Joe Colley
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Michael Gendreau
Joe Colley (b.1972 Ft. Lauderdale) is a self taught
artist concerned primarily with the phenomena of sound
and it's unique ability to activate a consciousness
set apart from rational understanding in a way very
different from visual or verbal means. This consuming
interest has led to extensive experimentation with
results occasionally made public through performances,
installations, and commercially available recordings.
These experiments have encompassed abstract electronic
composition, amplification of natural phenomena,
investigations into phase, and creation of complex
mass from layers of simplistic sound material.
Growing up in California's central valley, Colley has
travelled widely making field recordings and
researching various cultures with a focus on ritual
musics and the art of the insane. He has worked in
warehouses, long-term care facilites, porn shops, and
as an art instructor with developmentally disabled
adults and juvenile detention facility inmates. His
music journalism has been published under pseudonyms
in various national magazines.
His performances have been seen as part of festivals
including Activating The Medium (SFMOMA), Observatori
(Valencia, Spain), Lampo (Chicago, Illinois),
Phonotaktik (Vienna, Austria), Beyond Music (Venice,
Ca.), Songlines (Mills College, Oakland) and CEAIT
(CalArts, Valencia). For over ten years his recordings
have been released internationally on various record
labels. Recent releases include Desperate Attempts At
Beauty: Conceptual And Research Exercises (Auscultare
Research CD), Project For An LP, Or, One Method Of
(Nearly) Avoiding The Composer (edition...LP), 8
Phased Loops (Mixer 2x7"), Fragments, Phenomena, And
Process Pieces (Klanggalerie 7"), Six Feedback
Channels (edition...7") and Or (A book in
collaboration with Eric Lunde).
Michael GENDREAU was born en Californie (1961). A musician since age 6, Gendreau went along to work with several group organizations, culminating in Crawling With Tarts (1983 – 1998), and using this group as a medium (along with the various uses made of it by co-founder Suzanne Dycus) for work in elementalism, attention to temporal and environmental persistence, and eventually, applications of parataxis. These final studies included the use of small motors and turntable mechanisms, mostly performing with one-off transcription discs cast by others in the middle of the last century, or cut in Gendreau’s studio using a decrepit lathe. More recently, in composition and performance, Gendreau has sought to enlarge these later studies, adding physical parameters of performance spaces (as a point of reference, based on studies in physics completed in 1989 and current work as an acoustician—primarily working on low-vibration design in buildings and noise impact to optical research apparatus in the infrasonic to audible frequency range) as a language within the paratactic structures that form his compositions.
Cost: $6-10