Buy Tickets
Doors 8pm / Show 8:30pm
$17 adv / $20 door / free or discounted for members
Request your member DICE Code or become a member
Distances Bending (future tones) is synthesist Clara de Asís and quarter-tone flutist Rebecca Lane’s long-term project which takes specific forms in different contexts and configurations in their exploration of harmonic and time proportions. Considering the most elemental aspects underlying the geometry of the harmonic series, one continuously rising sonic object (chord) undergoes a process of transformation and illumination as it travels from low to high, integrating a progressive complexification of frequency relationships.
As a duo, Clara de Asís and Rebecca Lane gather around the investigation of perceptual space, collaborative processes, and the development of pieces that are, more than settled compositions, elastic systems for ceaseless states of becoming.
‘Distances Bending (future tones)’ is Clara de Asís and Rebecca Lane’s long-term project which takes specific forms in different contexts and configurations in their exploration of harmonic and time proportions. Considering the most elemental aspects underlying the geometry of the harmonic series, one continuously rising sonic object (chord) undergoes a process of transformation and illumination as it travels from low to high, integrating a progressive complexification of frequency relationships.
Working with the estate of visual artist Channa Horwitz (1932-2013), de Asís/Lane will perform a realisation of Horwitz’s Sonakinatography #17 (1987-2004). Horwitz’s Sonakinatography (Time-Motion-Notation) series uses a circular sequence derived from the number eight as the basis for her logic of motion, allowing her to see time visually. In 2004 she stated, ‘the theory behind my work is that through structure comes an apparent chance. If structure plays out long enough it will appear to be chance… The cycle of life as I see it is circular. The beginning and ending are only one step away from each other.’
Clara de Asís: analog synthesizer
Rebecca Lane: quarter-tone flutes, organ pipes, whistles
with pre-recorded flutes and algorithmic electronic elements
Special thanks to Andrew Fenchel at Lampo for making Lane and de Asís’s realization of Sonakinatography #17 possible.
About the Artists
Clara de Asís (b. 1988, Cádiz, Spain) is a composer and performer engaged with the correlations of acoustics, spatiality, and the praxis of attention. She uses electronics and synthesis along with found objects and traditional instrumentation. Her compositions juxtapose structural precision to areas of indeterminacy, drawing from an interest in experimental tuning and autogenetic systems. In addition to her solo practice, she creates a wide variety of works with other artists, including multidisciplinary collaborations in film and dance. She has performed throughout Europe, the United States, and South America. Her music has been released by Another Timbre, Elsewhere Records, Erstwhile, Marginal Frequency and Pilgrim Talk, among others. de Asís also runs the publishing platform Discreet Editions and is a co-artistic director for Göteborg Art Sounds, Sweden.
Rebecca Lane (b. 1980, Melbourne, Australia) is a Berlin-based musician who explores intonation as a social and perceptual practice, focusing on just/rational intonation and the relational and utopian aspects of sounding/activating this material with others. Her practice is informed by ongoing relationships with composers (such as Catherine Lamb), collaborations (like distances bending with Clara de Asís) and within various duos and ensembles (including the co-initiated Harmonic Space Orchestra), utilizing various flutes (in particular, Kingma System quarter-tone flutes). A member of the experimental music label Sacred Realism, Rebecca has performed widely across Europe, Australia and Asia. Recent recording projects have been released by Discreet editions, Umland Editions, Another Timbre and Mode Records.