ABOUT THE ARTIST:
Amy Knoles, Associate Dean; Larry Levine Chair in Contemporary Music, Faculty of Electronic Percussion at the Herb Alpert School of Music at CalArts, performs original works throughout the world.
Recipient of ASCAP Foundation “”Composer-in-Residence at the Music Center of Los Angeles””, Meet the Composer “Commissioning Music USA”, “”UNESCO International Prize for the Performing Arts””, C.O.L.A., has worked with the LA Phil, Kronos Qt., Rachel Rosenthal, Frank Zappa, Pierre Boulez, Morton Subotnick, Robert Henke, Ensemble Modern, Flea, Bang On A Can, Ulrich Krieger, Alison Knowles, John Cage, Elliott Carter, Morton Feldman, David Rosenboom, Mauricio Kagel, Vinko Globokar, Louis Andriessen, Lucky Mosko, Charles Wourinen, Arthur Jarvinen, Steve Reich, Tod Machover and many others; has recorded over thirty CDs/vinyl of contemporary music.
“Los Angeles’ new music Luminary, infinitely variable, infinitely fascinating” – LA Times
“Frightening beauty, fascinating, complex” NPR
ABOUT THE PERFORMANCE PIECE: 9:8:7:5:4:3:1
9:8:7:5:4:3:1 was created for the festival TIME 20 BK, celebrating the 20th Anniversary of the fearless contemporary arts presenter Bludñy Kámen in Czech Republic. This is a Neo-Totalist piece, using deep looping techniques and tweaking on a Push & Keith McMillen Quneo within Ableton, exploring the relationships of the numbers in the title as they relate to one another over time. A faithful performance of this would take 1075 minutes, which is about 18 hours. I’ve found that it is possible to sense the process in 15-20 minutes.
There are two fundamental aspects to the work: the first is found in the numerical relationships that lay the rhythmic foundation, which develops simply into one giant groove; the second is my sonification/visualization of time, which is always changing. This piece is always changing.
I’ve recently created interactive video content for 9:8:7 in the program Isadora and often improvise on my MakeNoise Shared System and Sensory Percussion during the piece.