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All events for the month of January:

monthly show on WREK 91.1 FM January 2, 2005
7:00PM - 9:00PM

On the first Sunday of every month, at 7 p.m., Eyedrum does a show on WREK that features nuggets from Eyedrum's archive of live performances.

Remember that, after the show airs, you can always listen to this and any recent Sunday Special via WREK's 7-day archive if you forget to tune in (direct links to Sunday Special streams: lo-fi or hi-fi).


If you're used to listening to this show (or any WREK show) via the archive, note that WREK's archive system is down right now, so listening LIVE (91.1 FM or mp3 stream) on Sunday night is the only way to hear it this month.

Stuart Gerber and Michael Fowler: Ensemble Sirius January 3, 2005
8:30PM - - -

As a connection not only in musical time, but chronological time, after_nachtmusik is presented tonight by E S as a further commentary on a previously performed version of Karlheinz Stockhausen's nachtmusik [Eyedrum 17.12.04]. In tonight's version we hope to draw, and re-draw on the recorded document of the intuitively improvised version of nachtmusik and create a further exploration of the text of the work, while seeking out the capabilities of a newly developed series of instrument combinations and computer synthesis tools we have developed since the last performance of the piece.
mdf >michael fowler, a.k.a. mdf, is a classically trained musican who explores all forms of contemporary acoustic and electro-acoustic music. He has presented solo piano concerts featuring 20th century classical art music in Japan, the US and Australia, as well as exploring concerts that feature real-time computer technologies that combine electronic improvisation and digital multimedia systems. His most recent interests involve, architecture, music performance and the computer program Pure Data. Through the Spatial Information Architecture Laboratory (SIAL), located at Royal Melbourne Institute of Technology (Australia), he will begin Post-Doctorate research in 2006 that will investigate methodologies involved in the translation of traditional Japanese garden spaces into potential architectural models, sound installations, and representative sculpture.

stu > percussionist stuart gerber has been a fixture (as well as instigator) in the Atlanta new-music scene since 2001. In addition to his collaborations with Michael Fowler in E S, he is also a founding member and co-artistic director of Bent Frequency, "…one of the brightest ensembles on the [Atlanta] music scene" (Gramophone, April 2004). Gerber has been heard in solo, duo (with E S), and orchestral performances in the US and abroad, and has worked with some of this century’s most important composers including Kaija Saariaho, Tania Leon, and Karlheinz Stockhausen. In July 2005 he will record two works for the Stockhausen-Complete edition (under the composers supervision), and will be the percussionist for the annual Stockhausen courses in Kuerten, Germany. In additional to the traditional, notation-based music interpretation, his current work has been utilizing electronic devices to augment his percussion arsenal in intuitive improvisations.

Creative Loafing's FICTION CONTEST Party January 5, 2005
7:00PM - 9:30PM
Price:  FREE

Join Creative Loafing and The Chattahoochee Review for Creative Loafing's third annual Fiction Contest Party (this year's theme: Smoke)

Festivities include readings of the winning Fiction Contest stories, a live performance by lit-rock band
The Fantastic (with Jamie Allen, Mike Geier and Monkey Zuma), a new and used book sale and refreshments.

Visit Atlanta.creativeloafing.com or www.chattahoochee-review.org for more information.

Open Improv January 6, 2005
9:00PM - - -
first Thursday of every month
theme: "how the hell did THAT happen??!!"

acoustic extensions January 7, 2005
9:00PM - - -
Price:  $7
Eric Hofbauer

CD Review: "This might seem like heavy baggage to heap upon a relatively 'new' name (he's not all thatnew really-- EH's played w/Cecil McBee, Charlie Kohlase and JAme Moody). but this Eric Hofbauer fellow may be the heir to the avant-Americana throne recently vacated by the late John fahey. EH has similar glistening, crisp technique, an unforced sense of the sardonic, angularity and is similarly gounded in American song (jazz, blues, folk. pop) -- a respect for tradition w/o treating it like glass. He hears the Old World/New World continuum that reaches from Satie to Mingus ('Better Get Hit In Your Soul' is given the rave-up it deserves) to the Velvet Underground ('Femme Fatale' here given an unnerving Delta blues de-/re-construction to the 'Dukes of Hazzard theme.' His aproach is stately as classcial music but loaded with t he nose-thumbing attitude of American music (found also in Thelonius Monk, Charles ves, Lightnin' Hopkins). He captures the American experience (America + Vanity vs Beauty) with the right balance of tempered outrage and respectful tenderness.

Daniel Clay

My performance on the 7th of January will be the fifth
installment in a series of fifteen accoustic guitar

The series, titled SOUND IS A USEFUL OBJECT, provides groups of people opportunites to contemplate various subjects that are dear to me.

Nat Slaughter

solo contrabass performance

The process of allowing outside variables to structure what one creates
begins with embracing unintention and indeterminacy. It is a process that
requires one to be open to the infinite possibilities and directions art can
go. Instead of playing, I am listening. Instead of creating, I am
discovering. It is clear to me that everything is there for me to observe
and witness. The observation of space is my intent and sole concern when
entering an environment.
Abandoned buildings interest me. For the past ten months I have been
performing contrabass improvisations in them around Atlanta. All of these
buildings are in a transitional phase linking the past, the present and
future - time is in high relief. These buildings show promise and
hopelessness simultaneously - the similarity of destruction and creation.
As part of the 'acoustic extensions' event I will be performing the next
installment of this series in the newly aquired eyedrum space: another
environment that is in transition.

jon cliberto

In Hawai'i, in the 90's, I had a small pile of slightly outdated musical
technology: sampler, synthesizer, sequencing software and so on. Through the
years, any tool is merely a tool for making music. So, I was happy to have a
troop of devices to call upon. However, I noticed that I was spending more
time playing with the devices, rather than playing the devices to make
music. I also noticed the absence of physical immiediacy in utilizing these
tools, something that strikes me as profoundly unsatisfying. In art, the gap
between the creative emotion/idea and its manifestation of it is a problem.
In classical music, this problem is solved by technique and interpretation.
But what if the gap is wider than the leap?

In recent years, an aesthetic is developing in which music lacks almost
completely the physical aspect: laptopians, DJs, etc.

In the 1997 ALCS, the Yankees (the team I root for) lost to the Indians.
This made me upset all out of proportion and I decided: I need a more
reliable source of Happiness than something which might Let Me Down so
independently of my activity toward that Happiness. So, I bought a guitar
(the cheapest I could find) and picked up my classical guitar education
(after a delay of some 25 years). I'd had many guitars over the intervening
years -- a constant presence -- but I hadn't had an acoustic for a long
while. for four or five years I made classical guitar practice a regular
part of my day. I really appreciate that one only needs the guitar: no
electricity, no wires, no software uploads, no blinky lights, no manuals.

I have a number of acoustic stringed instruments in my house right now:
classical guitars, 'ukulele, mandolin, zither. I love playing them.

Lauren Clay January 8, 2005
7:00PM - 9:00PM
Opening reception

Small gallery show runs Jan 8th through Jan 29th

Local artist Lauren Clay presents a small gallery exhibit titled Hideaway Units and Rescue Units. The artist takes on the role of social rescuer with the sincere intent of liberating people who are trapped in everydayness, and creating escape-options for people who are distraught.

The fantastical architectural structures and utopian living proposals are described in large works on paper which curl and flop off the wall with droopy appendages and flowery sculptural insets.

The Five12 Winter Summit 2005 January 8, 2005
9:00PM - - -
Price:  $5
The Richard Devine Show
Five12 + KeepAdding
The Suit and Tie Guy
Mr. Mips

DJ Nemo

Doors at 8pm, Performances begin at 9pm

Atlanta hosts an exclusive look and listen at the future of electronic
music, performance and visual art.

More information will be available soon.


'Silent Night' January 9, 2005
8:30PM - - -
Price:  $5
The Summit Syndicate presents 'Silent Night', an exploration of sound and silence.

The Summit Series brings together like minded individuals to explore
variations on specific themes in sound. January sees a group of local musicians
gathering to explore the relationships and distances between sound and
silence. They will perform solo, in , duos, trios, quartets and
perhaps a large ensemble piece to finish the evening. The program will
be largely improvised. The impetus for the event springs from a group
of Japanese improvisors who performed at a venue in Tokyo and were
forced to perform VERY quietly due to volume considerations. A large part of the program will be performed acoustically, forcing the audience (and
performers) to listen closely and carefully.

According toCharles Cohen: "If
the listener wonders, 'What's that?', then it's too loud."

"For me, Deep Listening is a lifetime practice. The more I listen the
more I learn to listen. Deep Listening involves going below the surface
of what is heard and also expanding to the whole field of sound
whatever one's usual focus might be. Such forms of listening are
essential to the process of unlocking layer after layer of imagination,
meaning, and memory down to the cellular level of human experience.
Listening is the key to performance.  Responses, whatever the
discipline, that originate from Deep Listening are connected in
resonance with being and inform the artist, art and audience in an
effortless harmony." Pauline Oliveros

shelter installation through 26 January 10, 2005

regular gallery hours January 12, 2005
12:00PM - 5:00PM

Art in Freedom Park meeting January 12, 2005
7:00PM - - -

Info Demo #13 - "How to Get Lucky!" January 13, 2005
8:45PM - - -
Price:  $3
INFO DEMO #13 - "How to Get Lucky!"

We begin the new year with an assortment of surprises to get you in tight with Lady Luck! This karma charged event will feature Man Martin, 88.5's Big Daddy Andy and others, and JS will regale all with incantations to bring you wealth, nookie and happiness throughout the year!

regular gallery hours January 14, 2005
12:00PM - 5:00PM

Tenth to the Moon/GFE cd release/Freebass January 14, 2005
9:00PM - - -
Price:  $5
Tenth to the Moon
GFE (CD release)
9pm, Fri, Jan 14
$5 at the door

Former Pineal Ventana members and collaborators flaunt convention with a form dubbed by one listener as 'electrometallic stunilingus.'
Crawling back onto stage after a lengthy studio hibernation with keyboards, drums, drum machine, and vocal processors in tow.

"This promised to be a strange night, and it started out wierd right from the get-go. The first act was Tenth to the Moon, who are apparently a Pineal Ventana side-project. They were a noise band: strange sounds and screaming. Keyboards drove the music, and there were odd drum machine bits used to add percussion. The band members wore lab coats, which made them seem like a Man ... Or Astroman? influenced act. (I guess MOAM have ruined labcoats for everyone).

At any rate, they cranked out 30 minutes of weird, aggressive, electro music. Reference points were Skinny Puppy, early Cabaret Voltaire, and to some degree Devo. It was interesting to say the least. The weird thing is, people were really getting into it. Tenth to the Moon got lots of applause, and a free CD-R they stacked on the merch table was gone in minutes.

I suppose that they were the perfect opening band for Suicide, in that they played a similar kind of music. And of course, I am sure that some of the applause was from their friends. At any rate -- I enjoyed them. That was exactly what I came to this show to see."
- evilsponge.org


Ana Balka - violin, guitar
Jeff Bradley - double bass
Scott Burland - lap steel, theremin, keyboards, electronics
Robert Cheatham - saxophones, keyboards
Bob Hulihan - electronics, guitar, etc.
Milton Jones - drums, percussion


"Boom! Boom! Wow!"
- Iva Keranova

"They sound like an orchestra tuning up."
- Martha McCall

"Here comes a charging, wild rhino. If you want to listen, fine. Either way.
This rhino stops for no one."
- R. Walter Riley


Tony Gordon is FREEBASS. Although he considers this work improvisation, the recordings and live performances exist in an abstract area that breaks free from visions of a musician. No overdubs. No effects. When it comes out just set it down, respect its’ shape. Over time it will take on a value unknowable in the beginning. Putting on weight, breaking, splintering, developing crevasses, fenestration, frustration, tension. Filling up and emptying out. Pissing off.

"Of all the solos by rock bass players I’ve witnessed — performed absolutely solo while the rest of the band was backstage exercising their snort muscles — every single one has been enjoyable and necessary for pretty much one person in the room, and that person always seems to be the bass-player. The more abject uselessness one finds the unaccompanied bass solo, the more one will savor the crystal tumors Tony Gordon’s Freebase CD (GD STEREO) causes one skin to spit out like mango pits. If one would consent to sit through seven tracks of solo base improvisations only after it had been proven that pigs have wings, it is time to search the web for gene-splitting sites. Gordon’s bass screeches, gurgles and gornks like a mythological flying sow; she has corduroy skin, self-activating zippers, retractable snoutholes, and pulsating udders that drip billiard balls. I say, “Oh, momma.”
- Seymour Glass, Bananafish


regular gallery hours January 15, 2005
12:00PM - 5:00PM

ncc-records nuclear winter fest 05 January 15, 2005
9:00PM - - -
Price:  $5
NCC experimental+noisewarfare www.ncc-records.com is an independent record label. Formerly based in Tampa, Florida, ncc-records now resides in the ominous Memorial Drive corridor of Atlanta and support all forms of experimental, electronic, industrial, noise, power noise music, ambient, dark ambient music.


New Volunteers Orientation January 17, 2005
7:30PM - 9:00PM
Price:  Free
Information and orientation session for all new volunteers and interns. Topics include Eyedrum's mission, vision and programming scope, as well as a walk-through of gallery-set up and associated responsibilities. This will be held in the main gallery space.

Please contact Dana Lisa Petersen (irtno7@yahoo.com) or Travis Pack (travistpack@yahoo.com) if you are interested in becoming an Eyedrum volunteer and would like to attend this orientation session.

regular gallery hours January 19, 2005
12:00PM - 5:00PM

LANGUAGE HARM - Poetry for Children & Animals January 19, 2005
8:00PM - - -
Price:  $4

Poetry for Children & Animals with special guests Miss Marry & Snookums!

... that's right! bring the kids, bring the cats, dogs, parrots and goldfish! The APG {atlanta poets group} will provide piles ofpoetry for non-adults & non-humans! & as a special treat for the kiddies; a presentation by I Miss a Merry K UH, Inc --- Featuring the sex[E] Miss Marry & the CEO of I Miss a Merry K UH Corporation = Snookums!!!

Film Love 2: Joseph Cornell January 20, 2005
8:00PM - 9:30PM
Price:  $6

still from "Angel," directed by Joseph Cornell and Rudolph Burckhardt

Once hailed by Salvador Dali as making “the only truly surrealist work to be found in America,” Joseph Cornell is justifiably famous for his unique shadowboxes and collages. But lesser known is that, between the mid-1930s and early 1960s, Cornell quietly created a group of films that not only amplify and extend the themes of his visual art, but also place him among the masters of avant-garde cinema. In the second Film Love event, Frequent Small Meals presents a Joseph Cornell Cinema Sampler.

Joseph Cornell, Untitled (The Hotel Eden)

Cornell was a lifelong collector of old films – home movies, b-movies, and oddities found during his obsessive scavenging trips through the flea markets, bookstalls, and curio shops of midcentury Manhattan. In the 1930s, he began re-editing these films to create eye-opening juxtapositions, in the process becoming what is widely believed to be the first filmmaker ever to use found footage as a basis for filmmaking. In “Jack’s Dream,” a sleeping puppet from an old filmplay is made to seem as if it is dreaming of the sea. “Cotillion” is a tour de force of editing, in which a boisterous children’s party, dangerous circus acts, and dancing girls are all upstaged by an infant who continually falls asleep while trying to eat an apple!

Later, Cornell began collaborating with other filmmakers in order to create his own footage. Where the earlier films are often spectacularly lively, these later collaborations are lyrical and contemplative, extending the themes of Cornell’s visual art into the moving image. “Angel” is a luminous study of statues, fountains, and water. In “Centuries of June,” about an old house on the verge of destruction and the children playing in its shadow, Stan Brakhage and Cornell create a small masterpiece of contemplative cinema.

Finally, we will see Jordan’s film “Cornell 1965,” which is not only a look at the shadowboxes housed at Cornell’s famous residence on Utopia Parkway, but also contains some of the only known film footage ever taken of the reclusive artist himself.

Like his boxes, Cornell’s films present a unique visual world, rife with nostalgia, ambivalence, and multileveled meanings; playful and humorous, yet containing darker intimations. Frequent Small Meals is proud to present a cinematic tribute to this unique and ever-fascinating artist.

The films will be presented in 16mm.

Cotillion, The Midnight Party, Carroussel, Jack’s Dream, Thimble Theater
(Lawrence Jordan and Joseph Cornell)
The Aviary, Nymphlight, A Fable for Fountains, Angel (Rudolph Burckhardt and Joseph Cornell)
Cornell, 1965 (Lawrence Jordan)
Centuries of June (Stan Brakhage and Joseph Cornell)

still from Cotillion, directed by Joseph Cornell

regular gallery hours January 21, 2005
12:00PM - 5:00PM

Stickfigure Distro Presents January 21, 2005
9:00PM - - -
Price:  $5
Appearing on Friday January 21st @ the EYEDRUM is vastopol, fiery orgasm, pacemakers replaced by hand grenades and me

Vastopol is Bryan Montero. Prepare to be dazzled by lush layered melodies.

Fiery Orgasm:
We have no idea what Brandon and Charlie have in store for
us! Rumor has it that Fiery Orgasm is a real band now. There is supposed
to be a VHS video for Stickfigure cdr someday.

Pacemakers Replaced By Hand Grenades: Judging from the demo that jeff provided, pacemakers replaced by hand grenades is jeff's introspective solo project.

Me is aaron of me and him call it us. We have no idea what he has planned for us!

9 pm - $5.00 - ALL AGES!!!

regular gallery hours January 22, 2005
12:00PM - 5:00PM

Listening Machines January 22, 2005
8:30PM - - -
Price:  $10
directed by Gil Weinberg

Can machines be responsive, surprising, and sensitive musicians?

Students and faculty from Georgia Tech are exploring possible answers to this question and will present a snapshot of their work in a concert January 22. Expect some weird new musical instruments, computers that listen, algorithms that improvise, sonfication installation and music you have never heard.

SHELTER installation January 24, 2005
7:00PM - - -

SHELTER installation January 25, 2005
7:00PM - - -

Freedom Park Art meeting January 25, 2005
7:00PM - - -

regular gallery hours January 26, 2005
12:00PM - 5:00PM

SHELTER installation January 26, 2005
7:00PM - - -

Gas, Food and Lodging - Roving Reception January 27, 2005
5:00PM - 9:00PM

Exhibitions at four Atlanta venues examine contemporary travel.

Dalton Gallery of Agnes Scott College
Investigates a range of topics, including tourism, travel logistics, the global nomad phenomenon, immigration, escape and exile. Underlying themes may focus on political, economic, social and emotional issues linked with the notion of travel and ideals that signify freedom to journey to and within the U.S.

Eyedrum Art and Music Gallery
Shelter explores lodging, especially temporary housing and refuges that emerge from transient lifestyles. Artist architects will build indoor/outdoor structures.

Georgia State University Ernest G. Welch School of Art & Design Gallery
Imagining Escape examines notions of escape, escapism and the wandering life. Literal and metaphoric installations and objects evoke the global nomad phenomenon, idle drifting and exploring.

Rialto Center for the Performing Arts exhibition space:
Going South features Southern sightseeing, especially tourist attractions and regional cooking.

regular gallery hours January 28, 2005
12:00PM - 5:00PM

DP3/Sundog January 28, 2005
9:00PM - - -
Price:  $6
dp3 is an Atlanta-based quartet of musicians schooled in various genres
who have come together to make adventurous yet accessible improvised
music. While their music is loosely categorized as jazz, acid jazz and
sometime groove, they have drawn comparisons to acts as diverse as
Bitches Brew era Miles Davis, King Crimson, and Dead Can Dance.

Their website can be found here

Sundog is a quintet of extremely accomplished musicians at the veritable
apex of their creative arc, striving heroically for a whole new universe of
sound, borrowing from a wide array of traditions ? rock, jazz, world music,
classical, fiddle.

The unusual instrumentation ? various combinations of violin, cello, guitar,
trumpet, trombone, saxophone, tuba, bass, drums ? makes for a striking
palate of sonorities. Sundog eschews electronic gadgets and strives instead
for the rich, long-neglected sound possibilities of amplified acoustic
instruments. Chip Epsten and Robb Chapman, violin and cello, have evolved a
whole new grunge approach to strings with rock-style bent notes and
distortion effects. The music has enough compositional complexity and
harmonic sophistication to hold the interest of the classical aficionado,
and plenty of pelvic-thrusting mojo to appeal to the beast within.

regular gallery hours January 29, 2005
12:00PM - 5:00PM

Shelter show opening reception January 29, 2005
8:00PM - 10:00PM
In conjunction with The Dalton Gallery and the Georgia State University Gallery
eyedrum presents SHELTER
opening night reception Jan 29, 8PM

Everything seems to be in the throes of displacement nowadays. For some, even that most eternal of verities, the home, seems to be on the move. For many people, 'shelter' and its connotations, has become a contradictory and nomadic concept, based around abandonment -- shanty towns, internment camps, border villages -- as much as the securities of homecoming: fixated on security, yet forced into flux, shelter is caught between a place (always 'here') and no place -- another word for utopia. Eyedrum wishes to construct one of these border towns, caught between permanence and flow, a village of those who have nothing in common but their shelter, a village 'on the lam' forced to flee, yet still capable of holding the human heart.

Construction may take place inside and outside eyedrum; encouragement is made to use the full 14 feet of head room. there will be at least a week to install and a week to take down.

For the rest of the story go to:



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