Gretchen Jude.
  • new.
  • info.
    • bio.
    • vitae. >
      • teaching.
    • portfolio.
  • music.
    • free improv. >
      • => at Permian in Tokyo (2019).
      • => at Ftarri in Tokyo (2017).
      • => at Bar Ishee in Tokyo (2017).
      • => at Yugue in Kyoto (2016).
      • => at Doors That Only Open in Silence, Oakland (2015).
      • => solo at Garden of Memory, Oakland (2014).
      • => w/ Gestaltish in Oakland (2013).
    • solo soundscapes. >
      • => 'Music for Going Nowhere' (2020).
      • => The Hights (2016~2020).
      • => Yoshiwara Soundwalk (2016).
      • => Summer in Snow Country (2014).
      • => Finding as Making // Singing No Songs (2014).
      • => Triptych (2013).
      • => 'Songspaces' (2013).
    • electrovocal. >
      • => 'Mirror Morrow' (2020).
      • => w/ Akaihirume (2019).
      • => w/ Rich Rath (2018).
      • => 'touching barad' (2015).
      • => 'Passager' at RE:Sound (2015).
      • => solo at Berkeley Arts (2014).
      • => Gestaltish at the Luggage Store (2014).
    • for dance. >
      • => Nina Haft's Precarious Pod (2019).
      • => Peiling Kao's Integral Bodies (2019).
      • Christy Funsch's MSDM (2018). >
        • => audio.
        • => video.
      • => Nina Haft's King Tide (2015).
      • => Des-Echoes (2015).
      • => Fox Mirror Forest (2015).
      • => Skywatchers (2012).
    • for film. >
      • Midnight Traveler (2019). >
        • => on sound-making in Hassan Fazili's Midnight Traveler (2019).
      • => Karen Day's Bamboo and Barbed Wire (2019).
      • => Em Mahdavian's Intangible Body (2016).
  • objects.
    • sound art. >
      • => in Orion Magazine (2019).
      • => in Out of Stock (2017).
    • artist books. >
      • => Sonic Meditation for Immersive Ecological Entanglement (2018).
      • 「古」
      • "Paris Arthaud" & "ou ou".
      • "an e and a me".
      • "Michel Foucault's 'Minor Perverts...'"
    • handbuilt instruments. >
      • => photo-koto at NIME13, Seoul (2013).
      • => photo-koto on Maddow (2010).
    • instructional scores. >
      • 10'15"x (2017).
      • I Clean the Stage (2009). >
        • => video.
      • News Piece (2006).
    • visual scores. >
      • Song Cycle for Symbionts (2020).
      • postcard musics. >
        • Canessa Gallery (2015).
      • Paris Blancheur (2011).
      • => Tree_Score (2010).
  • albums.
    • => 'Music for Going Nowhere' (2020).
    • => 'hirakito' (2019). >
      • => w/ Kevin Corcoran.
    • => glou glou. >
      • => w/ Arjun Mendiratta.
      • => 'hymn her hum' (2014).
      • => 'fey flight founders' (2016).
    • => Eat The Sun: 'The Djerassi Sessions' (2013). >
      • => July 2013.
      • => October 2013.
      • => March 2014.
      • => April 2014.
      • => November 2015.
      • => March 2018.
    • => 'Songspaces' (2013).
  • others.
    • => JūDai (2019–2020). >
      • => live & distant on People, Places, Things (2020).
    • => electroViolet (2016–2019). >
      • => body electric 1.3 (Berlin 2017).
      • => body electric 2.0 (Honolulu 2018).
      • => body electric 3.1 (Oahu Fringe 2019).
    • => Candy Acid (2010–2015). >
      • => on SoundCloud.
      • => on Susu Ultrarock Records.
    • => w/ Ted Apel (2006– ). >
      • => Black Friday 2015.

An immersive performance about animals and extinction.

10/16/2019

1 Comment

 
Picture
Nina Haft & Company's PRECARIOUS POD is an immersive performance for small, intimate audiences about animals and extinction. Exploring the lives of species that have adapted with varied success to human impact, we invite audiences to move about freely to observe and explore how human and animal instincts collide. What can we learn from animals about a balanced relationship to our natural world?  I hope my composed soundscapes will help answer.

Shows in November at Joe Goode Annex in San Francisco. Click for link to tickets!

1 Comment
essayhave review link
2/23/2020 21:53:31

Animals like monkeys are the source of happiness and entertainment for us in life. These animals are also very friendly such as they play with us and also come in our rooms as well if they are in our home.

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