates, his work is as aesthetically polycentric as it is politically engaged. His compositions have had been performed by such groups as Ensemble SurPlus, Proton, Intercontemporain, the Orchestre Philharmonique de Radio-France, the JACK Quartet, ICE, Talea, Either/OR, Wet Ink, Continuum, Pamplemousse, Ekmeles, Continuum, and soloists Séverine Ballon, Stephane Ginsburgh, and David Broome. Alec is the co-founder of Qubit and currently serves as its co-artistic director. He holds a DMA from Columbia University, an MA from UC San Diego, and is a 2017 John Simon Guggenheim Memorial fellow.” [“post_title”]=> string(9) “Alec Hall” [“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(9) “alec-hall” [“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=5815978” [“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)#2736 (24) { [“ID”]=> int(5343225) [“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(1372) “David Bird is a composer and multi-media artist based in New York City. His work explores the dramatic potential of electroacoustic and mixed media environments, often highlighting the relationships between technology and the individual. His work has been performed internationally, at venues and festivals such as the MATA festival in New York City; the Gaudeamus Festival in Utrecht, Netherlands; the Wien Modern Festival in Vienna, Austria; the SPOR festival in Aarhus, Denmark; the IRCAM Manifeste Festival in Paris, France; the Festival Mixtur in Barcelona, Spain. He has composed and collaborated with groups like the Ensemble Intercontemporain, the Jack Quartet, the Bozzini Quartet, Yarn/Wire, the Talea Ensemble, Mantra Percussion, the Mivos Quartet, the Austrian Ensemble for Contemporary Music (OENM), AUDITIVVOKAL Dresden, Ensemble Proton Bern, Loadbang, the TAK Ensemble, Ensemble Moto Perpetuo, and the Nouveaux Classical Project. He is a founding member of the New York-based chamber ensemble TAK, and an artistic-director with Qubit New Music, a non-profit group that curates and produces experimental music events in New York City.” [“post_title”]=> string(10) “David Bird” [“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) “david-bird” [“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=5343225” [“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)#2731 (24) { [“ID”]=> int(5450534) [“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(2696) “Michael Byron (born September 7, 1953 is an American composer and editor of contemporary music anthologies. In 1971, he met, and began studying with James Tenney, at the newly built California Institute of the Arts. At around the same time, he was introduced to Harold Budd, and Richard Teitelbaum (two lifelong musical friends), and soon thereafter Lou Harrison, Dane Rudhyar, and Robert Ashley. During the halcyon days of the early 1970s, his music—its compositional trajectory—was one of extreme reductionism. In 1973, he moved from Los Angeles to Toronto to study with Richard Teitelbaum at York University. For reasons unrelated to the geographical change, the allure of reductive music passed as quickly as it had come. In the winter of 1973-1974, he began composing Starfields, for piano four hands. Starfields was his first work using an ergodic form, and stochastic processes adhering to the principle of multiplicity. Byron also began the publishing experiment, Pieces, a series of anthologies devoted to the increased dissemination and visibility of radical directions in music. He later served on the Board of Directors of the Aesthetic Research Center of Canada, where he edited The Journal of Experimental Aesthetics. In 1975, along with visual artist Jackie Humbert, composer David Rosenboom, and filmmaker George Manupelli he co-founded the multidisciplinary performance-art group, Maple Sugar. Finally, in the winter of 1976-1977, with the encouragement of composer Lou Harrison, he moved permanently to New York City. There, he composed prolifically, but also worked on the periphery of the art rock/punk/noise works with Rhys Chatham and others, in lower Manhattan’s club scene. In 1979, he was hired by the DIA Art Foundation to work as assistant to La Monte Young. Over the last four decades, working independently, Byron has created a rigorous body of work marked by extreme polyrhythmic complexity, and intricate contrapuntal textures that have become a hallmark of his style. This music is exclusively virtuosic. His music has been recorded on New World Records, Cold Blue Music, Meridian Records, Poon Village Records, Neutral Records, Tellus, Koch Records, and Bandcamp. His scores are published, and distributed by Frog Peak Music.” [“post_title”]=> string(13) “Michael Byron” [“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) “michael-byron” [“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=5450534” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } } }